Modern-Jazz-Piano-Styles.pdf

RI

-

CHARLE'S COLIN - a15 W(,Mt f):lnl Ht., Nt'w York, N. Y. \OOl'~

$2.50 INU

A

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~

MEXIC07 . P . F.

- -----....-

-

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

( \

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:

f ... 0

0

lr

c""" 9

CT E"

F & f'm

9

Q

() B

0

A""

II

.g.

I!.b £m

8

D

&..

A

P

6

Om

t:I".

A""

p

9

0

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:

.

,. J I

___

,

...

•

,~

~

~

... j

~J

...... [ 1 ~

IL

"

l,

"I

L

,

•

.l b.l

J~~ ~

~-

L

,

I

b.., ~

--I

,

--,

_.

-----

I

Parallel chord progressions are the most commonly used in ha rmon i zing basic scales today:

" ; ~

IJJ;~i

Ar I

,

I I

...

4

I

.

~~ I

Vi

I

~

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:

o

(7

g

12

a

"as"

~o

oP

8

080

..

lJ

I

II

I

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 :

Go

C

'iD JJ •j J J 1 A'

91 " IJ

Jj

1J J

11

Cm

,~

J F" ",

A~

D"

1

F

f.'

Go

j j

&m

~ ~ j

e~

el'm

J IJ ; j

F~

, G",

F~

Am

em

II

D"

I J J ,~ J I J J j A'",

A

e'

\i

A'

IJ J J J \ J J j A'",

Ii

II

C

J J ,1 j I J J ./J-13

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'

11

J

.lJ. \ \

J

JJ

\

t ....'" ~

l I

....

e

I

J;

....

d-

,

r

~

)

~ t-"-

l

,

I

r

I~

£,

.fr

0

....

J

1 I

,

I

f2

.po

l t

,

I

!

r

-""

I

I t:)

...

I

I

L

I

\

J.J...

J J ---,...

1 -J ......J ...I • -...a\

,

~

I

1

0

jf

~

IbD

\

...ol

I .1. .LL I't.

I

\

r

'·0

.e-

,,~

I

DI

....

\

.1t7

t
\

.1'""'-

~

t

I

~

I

~

.L

(l

""

,

,

r

)

t

\

~-

L1

b~

....

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

Ew. Eb D

jjjJ

D~

eM

A

G-

D

11 r if" jJ J j 10 ri7 C7

p.'v7

G7

J j Io

I

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

If

n

....

..... T

_1

Jl ..... -y-

-

lf~

69

0.... ' r

--.

- w

G,

I

r

--

bd

g

I.

f#

D9

...

F'I

ell

-

v

~

I

t

h.

.. 0

-.-

-It

-

ib#

If,

.

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] :

n ...

.

-

,

I'"

*,9-

~

,.

• • tJ*, •

l

4-

W'

~*G:

-,;'

-tr

n

,

I

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:

n

l

11.

v

.e-

-e-

.e-

~

.g.

~

bo

L.~

I,

bo

j .~

'-

I">

-'"

..

'"

-e-

.f}-

"0

,

~Jz -7-5 L-

-8-

•

<;I

_'.:b

':J

The 3 ~otes contained in this fourth chord may be inverted and each inversion can then be played together with the chords shown above. Following are the inversions. The last position shows the chord with the top and bottom notes reversed, which creates a chord built on fifth intervals ..

:

:

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.

! ~

e"

n13 J J J I J J1 J13 3J11 J. A"7

C

In

1>7

C1

&7

f..... foli... f.... ""..... tI7 G-7 §!iJ 13 J J J 13 3) J13l Jill

!')1 ~

c."

CM,

/I..

11m'

E...,

FM.

/17

AI>.,

&.

11 IJ J 3J I J J1 J I J J J11 ~.

& n I J 3J J I J J1J I JJ l j I~. E~...

E..

G...

,,'"

D...

fliT

""7

rl,

6-7

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.

