RI

$2.50
-
CHARLE'S COLIN - a15 W(,Mt f):lnl Ht., Nt'w York, N. Y. \OOl'~ 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

Modern Piano Blues Pattern ..................... . ............................... 17

Progressive Jazz Solos ....................... 20
Blues For Moderns .. ........... ..... ............... 20
Mambo in F.... .. ........22
Relaxation .. .. ...................................... 24

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~
 - -----....- -

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 c""" CT E" F & f'm A"" I!.b £m &.. A Om t:I". A""

lr 0 9
Q 9 () B
0
II
.g. D 8 P 6
p 9
0
I
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
L
. "I ___
, ... • ,~
~ ~
I ...... [ 1
~ IL
• ,
" I

J~~ .l b.l b.., , ... j ~J

l, ~

L
~-

,
~

--- --, _.
-----
I
 Parallel chord progressions are the
most commonly used in ha rmon i zing basic
scales today:

" IJJ;~i I 4 ~~
,
; ~

Ar I I I
Vi I 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
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.

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
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

D" Cm e~ el'm A'", A e' C

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:

I' 11 J \ JJ J .lJ. \ \ \ \ \

t ....'"
~
L1

r , ,
~
,
~-
.1'""'-

I r
)
.... e ~ t £, .fr 0 ....
l
I I J; J 1 I l t ! I ,
t ....
d- , ,
~
)
r I
I I I r
-""

I ~ I~ f2 .po t:) ...

~ t-- .L .1t7
L
"- I
I
I

(l \ J J J.J... -J ......J ...I • -...a\

1 \ I

t
---,... ...ol .1.
.LL
I
,
~ jf ~ IbD I't.

"" 1 I \ r
<C)
0 I

l ....
DI
.... '·0
.e-
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 unlim-
ited and new possibilities. Following
are just a few potentialities in har-
monizing IISwanee River,lI making use
of conventional major, minor and
seventh chords, yet achieving quite
modern effects:

~m Ew. Eb D D~ eM A D G-

jjjJ 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.

n If Alf 0.... ' 69 D9 G, F'I ell

- -
I

.... .....
_1 T --. r
Jl ..... -y-

- lf~ f#
w
I.
r -- ... - v
~

I h. -It bd g If, ib#

..
t 0 -.- - .
 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 har-
monic 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 illustra-
tion, 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 ... . - • ,. l

I'"
, • W' 4- -
*,9- ~ tJ*, • ~*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
11.
l v .e- -e- ~ .e- .g.
~

L.~ bo I, bo
j
'- .~

I">
-'"
.. '"
.f}- -e- -8-

"0
~Jz -7-5 ,
• <;I
_'.:b
':J
L-

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

~
!')1 f..... foli... f.... "".....
c." tI7 G-7 /I..

§!iJ 13 J J J 13 3) J13l Jill

~ CM, 11m' E..., FM. /17 AI>., &.

11 IJ J 3J I J J1 J I J J J11 ~.
& E~... E.. D... fliT ""7 rl,
n I J 3J J I J J1J I JJ l j I~.
G... ,,'" 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.

, I 1

.. ..•
• 411

r r,
.. ,
I ~
r
I
..
b_ b.o
....l
I

As long as we are going to such

musical extremes, here is the same song
harmonized in all 13th chords.

\ I ~

-r- q',•.
DO

'-.,p
~

t
D

.
III":: .-
_!he

,
-...
. 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,harmoniza-
tions 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.

,
-
.
" . '
.. I ~

I.. DW
~
"I
r- I
• .. - • p, I' .+ • ~:
I
1,,-"'1
L::J L::J
"
ILtJ~ ~t \ J .. .
I I I I • "--'
 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 estab-
lished 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-#-,. \\
h. tl~ ~ ~~ , Ito

~ V I

.... ~~
I b~ ~ ~, '" "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 mater-
ial 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

m ~2J
3

jiG r 5~ r 11

ETC.

I J. ) J I II J. lJ ,f
'"-""

1 I)
2 PARTS
. ,~ .,.
" • J(, J.( #
.... -.,.~~
I
" -- '--oL
, VI
'''''IIIiO[

""
..
". , - +. b ... _
...... ., . r,·
t. '.

