• Author / Uploaded
• MarcoPaoloni

• Categories
• Armonía
• Acorde (Música)
• Jazz
• Artes escénicas
• Musicología

Citation preview

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 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 ~.

-


--.

~'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

~,

·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