,

1

I

•

411

.. , I

.. ..•

..

b_

~ r

r,

r b.o

....l

I

I

As long as we are going to such musical extremes, here is the same song harmonized in all 13th chords.

\ DO

~

t

D

I

-rIII"::

~

'-.,p ._!he

.

,

q',•.

-...

. 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.

, .

..

" r-

L::J

L::J

I

I

.

I

~

I.. DW I

~

'

•

.. -

•

p,

I'

I

ILtJ~ ~t

" I

I

"I

.+ \

•

~:

1,,-"'1 ..

J

•

"--'

.

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:

1\ '-. ~

7

-----

..

-

....

,---.----~ \\

b-#-,.

_--

tl~

h.

~~

~

~

I

b~

~

"

V

....

~,

,

Ito

I

'" "i'·.

~',

~.

7

~~ ... '"'

\i_

"' b-

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

'

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.

THEME

jiG r 5~

m ~2J 3

r

11

,f

I J. ) J I II J. lJ

ETC.

'"-""

1

2 PARTS I)

" •

I "

..

t.

2

.

,~

--

".

'.

~

,

J.(

J(,

'--oL

-

+.

#

,

....

'''''IIIiO[

VI

""

...... ., . r,·

b ... _

r

.,. -.,.~~

l'

!

I

-

3 PARTS

f~~~~~~~~

t~_'-···#~:~-ii~_~_J.~~~~¥=i~~~~~~~~"~~~ ETC.

~

r ~.