~ r l' ! I
-

2 3 PARTS

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

ETC.
 r
~ I ..-.-
~. __ !f!.

LW-f",
~

I
. r f --r~
~~~.t ~(U.J~r .p' r.tt:t-r
-<
Ii ~
- ,, \ I
- T 1"""\ , . - ..,.--, , ETc.

(
l , I \ 1\ \-,L ..l......J I
J.J....J 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 suffi-
ciently to develop a technique in this type of improvisation.
Nevertheless, for ambitious jazz artists, the use of counter-
point 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:

C9 is CEG plus GBbD in other words C major plus G minor

ell is CEG plus BbDF in other words e major plus Bb minor
b
e13 is CEGB plus DFA in other words e7 plus D minor

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
f,iC. .
~ bl~
b
6". e b~ bG ~.
". hI- h.
t....
I 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.

4 5
I 2 3 6 ,.,.,.
n - l ...- :-1
.;/ ,. t ;4-.

I I ~t -t.b.b. l~

7
.. , ...
::.-

9
. 10 11 .-.----, 12
,
-
• *J • -»-
{ bi
~

I
.g.
~$
\ •
,
ETC.

I I

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

--...
~:=J-
!.- ~ I r-"'"'\
---
~.
• JI, \

.
"'---"
ETC .
~ ~ ~ b, "6 I I . t .,. I ~-
, I - •

SLOW
n ~
• r-. ~

\.17
... --;-...
.-------..
-/ -~ ~
~ ~ ~

----------
-tI-
~
:
, .. , - .. •
• J I I I

~ 1~ ~ br~
b ~ ..--" , .-f"""'"', v. tl - ~

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

I
-~
,
'--J

I
~
I I I
------
4-

,
~.
-~

.. .
,. ~ ~ ~ b"l - I
-
I
P,-U ._4- ~ I V L.-l ~ '-"'"

I - • L - I. -
, J \
I\.
I I I I T -VI , P 0
 MEDIUM

MEDIUM

\ 1i ~
...
l ~1" ~,.
JL
-• ....
-i ~
""... . "'
h

, ,.. ......
~ i ~

•
--,. -.
_": ...& r III r r
p
~ .....

--
-""" 1'1
, 1 J L~t II' J fJ
b~
....... . b. I
---
~"""'.....r:
t!
.
ilq1~ /'
V-
ht ~ !. I

..
J!'-
~

. =
r....
1-"'"
. a _I -w...Jo
IJ 1 I: IL 1 \I
....
... -
"

c.h.
L!: 1
--'- hi
_"1 I - - .1

- IL

~ • ~

, .,
...
--,-U
..t ~
, ...
1
l
..I
~

-
..... --
_.p
- ...... .... ...
41-
-"""
.'

~~-/ ~l
-4_004
.., • .,
I ....
0' - 0
Ere.
~~ - .. -.
t"

.. --
,~~. .~
1
# ,.
• l

,
r."'d:
.....
..r:
_L
_.JIlL

~
.. -I

.' r ....
I I 1
...r::
• I
--.l
.1"

~ - ...l.~

-
\ L..L-J
1..[\
FAST

FAST
 PROGRESSIVE JAZZ SOLOS
BLUES FOR MODERNS

SLOW
 1> • 1\

I ~ • 1.6- ~I jI"
~ $-'
~(,c.

~ I
f
,.. # .,.~,..

~ .. •

• - ~ .,.
.,.
..
~ ~

.
~

I~ '\ ·V. 9' ~

-
~

-~ L.J
~ 11 ~ I , b .. ~ .. .,. 11.,.
I , .....
~ ~
3

11 • ..... ~g:;, ~ S... ,

