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🎵 Harmony Without Chords – Pt. 8: Applying Scale & Chord Outlining to Tunes – “Minority”

In Part 8, we take the scale and chord outlining concepts from the previous lessons and apply them directly to a jazz standard: Minority by Gigi Gryce. This exercise demonstrates how a thoughtful balance of linear scale motion and targeted chord tones can clearly express harmony within the context of a real tune — without relying on block chords or dense voicings.

🎵 Harmony Without Chords – Pt. 7: Scale & Chord Outlining Combinations

In Part 7, we combine two essential approaches to line construction: scale-based motion and chord outlining. These exercises move through ii–V progressions in descending whole steps, blending linear scale passages with clear chord-tone targets to create lines that sound both melodic and harmonically grounded.

I work for a non profit called Global Academy For Inspirational Arts (GAIA). We work with music students in Costa Rica. I had to make a tutorial on the modes and thought maybe some of you would find it useful. Everything you need is attached. I would love to see some of you work on this and give me your thoughts. (Including misspelled words, I still have to put it in Spanish!)

I remember learning the modes in classical theory class. And online later when I learned modes from the same note, could I really here the difference between them. 

🎯 Harmony Without Chords – Pt. 6: ii–V Outlining Variants

In Part 6 of Harmony Without Chords, we expand on previous ii–V concepts by focusing on clear chord outlining and upper extensions over dominant chords, all while continuing the descending whole-step motion. Rather than relying on chord voicings, these exercises show how strong line construction alone can clearly imply harmony, even as the harmonic density increases.

🎵 Harmony Without Chords – Pt. 5

Resolving ii–V’s in Descending Whole Steps

In Part 5, we take the ii–V ideas from the previous lessons and fully resolve each ii–V to its I chord, moving through the exercise in descending whole steps. This type of harmonic motion shows up frequently in jazz standards—How High The Moon being a great example—and it’s an important sound to internalize.

🚨 Harmony Without Chords – Pt. 4: Adding the ii Chord

In Part 4, we expand the harmonic framework by introducing the ii chord before each dominant, turning the previous dominant-focused ideas into full ii–V motion. This adds harmonic depth and forward momentum while keeping the emphasis on linear voice leading rather than vertical chord shapes.

🚨 Harmony Without Chords – Pt. 3: Chromatic Approaches with Dominant Alterations

In Part 3, we continue working with chromatic approaches to the 3rds and 7ths of dominant chords, but with an important addition: altered tones introduced in the second bar of each dominant. These alterations create stronger harmonic tension and help pull the line more clearly toward the next chord change.

🚨 Harmony Without Chords – Pt. 2: Chromatic Approaches to 3rds and 7ths

Part 2 expands on the guide-tone focus from Part 1 by introducing chromatic approach notes to the 3rds and 7ths of dominant chords. While the targets remain the same, the addition of chromatic motion adds tension, direction, and forward momentum to the line—allowing the harmony to feel more alive without relying on full chord voicings or altered scales.

🚨 Harmony Without Chords – Pt. 1: Diatonic Approaches to 3rds and 7ths

This lesson kicks off the Harmony Without Chords series by focusing on one of the most essential ideas in line construction: clearly outlining harmony using guide tones. In this first exercise, we work with diatonic approaches to the 3rd and 7th of dominant chords, avoiding chromatic notes, alterations, or upper extensions.

🚨 Playing in 3/4 – Pt. 10: Tune Study – “Little B’s Poem” (Advanced Comping)

Part 10 builds on the previous comping chorus by introducing more syncopated rhythms, tighter voice-leading, and additional chord-tone alterations throughout the form. This chorus is designed to feel more conversational and interactive, giving you tools to comp with texture, color, and forward motion while staying grounded in the 3/4 feel of “Little B’s Poem.”