-<

Ii

__ !f!.

~

LW-f", ~

( l

-

,

I

. r f --r~

~(U.J~r

~~~.t

,,

\

I

\ 1\

I

-

,

T 1"""\

\-,L

..l......J

..-.-

I

I

.p'

r.tt:t-r . - ..,.--, , J.J....J

ETc.

I

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.

C plus Bb --'l

~

•

\

•

~.

".

t

.

-I

V

\

C b

6".

e b~ bG

t....

I

f,iC. .

~ bl~

hI- h. I

There are many other possibilities of playing in 2 keys at the same time as used in modern classical music. In jazz, however, the above examples represent the most practical application of polytonality. Following is an illustration showing the use of these chords in a popular type melody.

n

-

,.

.;/

2

I l

3

...-

4

5

:-1

6

,.,.,. ;4-.

t

I

I

~t

-

,

::.-

7

.. , ...

{

l~

-t.b.b.

9

•

~

bi

.

10

*J

.g.

4. 5. 6.

~$

•

plus plus plus plus plus plus

C G F G Gb F

ETC.

•

I

Bb F Eb F E Eb

-»-

\

I

1. 2. 3.

11 .-.----, 12

,

I

7. 8. 9. 10. 11. 12.

Bb F C G Eb F

plus C plus G plus.D plus A plus F ,plus G

MODERN PIANO BLUES PATTERNS

~

!.-

~:=J~.

I

~

JI,

•

"'---" ~

~

"6

b,

--...

---

r-"'"'\

. t .,.

I

I

,

\

.

~-

I

-

I

ETC .

•

SLOW n

•

~

...

\.17

-/

:

..

.-------.. ,

• ~ 1~ ~

......

-

br~

b

~

..

\.

~

~

I

I I\.

-

•

~

I

I

I

-tI-

.. •

I

v.

------

I

I

I

T

-VI

.

..

I

~

, -

~

~.

V L.-l I.

-

tl

-~

,

-

L

I

~

----------

J

b"l

._4-

P,-U

~

I

I

I

I

~

I

~

4-

~

,

~

.-f"""'"',

'--J

-~

I

-

-~

,

..--"

~

~--

,.

~

--;-...

~

,

r-.

,

P

'-"'"

J

\ 0

MEDIUM

MEDIUM

1i

\

l ... -• .... ~

JL

_":

b~

...

, ...

~~

..

1 -I

1

--

.

-

~ _.p

~

.......

...

..t

--,-U

""...

III

-"""

, 1 J

1

~,.

~

i

r

...&

IJ c.h. L!:

~1"

-i

~

-

1

l

~

......

-

..I

#

,.

.

p

L~t II'

b.

J

•

--,. -.

. "'

r

, ,.. ......

~

~

1'1

fJ I

I:

--'-

h

r

hi _"1

I

r....

....

-

-

.,

.....

•

... 41l

.'

.'

-"""

~~-/ ~l

-4_004

.. --

--

.., • .,

ht .

V-

1-"'"

~

0'

\I

1

a

r."'d:

.... I

..... ..r:

_L

~

-

.~

_.JIlL

.. -.

t" 1

I ...l.~

..

J!'-w...Jo IL

0

-

~

I _I

"

-

r

=

!.

-

,~~.

,

~

ilq1~ /'

•

....

I

.

IL

.1

~

,

....

---

~"""'.....r: t!

.....

-

...r::

• I --.l

\ L..L-J

Ere. .1"

1..[\

FAST

FAST

PROGRESSIVE JAZZ SOLOS BLUES FOR MODERNS

SLOW

•

1>

1\

I ~

~

•

$-'

~

1.6-

~(,c.

I

•

~

~

'\

I~ ~

11

-

..

~ .,.

·V.

~

.

~

9'

,

I

I'"

(5

-~

."

'-

f

f

•

~

:- *i

t

-

.

r""'1

r I

II 1

t:

I

~11 ~

'

.

-

•

\..-'

p

nflr-r......,

r

I

r

•

*

•

i

• . i'1

•

!

p

r or

ir

3

-...J

11 11:4

~

~f

· Ii

,

.....

~

.. ' .# 1

~ .

S... ,

.'"

-

r-i

r

3

If'

