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$2.50
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CHARLE'S COLIN - a15 W(,Mt f):lnl Ht., Nt'w York, N. Y. \OOl'~ INU A
All About The
CONTENTS
Hilarity .. .......26
Wild Idea ...... ......................... .... . . ...... ........ 28
Invention For Two .. . ..........................................30
Interlude ................................. . ............ 32
SophisticatloQ ............................................ . .. ......... 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
MEXIC07 . P . F.
D U RANGO N o. 2 6~
- -----....- -
BY
WALTER STUART
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Next is the harmonization of the
C major scale, using 11th and 13th
chords exclusively:
L
~-
,
~
--- --, _.
-----
I
Parallel chord progressions are the
most commonly used in ha rmon i zing basic
scales today:
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,
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Ar I I I
Vi I I
... . ~
o (7
a 12 .. lJ
I
g "as" II
~o
oP 8
080
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.
Go C
'iD JJ •j J J 1
Ii
\i
A' f.' F Go F~ F~
, G", A'
Jj J j j IJ J J J \ J J j II
91
A~
F" ", &m A'", Am em D"
"
~ ~ j
IJ 1J J I J J ,~ J I J J j II
1
11
,~ J IJ ; j 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 harmon-
ization is parallel movement of chords.
The next four examples will illustrate
such chord movements, using the same
melody:
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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:
n
11.
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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
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ATONALITY APPLIED TO MODERN JAZZ
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1. Bb plus C 7. Bb plus C
2. F plus G 8. F plus G
3. Eb plus F 9. C plus.D
4. F plus G 10. G plus A
5. E plus Gb 11. Eb plus F
6. Eb plus F 12. F ,plus G
MODERN PIANO BLUES PATTERNS
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FAST
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PROGRESSIVE JAZZ SOLOS
BLUES FOR MODERNS
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