•
I'" I" 4- • \..-'
(5 If'
." . I
p

'- \-J ~ ~ tr ·
.'"
f • , -.~
- -
.
- nflr-r......,
f ~
:- *i r ~; ii:'-. . '
r I r · Ii ~f ! p r or
t \ I

...
• * •
,

,. r""'1 II 1""'1 r-i i • . i'1 3 ir

. ..
rI
1

t:
r r ~11 ~ 11

11:4 ~
-...J ..... .. ' .#

1 I
'\"
1
"'"'
, -
.
~ .
~ • ~ 1
 MAMBO IN F

LI VELY
> > ? ~ .. ., .. r- •
4- -... 1 -
t!:
• r-t :l- ~ ~+ .b ,. ' . --.
,
.... 1-,
.,. ;J- 'f

> > 7 ~ :. ..
>
>

~'T 7t
I ~ -#- I "-I

~ ~~
-J'
h~
~' .. t 1
, ~ r-I Ib J
. , ~
~ ... . ., .. =.:l.,

.. ...
" > ,...---... ,. ,. .fJ'
. ,
I' _____ "r-
-.::......=
=r-
,-f--'f~1 ,
- -"
i'- '-- ,,
t.= 'tc 11--1---,t t .~ t; •
fwfJ bf E
·-, i

"- :F~
~ ~ :;j ~

>
? 7 ~
~ ... ~ >

.
f
-~

-.... ~ ~
~ ~ ~
I'

• . ~ I b ,,· t~~ " ~

,
l!
, . .
=+=-
\ -.-

.,. ~ ".
~
 RELAXATION

srow

~
~
I
-L'.

- ,-
.JI- "L
--1iIo. ...
.~
~i,. b1i ti ...

r-'T ,- 1
--.
,
, T 1 \
7_

i"

,,~
I
h.l
r
~
'I~

hD
T

L
\

"r
..
j ...
-
~

,-~
,
.
I

~~
~

T
::.r-
...-..--
(! L

/
___ -
L
•
I I T
~
,- I
~

•
I

""-
I C7
b4-
 S. bi ~j.
•- ~ - ~
, ~
()
' .\ T 1 t I T ....,

\...v
v
p
• • 4i .. 1 -"r ,. r 11t~ :tr, ~:'
:r

,
l-::;t-
. ",'
~
.,'
h~
~
•
b. b~
.-

,
h.a.
It
l...l If..
-M

•
-l

"\
I

.. ~

• ---
~

0
'--- --"" I I
 HILARITY

FAST

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

-
 , ... , ~
, , -::J-J\ "1" ~~D
,,_.:;0;:
-
\ ~

..
l
'- ....
• .... ...
--
I ..
...... --.Il • . • """'l
~ ~ ,-~
D rp'

I 11'-
'"'"'
41 '- - ........ -
~) p C to ~ 50 C. f
~~t '1.
1!-
.1. b~r.ft' ~~ ~~ '""'\1.
l
t \
t
. h
l
\
'"',.
"'
...
l. )-
..
it
.I ... t
'-
I

...
D •• r:
• --' I
II"
. •

I
-----------
t ... ~
-
_ ~ fl_
r I
.-----..--t
•
bt ~~. t~~
-. -
-
l -po I ___ I I

-
1 .-
P" I U
~ \ 0
.F
'7 ...-
~
t h~ -t
t: ~t
-.
~ ,,- ~;~
.
...
1~ .. "T- ....-'\
11
... . ,. I 1

. -4
--.

,........,
r
. ~
~.-..
\ ..I
...,,
~ - ••
-';;:£
~
--,.
....•... \ #

. •..
- -...:
.~ .. r ...r...

.--
"'I. L I 1
'1~ • I
I I I ..I .'-.1 ... I ""'"
b . . . #,,/ '--- .-
-vlT
""'"---'"~
I
e-
~O
.'

oj
p f
l L,.l -,.... I
,• - ,
b.
,
I

, - I

t
a • p 1
....
-
.. -l
.. -I

• ... -' ......... '1' I

• If--r -,
• •
~ I

-- !!:
E
V ~i. - (-t '-""
 WILD IDEA

LIVELY

/11 ~
• b• ~

"" . .~

•
t ~ n-r-,
-, , a;,; I

- .
~

• ..
- -
'W'

--
~
-¥.J
.,J
~~ q...
} p
) ,.,. . ~ ... b~ ~ •
t ~-.-

~
--'- 1 7
""T
. I
•
b~ .~
.
 '7
n ....T I ~ .h~
....1 ....J l--.J
M .M4'" -...! .

