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Liebman on Chromatiscism

3 ways of learning

• intellectual
• physical (imitation)
• instinctual

more choices make more possibilities

• the scale syllabus is a thesarus or color palate

the student must be involved in saturated listening of a player or style

superimposing chord progression over pedal point

• look at Naima

other II-V possibilities over D-7 G7 Cmaj7

• Eb-7 Ab7
• C-7 F7
• F#- B7
• B-7 E7
• Bb-7 Eb7
• all possibilities are manifestations of the tension and release concept
• anything sounds correctly if resolved properly and played with conviction

tasks of the student

• the student must learn to play his horn first
• (the student must learn to play with steady time)
• the student must learn to play chord changes

reharmonization

• how do you respond differently to these chords (even though they contain the same notes)? C6, A-7
• this opens possibilities

Dave's favorite chord

• Eb-7/Cmaj7
• many of these ideas come from Schoenberg, Weber, Bartok
• study the slow movements of Bartok's music to absorb harmony

practice playing time with no changes

McCoy Tyner said there were no changes written for Coltrane's later tunes (ascension, meditation, india)

What is the role of the piano or guit when horn player is playing "out"

• lay out
• play open voicing
• talk to the player and ask what they are thinking