tr ·

...

1""'1

r

4-

ii:'-. .

~;

\

,. ,

~

r

.....

,

I

-.~

,

.. .,. 11.,.

~

~

.

~

\-J

L.J

~

I"

.,.

~

~g:;,

•

~

-

b ..

~

.....

.,.~,..

•

I

11 •

#

..

~

jI"

~I

,..

f

~

.

'\"

.. 1

I

1

"'"'

MAMBO IN F

LI VELY >

>

?

.. ., ..

~

-...

4-

t!:

>

7

~

,

=r-

Ib

r-I

11--1---,t

,

?

t .~

t;

h~

• ~

=.:l.,

..

.,

I' _____ "r-

,-f--'f~1 fwfJ bf E

~

~ ...

~

-....

... .

,

-.::......= ,,

•

:;j

7

,

t 1 J

..

- -"

~

. .,.

. .fJ'

'--

~

>

--.

~'T 7t ~' ~

,...---... ,. ,.

>

t.= 'tc

I'

~ ~~

-J'

~

"

f

.

>

"-I

.. ... "-

..

>

:.

~

I

-#-

i'-

'

'f

,

.

,.

.b

;J-

>

I ~

~+

~

:l-

r-t

.,.

-

1

•

.... 1-,

•

r-

~

·-, i

:F~

> -~

.

~

I b ,,·

~

l!

~

~

~ ~

,

. .

t~~ " ~

\ -.-

,

~

".

=+=-

RELAXATION

srow ~i,. b1i

I

~ ~

(!

ti

...

,

--.

.~

-L'.

- ,-

.JI- "L --1iIo. ...

L

___ -

•

I

L

,

""-

'I~

I

\

-

T

i" ,,~

T ~

/

~

\

7_

r-'T ,- 1 I

T 1

I

r

h.l

hD

,-

I

"r

L

.. j

... ~

•

.

~

~

I

,-~

,

~~

I

C7

b4-

T

::.r-

...-..--

S. bi

()

•

\...v

,

.

l-::;t-

'

•

v

p

",' ~

.,'

~

h~

'---

. 4i

1

-"r

b.

b~ .-

h.a.

~

--""

I

..

• I

,

~ T ....,

-

~ \ T 1 t

•-

~j.

,

,. l...l If.. It

I

-

~

r -l

:r

~:'

I

"\

M

•

:tr,

11t~

•

0

..

~

---

HILARITY

FAST

.,.---------------------~

-

...

,

.

...... --.Il •

~)

l

\

•

h

... --'

~ l

_ ~ fl_

-

r

-po

.

~.-.. ~

.--

"'I.

I

L

I

I

I

\

b . . . #,,/

p l

•

--

.-----..--t

-

1

..I

'1~

~

!!:

E

I

""'"---'"~

..

-l

...

-'

~~t ~~ '""'\1.

~~

'1. 1!-

...

'-

t~~

~~.

-.

___ I

I

'7

~

...-

,,-

~

~;~

.

...

... .

11

- ••

~ --,.

-';;:£

.~ .. -,.... .........

V ~i.

I

0

\

..

"T-

,.

.

....•... \

....-'\ I

1

--.

-4

#

. •..

...r... I

""'"

e-

~O

,•

'1'

a •

-

p

I I

-

U

I

1~

f I

-

.~

r

•

.'-.1 ...

L,.l

I

--

-

f

t

.F

~t -.

........

-

P"

-...:

.-

...

,,_.:;0;:

rp'

•

I

-vlT .'

-

~~D

"1"

b~r.ft'

I

~

...,,

..I

-::J-J\

D

.1. .

1

,........, ....

bt

I ..

C.

50

it

•

-t t:

'---

~

..

.

I

to

,

l '- ....

...

)-

II"

-

h~

r

t

l.

I

,

,-~

'-

'"',. "'

l

t

oj

\

-----------

t ... I

.

~

~ ~

C

r:

••

....

41

'"'"' t

D

~

"""'l

p t

..

•

•

11'-

I

,

\

b. ,

,

•

I

.. -I

,

If--r

• •

(-t

1

-

-,

'-""

I

WILD IDEA

LIVELY

/11 ~ ~

• ~

-¥.J .,J

)

t

b•

}

,.,. .

""

~

•

-... b~

~

,

-,

-

•

~

.

~-.-

--'-

~

1

7

..

~~

""T

.

.

.~

a;,;

•

t

q...

.

p

• I

~ I

'W'

b~

.~

-

n-r-,

-

n

M M

LL ~ ""

I~

~

....T I

r

.....

-

'--'

*t _ .

iI . .

I" t~·±