-
~..-..

. --
........
LL
~ ""
M .....

-
r
.. - "~
- 1 ~"'li .. - ~

I~
'--'
~

*t _ . j"'~ ?
~~ *~. .,.---~ ~
"':~
I" t~·± -."
iI . .
1'r
I

I
M ... ,.
I -"
-

n I I
~'
I __ I
~
I
..,V"' .....
~

I
L
I
-....
""\ ...... r .,go .. II ...... .L:lI ... - &.::.1 ~
- :lJ r -...v
~ ~~
.... ...., ......... r
:oil ""'l
~
~ 4 I
tr ~~ ""-

~
~
...--.
f!. 17#
-
, ~-e- '7
.
"7 """
•
'7

-
7 ,...--....
l"'~
,..
",~'i~:~

-
I

- I ~ .1 \ . ~

\ r I
"
I
W
.......
r
1

(1 , l It ... ...---.. ~ I I I~
.,~ ~

l' I_ I ..... .- r

.
h

<4
J
,"v

'"
f
- .,.
- L I
I
•

it 1~ q#
oj( Lll"
O·

1"':"
~ "b~ -~ . l
fll1(

l -L
:.
. • U.- I
- -""

I
.,-.; ~
 INVENTION FOR TWO

M.M.=lSO
n ~ .,..» ""'" / - : -r--

4-·it--- ••
" }
3 ~ \....J.- ~ ~
3
. "'-'"v

~
 ,-

-,..
n
""
1'-
0 ..
r--,......
.. T ..
~
..; I
r--......
I I ..... ' ~
,-.:t
-
I I
- ....
....
~l.' I I k
.,
~ " ~a "I.
-II- T
~

;.,..
...
-#- •
- L
--~
"
~
,. -""'"'"'
.".. • Lr-
• W' I I

3
I
•
- I
1

-
,..
I I
---.,

nv-
.. ---
f. b.. b.
--------...
- I ~
-
-~
. I I ,. .. .:r I I ..

.4-. 1 1
........, . . . **" ,.
'l"'J~ it~
.J 4- ~
f
-"" r--
I
Ie- ....

. 71. 1

I
\
-_K.

, - -1-11""""" ',....., .. ......... ~ - ...

... -""
~--
'P"
~r-
\I
·1 _.. - -----..;;: I
~
"yo
r-!!!I
,..
~
T
I

3 ....'*',.
r -...-

..
3
n hn .fr Ih .. b• 1
~ yo
"'r

,.. '1 ..... ....--

~
'~ . .....- r .., T_

..
" --Y'"

~
-f

.II-
~
~ ~
~

~ . ~ 12 .. -#- ~ f! DA:J h. +- ...

.. -wo,
0 .L
 INTERLUDE

MEDIUM

, _u, II
In
I IT JF_ _t
~ i ~
., ~ 10.
-
.... .. 3.-
~ ~
!\.
..,
0,.:;

·
6'

...... ...-
r· • ~
\. ~ -. I - M-
oil
oil to. v~,.
I
~
I
.....
0:: ":
- I ..........

-17-4", ~ ~
!f~ i
I a... ~~
3 "-""
~.
-4,-,~

.,. ",-
. ". ".. .-
,...,.
-#- •

-
,
D. £A
\ \
.....r. £
-.. •
~""
~£

··
.. -- .
I
,/

0
D •
~
(;:;1
... . """--'-

'n .., f!- b,,. i1#b. ., -It.

It
-...---.---
" r • -v.,
-
I tf' c-' t'"

'" 1/
.. r

~ ; I
I
I
~ ~~ ~
r,.) ~-
4' p
f~i ~ I~~
b~ .1~
*1£- ~~
-" ..
,J '-""
.a,
"
II 'J
,
~
1&&
III
;..
~ D. .If ::;.

f- ~'-~

f)
•
,,,,,,
~-
-----,-
,-
..J.
M_
-r ., n
f

.,
, I ~

..:
I
""""-- ,
•
I ,
k'_
,..- I totr
L
..... -'- ---
-----
.L
... I 1

f '" -
- ~ 1. I
~.l. I
~ ~
~
1~
bb ~
.... 01~

l ,. . ~ & 1~ b.. ~
1:....
..... :;;.
z
./
~ ...
 ,
1)
.....
.1
\ I I -..I'"'~
.,
I
I
11 . .
.. ..
~

.. - '18

"'
•.... •- JIT
,..,-
... .; "'
.,'"
T
T

~J "" ... D
71t
T

*4
d,

..
.a
T

