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CHARLE'S COLIN - a15 W(,Mt f):lnl Ht., Nt'w York, N. Y. \OOl'~
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All About The
MODERN JAZZ PIANO STYLE By Walter Stuart
CONTENTS
Ultra· Modern Harmonizations..................................
.. ................................... .......... .................. 3
Experimental Jazz Ideas .. .............................. ..
...12
Atonality Applied To Modern Jazz ............ .............................. ..
.. ............ 13
Counterpoint Applied To Modern Jazz .............................. .. ....... ...................................... .14 Polytonality Applied To Modern Jazz
... . . ............... 15
............................... 17
Modern Piano Blues Pattern ..................... . Progressive Jazz Solos
....................... 20
Blues For Moderns ..
........... ..... ............... 20
Mambo in F.... ..
........22
Relaxation .. ..
...................................... 24
.......26
Hilarity .. Wild Idea ......
.........................
Invention For Two .. . Interlude ................................. . SophisticatloQ ............................................ .
.... . . ...... ........ 28 ..........................................30
............ 32
.. ......... 34
© Copyright 1965 by Charles Colin, 315 West 53rd Street, New York, N. Y. 10019 International Copyright Secured Made in U. S. A. All Rights Reserved
'\tmeerkamp.s.a. 1JJI~lar:la de fa MuSial D U RANGO N o. 2 6~
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ALL ABOUT THE MODERN JAZZ PIANO STYLE
BY WALTER STUART
Ultra-Mode rn Harmonizations - Experimental J azz Ideas Piano Blues Patters _
Modern Solos
The piano solos contain ed in this book ha ve appeared in former issues 015 "Modern Piano Trends."
ULTRA-MODERN HARMONIZATIONS
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There are innumerable ways of harmonizing the major scale. It may be done with conventional chords, as well as with altered 11th and 13th chords. Following are several interesting modern harmonizations of the C major scale using only major and minor chords. Of course, there are hundreds ~f additional possible variations:
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Next is the harmonization of the C major scale, using 11th and 13th chords exclusively:
Using all 9th chords will also create a full modern sound:
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There ar e many more modern variations based on parallel chord p rogressions. The first two examples below show para llel mlnor chord movements, the n ext two harmonizations show parallel major chord movements:
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Needless to say, the various harmonizations shown here only illus trate a few of the countless harmonic possibilities.
To develop an advanced modern chord technique, the examples shown here should be transposed an d practiced in all k e ys . After tha t , YOU rna v 1- ru +- ..-. - - , ~ - __........ u..L.ze popular melodies, using some o f th e se modern ch ord progressions.
Did you e ver attempt to f ind in how many differen t way s you c o uld h armo n ize a s imp l e me lody withou t usin g the tr a di tion a l h a rmony ? He r e i s just such a simp l e song , " Twink l e , Twink le , Li tt l e Sta r ." Yo u wi l l f ind t ha t a few nove l chord changes g ive a n ew modern sound t o even this six n o t e melody . The following few examples u tilize major and mi nor chords on l y :
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Each harmonization has a tonal c h aracte r of i t s own, a nd there are n aturall y countless other possib il i ti es of swi t ch in g c h ords .
Another method of modern harmonization is parallel movement of chords. The next four examples will illustrate such chord movements, using the same melody: I'
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The use of complete ninth chords will give the theme a fuller sound:
There are any number of ways to harmonize a melody--even a s~mple one. Traditionally, the principal harmonies are based on the tonic, dominant seventh and sub-dominant chords. But modern chord substitution shows unlimited and new possibilities. Following are just a few potentialities in harmonizing IISwanee River,lI making use of conventional major, minor and seventh chords, yet achieving quite modern effects: ~m
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The use of complete ninth chords will create a fuller sound. Here is one version of harmonizing IISwanee River" in ninth chords [five part harmony]. The melody is now written in the key of F. Alf
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Going one step further to more extended chords, the melody could be harmonized with all eleventh chords. Although the modern harmonizations shown here hardly fit the simple spirit of this song, the melody is used just as an illustration of modern harmonic possibilities. It is a matter of individual taste to decide just where and when such modern harmonic material is to be used. The next harmonization uses all eleventh chords [six part harmony] in the key of G.
The ultimate harmonic extreme is reached with the use of all thirteenth chords. Often one or two notes are omitted when playing thirteenth chords, but for the sake of complete illustration, all seven parts are shown in the next example [key of C].
