That's why the 13 standard tunes in this book initially appear without a single chord symbol: only the major-scale key-centers are shown above the measures—no modes or unusual scales. I've never seen an improv book presented this way before. Most Western musicians of all ages—including vocalists and string-players—know the major scale more than any other scale, making this approach practical for them to address the kinds of tunes that have so long frustrated them!

I am not advocating ignorance of the chord changes—not at all. What I encourage is the opportunity for aspiring improvisers to realize sooner what the pros already know—the key centers—and start concentrating on making melodies. As you spend more time on the tune, you can choose to react more to each specific change. This is a very valuable technique for sightreading changes.

It's the long view vs. the short view, the forest for the trees, the macro vs. the micro, the highway vs. the exits. After this experience, students are far more ready to embrace the later learning of the complexities of chord symbols. This book series simply places the material in the order that "street" musicians have experienced for as long as jazz has existed.