j"'~

..

........

?

~~

-

-

"~

I

....1 ....J

. --

~"'li

1

.,.---~

l--.J

-

~..-..

.. -

~

"':~

~

,.

I

""\

......

~

~~

....,

....

~

r

.,go ..

~

f!. 17# -

~'

4

II ......

,

~

.

'7

"7

r

I

- :lJ r -...v

~

&.::.1

tr ~~

""'l

:oil ""-

~

~

'7

"""

-

I

~

.1

. ~

\

",~'i~:~

l"'~

7 ,...--....

-

•

I I

I ..,V"' .....

...

.L:lI

.........

I

...--.

~-e-

~

I

I __

I

-

-"

I

I

n -....

*~. M ...

1'r

-."

L I

'7

~ .h~ .M4'" -...! .

\ r

I

"

-

,..

I

....... W

1

r

7

,

(1

I_

l'

'"

f

J

l

:. -L

~

•

.....

.,.

"b~

~

.

...---.. I

-

,"v

<4

It ...

l

U.-

I

-

I

I~

I

-

.-

r L

h I I

•

oj(

it 1~ q#

.,~

.

Lll"

O·

1"':" l

.

-~ -""

I

~

.,-.;

~

fll1(

INVENTION FOR TWO

M.M.=lSO ~

n

.,..» ""'"

/ - : -r--

~

"

}

3

4-·it--- ••

~

\....J.- ~

~

3

. "'-'"v

~

,-

n

r--,......

..

1'-

-,..

~l.'

....

0 ..

""

I

~

-

... -#- •

;.,.. •

W'

I

nv-

..

.

.J

4-

..;

-

•

I

.

~a "I.

~

.4-.

---.,

--------... I

I

,.

..

........,

~

-

~

.:r

I

I

. . . **"

f

Ie- ....

..

',.....,

~r-

.........

~--

·1 _.. -

-----..;;:

"yo

I

,.. ~

3 n

..... ....-~

'1

,..

'~

.....-

r

3 .fr

hn

.

..,

Ih ..

T_

--Y'" -f

~

.II~

~

.L

~

12 .. -#-

~

f!

DA:J

h.

+- ...

r -...I

T

~

~

-

~

r-!!!I

\I

-""

. .. -wo,

..

,.

\

- -1-11"""""

0

Lr-

•

r--

'P"

~

.... ~

-_K.

,

"

.,

I

I

..

-

I

I

1

'l"'J~ it~

."..

,. -""'"'"'

---

1

...

T

f. b.. b.

-"" 71.

-II-

I

1

I

k

,..

-

I

~

I ..... '

I

" 1

-

,-.:t

I I

"

I

3

-~

..

--~

L

I

r--......

~ T

~

~

....'*',. b•

1

yo

"'r

...

..

INTERLUDE

MEDIUM

, _u,

In I

-.

~

. ".

3

.,.

"..

-

I

I a...

~

i

.,

_t

JF_

IT

\.

~

oil oil

M-

v~,.

to.

-#- •

-

,/

,

",-

D.

D

"

..

~ ~~

~-

4'

..

...

f '"

l

.....

-----,,-

M_

..J.

I

-r

1.

~

,. . ~

& z

.

··

~£

"""--'-

-...---.--t'"

c-'

I

I

.1~

~ 1&&

*1£D.

;..

~

III

n

bb ~

.,

,

I

~

..:

I

,

""""--

I

~ ~

1~

.... ~

./

.

~""

I

,

f

.,

1

~

tf'

•

~~ .If ::;.

~'-~

~-

f)

It

-v.,

~

II 'J

"

'-""

-

•

-..

...

·

6'

-4,-,~

~.

£

-It. r

~ I~~ b~

.a,

f-

-

;

~

p

!f~ i

.. --

(;:;1

r

~

..,

0,.:;

": - I ..........

0::

.....

~

~

...-

I

\

f!- b,,. i1#b. .,

f~i

,J

• ,,,,,,

..,

......

!\. ~

~

.....r.

~

'n

-"

\

£A

•

0

'" 1/

~

~~ "-""

I

r,.)

I

-17-4",

.,...,.

I

..

-

....

~ 10. r· •

II

3.-

b..

01~ 1:....

...

•

k'_ I

,

-----

,..-

I

totr L

..... .L

-

~.l.

1~

~

:;;.

-'I

---

1)

\

.....

.1

I

I -..I'"'~ I

""

...

~J

,.

I

.. ..

11 . .

.,

..

.~.

..