Finally, chords built on fourth and fifth intervals applied to the same melody [key of G] :
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Chords built by fourth [or fifth] intervals are one of the most popular devices in modern harmony. These chords may be used by themselves or together with conventional chords. Fourth chords may consist of 3, 4, 5 or 6 notes. Shown below is a simple 3-note fourth chord built on C:
The three notes [C-F-Bb ] are now shown, played together with conventional chords:
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Modern re-harmonization of old songs has become the most common method of creating interesting new sounds. All of us use chords other than those marked on the sheetmusic, but this may be done in different degrees. Did you ever determine the number of ways for harmonizing a simple tune such as 1I0h, Susanna?1I Well, let's try it. Here are a few of the more obvious harmonizations.
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These examples are still based on conventional chords, with probably hundred of other possibilities of switching chords.
Chords built on 4th intervals will create an even more advanced sound.
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. Although serious composers have been using these ultra-modern sounds for the last forty years, they have only recently caught up with progressive jazz. This opens up a new field for the modern composer who is no longer limited by overworked, conventional harmony patterns in popular music.
------------------EXPERIMENTAL JAZZ .IDEAS FOR PIANO All conventional chords from triads to 13th chords are built on intervals' of 'thirds:.' By building -:Chords on fourth [or f'ifth] intervals, an entirely new, hannonic flavor can be developed. Following are several harmonizations of the C major scale, ,using 'parallel fourth chords exclusively. Needless to say; 'there are countless addi tional,harmonizations of 'the major scale.
The following short solo will show the application of these chords to.,a jazz beat. Fourth chords may be used in conjuncti~n with' conventional :ch'ords. However, for the purpose of illustration, fourth chords are used exclusively.
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ATONALITY APPLIED TO MODERN JAZZ
Atonality [the 12 tone system] follows strict rules concerning the use of all notes a composer may employ. The music is not based on any key [atonal] and strict adherence to this 12 tone system limits the repetition of notes. Each one of the 12 notes in our chromatic scale has to appear in the identical order repeatedly. The order of notes is established with the first 12 notes of the composition. The following example applies the 12 tone system to the right hand melody. This is the order of the 12 notes as used in this example:
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If you examine the melody, you will find that the notes will always appear in the same order. After each E there will be an A; after every A there will be a G. The timing and harmonics offer an unlimited amount of variety even though melody notes constantly repeat in the same order. The 12 tone system of composition need not be applied in the strictest sense [as shown here]. More modified use of the principle offers a wide selection of novel melodic material that can be used in modern jazz.
COU~ERPOINT
APPLIED TO MQDE~ J~Z
Traditionally,' the ja,zzlefthand plays 4 'beats per measure, :9r 2" chords whi,ch may be syncopated or' on the beat. One exception is the Bodgie."-Woogie 'left hand pattern'which repeats the sarne group of notes in each measure. As long'as the pianist has a rhythm' section to work with, there 'is no need to play any rhythmic a'ccompaniments on the piano. 1
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An independently moving left hand [counterpoint] opens up many new possibilities in modern jazz 'improvisation. 'This polyphonic style is illustrated in· the following examples. ,'" First shown is the theme; then various left harid counterpoint ideas.
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Two part improvising in this polyphonic style can be developed by continued practice. However, the 3 and 4 part counterpoint versions would have to be composed and written out, as very few modern pianists have used this style sufficiently to develop a technique in this type of improvisation. Nevertheless, for ambitious jazz artists, the use of counterpoint offers a great new field for expanding the conventional over-used patterns of popular jazz. POLYTONALITY APPLIED TO MODERN JAZZ Polytonality is a style of music that employs more than one key at a time. In other words, playing in the key of C and D simultaneously would explain the principle involved. 9th, 11th and 13th chords can often be explained as poly tonal chords. Here is an illustration: plus GBbD C9 is CEG plus BbDF ell is CEG b e13 is CEGB plus DFA
in other words in other words in other words
C major plus G minor e major plus Bb minor plus D minor e7
In modern jazz, polytonality is particularly effective using 2 different major chords one whole step apart, struck simultaneously. Example: C major [any inversion] can be used together with D major [any inversion] or Bb major. The chord played in the right hand determines the flavor of the harmony. Following are a few examples to illustrate this point:
C major plus Bb major
ETC.
C major plus D major
ETC.
The above examples show only a few of the countless possibilities. The 2 different chords do not have to be complete. In other words, 2 different major chords played together do not need to contain 6 notes. Following are a few illustrations of that type. Once several notes are omitted, the chords can also be identified as 9th, 11th chords, etc.
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