Overview

The concepts in this collection were inspired by the Equal Interval System (EIS) created by arranger/composer Lyle Spud Murphy. His goal was to create an atonal method for composition based on the naturally occurring overtone series. Essentially, these studies in ""musical mathematics"" can teach you how to write free horizontal lines. Fellow guitarist, Terry Thompson asked me to write out some lines that could be applied within the context of musical improvisation. Terry and I developed this process over quite some time and have amassed a rather large amount of material that is now being presented to you in this lesson book. We hope that you can apply these chromatic ideas within your solos, intros, turnarounds, cadenzas, interludes, and other musical expressions.

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There are some musicians who earn the label ""a players player"". Individuals who possess a quality and integrity that peers look up to, not for mere bursts of blazing notes or chops, but for the perfection of their performances and the joy they bring. Such a musician is West coast based Jazz journeyman guitarist Doug MacDonald. ""I've simply never lost my love affair for warm notes, a good standard and striving for the best performance"", states the guitarist. In that regard, MacDonald's musicianship evokes thoughts of such artists as Chet Baker and Sinatra, to name a few, who performed and excelled in a particular style their entire careers while keeping it fresh for their audiences time after time. ""I've simply never lost my love affair for warm notes, a good standard and striving for the best performance"" Originally from Philadelphia, he began his career in Hawaii, where he played with Trummy Young and Gabe Balthazar, and with Del Courtney at the Royal Hawaiian Hotel. Relocating to Las Vegas, Doug found himself immersed in a vibrant music scene, and began playing in lounges and showrooms with jazz greats, including Joe Williams, Carl Fontana, Jack Montrose, and Carson Smith. On to Los Angeles, Doug played in the bands of Bill Holman, Ray Anthony, and John Clayton, and performed and recorded with Jake Hanna, Rosemary Clooney, Jack Sheldon, Bob Cooper, Ross Tompkins, Ray Brown, Buddy Rich, and Ray Charles. Doug also began recording and performing with his own trio and quartet, as well as his 13 piece ensemble, The Jazz Coalition. Terry Thompson started playing with local dance bands in St. Louis in 1956, his first year of high school. After years as a sideman and motivated by his leadership drive, he formed his first small band--the Jesters. As Thompson's skillful musicianship and leadership capabilities emerged, the band's popularity flourished during the late 50's and early 60's. Ask Thompson what he was trying to do musically at this time (and still today)--he'll say Louis Prima, Sam Butera, Louis Jordan, Billy May, Bill Haley & The Comets, Johnny Ray, Bobby Darin and Les Paul. During his college days Thompson spent a substantial amount of his after-class time working with big bands and house orchestras. This exposure to big band orchestrations and top-notch arrangers served as a catalyst for his intense desire to become a music arranger. Through the years Terry's dedicated study of orchestration and record transcriptions has earned him the respect of his peers as a highly proficient arranger and recording producer.

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