,. "'" '--V "-...; ~

.: T
~ ,. f~.r:: ~
~~ f " .. .,.....-1 ~~
• --
7 I
..
,lit-

~
~ ~ 11 Ail

..
...... r-
- .,...
.~. ~ • oK ..
,. "7
- 1-. I
-,
~
06 __

.
-. Il,.,
4tP'"
I. .. ---
IT

.. ~ .cl
... - ....,;;;: .., -

-----
.J

~ T I 1
-;/"
SOPHISTICATION
 ~ 9€, 1 _1
I , = v
~%3 -I
,
'~
'"""l' '11 i F
~ ~ 1, t~_
±-~
I
ot::
" - ., . - :c

<;~

"'\ . ..--.....
~
~
~. ..1. -'- ~.1~t.. _J! • i.. I~~ _~\
,~ C§
- ---
-
~~i i
.' p
~ ~
~
- J
............. r
db.~-t'
~

..1 .Jl. ...L CL Jl..l ""::1- Jl.. 'j ~

="~
. ::tl~ • •• r . ~-= ~
-,--
.

8 ----,
3

-l ~ r-::\ l'""\ n .l!. --- - _::,t --

-::j: - ' oil
±::'t
r \..Y ...I
....b.~t ~~l
'I'- .Jl.~

-•.
- - : : - - or. ~f ~~ -
,~
- .~
- - '-.--

, r.:.
''l: I> -~ - .L
-~¥"i~~~-~·
/
;::; "':'-:: 1
I - . --,
, :-: 1.
. -
~,
- ...J--' I "
'C'> f, •,e
,
I
* ,..!. ·i .li 1 1 -.",t ~,- ,
., -- j

h ~
, - I
:_-. I
ENCYCLOPEDIA OF AD LIB ENCYCLOPEDIA
(j GREAT BOOKS ALL IN ONE BOOK
OF
MODERN IMPROVISA T/ON

by Willtor
Stuart

EN CY CLOPEDI A OF AD LI B ENCYCLOPEDIA OF
(9 Great Books·AII·/1I·0fle!) MODERN IMPROVISATI ON
Including : Bl'S' 0 1 Diny Gi ll espie. Ja zz Charts, By WAL T ER STU ART
Char l ie Parke. Ya rdbird Originals, AI Cohn's InclUdi ng : Lessons In nhy\hm And SynCOp;Jlion,
Work $hop. How To Impr ovise, Bu~ Bower's Ad J.nz Ad Lib Choruses On 21 Famous Songs, Jazz
Lib, Complete MIl es Dallis In terpreTations. More Improvising For AU Instruments. Modern Jazz
01 Mil es Davis, Progressive Jau Phrases. PaS&;J!J(.'S. How To CrCillC Your Own Jazz Phrases,
..... 6.95 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 ENCYCLOPED IA OF JAZZ
By WAL T ER S TU ART The Grror WAL TER STUART Series
Spllc;a! Combo Style A rrangeme n ts Fo r Includes : How To Play Modern Jan. Pia no I
C/Bb/Eb/Bau/ Piano/O'lIan Slyli n!l For Pro fessio nDls. Learn To Wr;le
Five Greal Book3 In One Includ ing : Folk Songs. ProDrllSsive Jazz Sounds. Piano. New Di re<; l jons,
Jan Songs. Lalin·American Songs. Songs 01 Moder n Jan. Jazz Fill· lns. Innovalions In Full
Love, Favorile Marches. Po pula r Standards. Chord T«hniQue. Innovat ions In Moder n
Popular Waines. Wedding Songs, Songs 0 1 Harmony. All Abou l The Moder n Jazz Piano
Yesleryear · much more Slylo.
..... 6.95
.. ... 7.50
 \VORLD'S MOST
FAMOUS BOOKS
CHORDS & PROGRESSIONS
For All "",trumont,
ON
S ;'~" 7:r. '"
by " Iugs " lowe r
A musl for 'TlU C