,.

.J

-

'18

"'

•-

•....

D

~

~

"7 .cl

...

f~.r:: ~ ~~ f " ..

..

-----

...... r•

~ ~

,.

oK

..

-

1-.

I

,..,... .;

JIT

T

*4

,lit~

.,'"

06

..

.

-. Il,., ~

11

•

4tP'"

....,;;;:

T

T

.,.....-1 ~~ __

T

.a

"-...; ~

~

-,

T

"'

d,

71t

'--V

"'"

.:

,

~

I.

.., T

I

1

.. Ail

.,...

7

-.. --IT -

-;/"

I

~

SOPHISTICATION

~ I

'"""l'

'~

=

,

'11 i

~

~

.,

" -

1

9€,

v

F

1,

_1

ot::

~%3

t~_

-I

,

I ±-~

:c

-

.

<;~

~

~.

~

-

.' p

~

...L

.Jl.

.............

.

..--.....

_J! •

i.. I~~ _~\ ,~

~

Jl.. ="~ . ::tl~

'j • •• r .

C§ - ---

r

db.~-t'

Jl..l ""::1-

CL

~.1~t..

- J

~

~

..1

-'-

..1.

"'\

~

~-=

~

~~i i -,--

.

8 ----, 3

-l

n

l'""\

r-::\

~

.l!.

---::j:

r

....b.~t

~~l

.Jl.~

,~

''l:

/

.

*

' oil

-

\..Y

'I'-

I

- _::,t

,..!.

, r.:.

I>

~,

·i h ~

-±::'t ...I

-•.

~f

- - : : - - or.

~~

- .~ -

- '-.--

-

-~

.L

;::;

.li

1

1

-

...J--'

-

I

- .

"':'-:: 1 --, -~¥"i~~~-~· :-: 1. ,

"

'C'>

f, •,e

,

I

-.",t ~,- , ., -- j

,

-

I

:_-.

I

ENCYCLOPEDIA OF AD LIB (j

ENCYCLOPEDIA

GREAT BOOKS ALL IN ONE BOOK

OF

MODERN IMPROVISA T/ON

by Willtor Stuart

EN CY CLOPEDI A OF AD LI B (9 Great Books·AII·/1I·0fle!) Including : Bl'S' 0 1 Diny Gi ll espie. Ja zz Charts, Char l ie Parke. Ya rdbird Originals, AI Cohn's Work $hop. How To Impr ovise, Bu~ Bower's Ad Lib, Complete MIl es Dallis In terpreTations. More

01 Mil es Davis, Progressive Jau Phrases.

..... 6.95

ENCYCLOPEDIA OF MODERN IMPROVISATI ON By WAL T ER STU ART

InclUdi ng : Lessons In nhy\hm And SynCOp;Jlion,

J.nz Ad Lib Choruses On 21 Famous Songs, Jazz Improvising For AU Instruments. Modern Jazz

PaS&;J!J(.'S. How To CrCillC Your Own Jazz Phrases,

The

Chord

Approa ch

To

Improvising.

Jazz

Soloist, Jil Zl. Scales .

..... 6.95

ENCYCLOPEDIA OF JAZZ CLUB DATE MUSICIAN ~

CtlKBll

sm( Amllttllltllts lor c:,.,001.lU.fUlIO.1Irp!l

FAKE BOOK FOR THE CLUB DATE MUSICIAN By WAL T ER S TU ART Spllc;a! Combo Style A rrangeme n ts Fo r C/Bb/Eb/Bau/ Piano/O'lIan Five Greal Book3 In One Includ ing : Folk Songs. Jan Songs. Lalin·American Songs. Songs 01 Love, Favorile Marches. Po pula r Standards. Popular Waines. Wedding Songs, Songs 0 1 Yesleryear · much more

.. ... 7.50

ENCYCLOPED IA OF JAZZ The Grror WAL TER STUART Series

Includes : How To Play Modern Jan. Pia no I Slyli n!l For Pro fessio nDls. Learn To Wr;le ProDrllSsive Jazz Sounds. Piano. New Di re<; l jons, Moder n Jan. Jazz Fill· lns. Innovalions In Full Chord T«hniQue. Innovat ions In Moder n Harmony. All Abou l The Moder n Jazz Piano Slylo.

..... 6.95

\VORLD'S MOST FAMOUS BOOKS

S ;'~" 7:r.

ON

CHORDS & PROGRESSIONS

'"

For All "",trumont, by " Iugs " lowe r

I Vi j~Iy I f. III Ach""ng ,nslanl pu,.nry I IJ.Is f ",,"~d at th top 01 ltoe 'fr"~ " ,~ t pr,"l. ~ A musl for

'TlU

nTh'

C

u e1 at .11 -herd to: k

"1

In

LEFT HAND PEDAL CHORD PROGRESSIONS

All i""rur""{'nh by J o,. Allard An li."tr.:.;.al buat'

For All Orgon,,' by Wa ll@r Stu art lh ... 'r. r poJlUlar tlJri" prognl! oI~r. hOI." ,~ rho key. 01 C. F G B,

fc

Vol 1 Vol2 Ea . 1.95 Complete Price 2.95

r. r

for 1, •• Iopng

IhP "I 'e

BASS CHORDS & PROGRESSIONS

I '"

•

eYE

1 'I'

f . 'hly

Y~ Y

by Wa lter Stu a rt In Hr· ·ded

ch""j,) unusual n'ler In ,d 'nlmshnll va,cong. Valwble lor developmg a modern chord lechnlQuP a' used by I~adlng p"n"ls ,uch • Da .. Brube< k ['rof Garner. Gl'IIrg' She "'ng and olhe"

progr s

,.._""'..,

Price 2.95

Price 2.00

KEVBO,.,RD CHORDS

~·lli'iljli"l'lil' .

SUPER CHORDS SI MPLIFIED by Maury Oeutuh

,

Moder. Harrrony, CounlerpOlnt ImpravlS. "on~ I,'Jdul,tlOn Chord Subsl, ulrorIS All dIortt 10 J3th nCludl'&.'· nd Ih MDdern Pro,r s IOns

.2= -~

'"

r- ~

A dtt.lied 10 I,ng of .11 cho.' wllh It "

f :;:

£Veey note IS II'lhaustlvl!ly used

10 ,lIuslrate all !.bold. wh"tl may bl de, .. loped Irom ,I

Price 2.00 f!,)( de't Jpmg chord

>N1,'kt..J'1.

(~:[']:I') '::'

WORKSHOP

facU'lj and undermod,"g The tfchOlQue 01 ulrntrng chord; Irom ~ales IS Ihor QUghly "pfOlled All po:.slblr altmoons Ire p1Pseoled for further slud,nl .. plora I,on

i

12

~ -::m nU" TI P to./f

"ng 01 a' chord\ lrom Irr!d, I 111h' V,sua, kPI board dl3grams clearly sheWing Ior:allon of ail noles of I cherds

0 11.1'~

.~iiir.!"iiiii-oq

JAZZ CHORDS

Price 2.00 PLAY POPULAR PIANO BY CHORDS by W aiter St uart

Price $2.50

•

~ M O DERN

BASS CHORD CONSTRUCTION

DICTIONAR Y OF CHORDS IN 7 PARTS by Maury Deutsch

An exhausllVe Hslmg of chords From Toad to Ihe J31h Includes Major Chords, Har monIC MIOor Chords, MelodIC MIOor Chords, Whole Tone Chords

Price $200

by Angelo o.lIolro

A "f"') ' " 'P'!d . , Ip,latlon 01 M o~' n

Chords w·tt Cltll d,agl.or... 01 ttoe dl" opmen~ and construtUOn of tI" Iyr' 1 chordS d ~y liJda~ mode In r •

MODERN BASS CHORD CONSTRUCTION

Price 2.00 1500 CHORD PROGRESSIONS by Wolter Stuart

h4rmon'ztng all popular musIC In,aluable lor P,,",sls. argam ~ GUll. ,. ni W1Jters ",d

Arrirl~er'

Price 2.00

IN

Mu

h"r~

or"

. ---....---_.-. ----._.. -

Slon~

'PI

N4Jtat:.:m

1

Price 2.00 CHORD APPROACH TO IMPROVISING For All Instruments b y Wa lter Stuart t

0

oj

t,

t-lird progre ~.,

ons

an!!

If'1

of 1: , B, In An

Price 2,00

An unusual. stImulating introduction and

o

Price

d I'r

by Wa lte r Stuar t

G fi A and[

""g OS

o

by Albert DeVito An u"bt ""V"~'I~ 11 ar ''''1 If' P.~' of the

U1'

GUITAR RUNS - ARPEGGIOS ON ALL CHORDS

b y Angelo Della ira

.. ••

to • . -

CHORD READING SIMPLIFIED

r' 'oro

Price 2.00

pr',,,

, The simplest. mosl easy to undersland method for learnmg 10 play through Ihe use of chords W,dely used by teachers and students throughout Ihe world

~A"""o.......

,0

A rrusnual .' r.' rd

r {,

Bn [0 An D, Go

n

BLOCK CHaRD INTERPR ETATIONS

development of Ihe Block Chord Slyle Simple explanations 10 highly com pi., .. "J&
DICTIONARY Of 7 PART CHORDS

Complete Book $5 00

Make Up of chord diagrams, 111",lral,ng both Staff Placement and Scal' LOI:allon of revealin, all fJdrls of all chord

Fot Ifo"?yboord Instrumpnh by Dan Sc.haeffer a nd li pton Ne ms.r W"lItn 10 Ihe ~ey " A, [ B f

r

Price $200

,)Au ..... ..~_ ..... .

by Walter Stuart

by Angelo Dellorra

POPULAR CHORDS MADE EASY

by Alb er' De Vito

L;;:. -

ENCYCLOPEDIA OF CHORDS

/l ,>upHb

Pflce 2.00

Ar,..

KEYBOARD CHORDS

'j~t'

Eo

and A"

A compl.I,ly Iilu' 'raled

Price 2 .00

CHORD WORKSHOP

Pncr 2,50

A tUlly

SlOns fully f'pl"roed In "I .nd eXert~, form Sub,tltuf • • n1 chromallC progres Sian f It rn prag" " Hal"'" , r;,=~1I' tlrISlon Blue proy" I,'

'nverStOn~

and

I

INNOVATIONS IN FU LL CHORD TECHNIQUE

III

f or All Ban CI .. f In.trumenll by " Iugl" low.r All p~pUlar Ind progr!l!"e chord

THREE OCT AVE SCALES & CHORDS

GUITAR CHORD PROGRESSION SYSTEM b y Walter Stua rt

Wolten 10 c.·;d Imb,. and diagram, The m",t u ,d :~urd PI &1e~ on' 0' al popular gu,lar key"

Price 2.00 LEFT HAND PEDAL CHOkDS For OrganIsts b y Wo lte r Stu art

Mosl cllmp,,"'n, '" funy lustra led com plete breakdown 1f every usable chord and m'ers'ons hlghllghl,ng all chord ymbol. for left hand ,nd pedal technlqu

Price 2.00 EASY 9 CHORD GUITAR SYSTEM b y Mickey lake r [I~ven h'l mg' that

'11ll1lon lples N, 10 the book

have sold over a chords play 'ny ;on2

Price 2.00 GUITAR CHORDS

by Geo A G ibbs, Jr.

b y Harry Vo lp e

A complete Chord [ncydoped" for all Ba!.1 Instrumenls, fully explalOed. Illus Ira ted and d"grammed

A r "Ihod that '1" b, u~ "d fa' bolh be

ginner ,IOd pr." lanai loward, d""loplng orch,\lrallon plaYing

Price $250

Price $2.50

FUN WITH GUITAR CHORDS

DICTIONARY OF CHORDS

by MIck e ., loker

by Don Scha e ffe r

ane of the em'sl melhods yel pubhshed lor play,ng Ihe gu,lar. D"grams, plclures anyone can play In mlnules

A Ihesauru' of chord. for Ihe arran." and the ,tudent of ImproVisatoon A hstlng and dlagramm,ng 01 chords In the modern

Price 2.00

CHARLES COLIN

~~5~ll!~~

Idiom tn malar, minor Jnd harmonic modt!s

Price $2.95

:31 5 W est 5:~ l'd S l. , Nc\\ Yor k. N . \ . I OO)!1

_. - ._o. CHO .. - O.