I Vi j~Iy
nTh' "1
THREE OCT AVE SCALES & LEFT HAND PEDAL
u e1 at .11 -herd to: k I f. III In
Ach""ng ,nslanl pu,.nry I IJ.Is f CHORDS CHORD PROGRESSIONS
",,"~d at th top 01 ltoe 'fr"~ " fc All i""rur""{'nh For All Orgon,,'
,~ t pr,"l. ~ by J o,. Allard by Wa ll@r Stu art
An li."tr.:.;.al buat' 1 'I' and lh ... 'r. r poJlUlar tlJri" prognl! oI~r. 'j~t'
Vol 1 Vol2 Ea . 1.95 r. r for 1, •• Iopng f . 'hly I hOI." ,~ rho key. 01 C. F G B, Eo
Complete Price 2.95 IhP "I 'e I '" • eYE Y~ Y and A"
Pncr 2,50 Pflce 2.00
BASS CHORDS & INNOVATIONS IN FU LL CHORD POPULAR CHORDS MADE EASY
PROGRESSIONS III Fot Ifo"?yboord Instrumpnh
f or All Ban CI .. f In.trumenll
TECHNIQUE by Dan Sc.haeffer a nd li pton Ne ms.r
by Wa lter Stu a rt
by " Iugl" low.r
A tUlly In Hr· ·ded ch""j,) unusual n'ler W"lItn 10 Ihe ~ey " r {,
A, [ B f
All p~pUlar Ind progr!l!"e chord progr s Bn [0 An D, Go
SlOns fully f'pl"roed In "I .nd eXert~, In ,d 'nlmshnll va,cong. Valwble
form Sub,tltuf • • n1 chromallC progres lor developmg a modern chord lechnlQuP Price 2.00
a' used by I~adlng p"n"ls ,uch • Da ..
Sian f It rn prag" " Hal"'" , r;,=~1I' ,.._""'.., Brube< k ['rof Garner. Gl'IIrg' She "'ng GUITAR RUNS - ARPEGGIOS
tlrISlon Blue proy" I,'
Price 2.95 and olhe" ON ALL CHORDS
KEVBO,.,RD
CHORDS
Price 2.00 by Wa lte r Stuar t
Ar,.. or" h"r~ Slon~ 'PI
SUPER CHORDS SI MPLIFIED
by Maury Oeutuh
~·lli'iljli"l'lil' . .2= KEYBOARD CHORDS r IN Mu 1 N4Jtat:.:m
Moder. Harrrony, CounlerpOlnt ImpravlS. , '" -~ by Alb er' De Vito Price 2.00
"on~ I,'Jdul,tlOn Chord Subsl, ulrorIS All A compl.I,ly Iilu' 'raled "ng 01 a'
dIortt 10 J3th nCludl'&.'· nd Ih chord\ lrom Irr!d, I 111h' V,sua, kPI CHORD APPROACH TO
MDdern Pro,r s IOns board dl3grams clearly sheWing Ior:allon
of ail noles of I cherds IMPROVISING
Price 2 .00 For All Instruments
Price $200
ENCYCLOPEDIA OF CHORDS
L;;:. - b y Wa lter Stuart
n 0 t-lird progre ons an!! If'1
..... ..~-
t oj

by Walter Stuart ,)Au

r- ~ _ ..... . BLOCK CHaRD pr',,, t, ~., of 1: , B, In An
A dtt.lied 10 I,ng of .11 cho.' wllh It " INTERPR ETATIONS G fi A and[
f :;: i
'nverStOn~ £Veey note IS II'lhaustlvl!ly used
10 ,lIuslrate all !.bold. wh"tl may bl
de, .. loped Irom ,I
(~:[']:I') '::'
~ -::m nU" TI
P to./f 12 b y Angelo Della ira
An unusual. stImulating introduction and
development of Ihe Block Chord Slyle GUITAR CHORD PROGRESSION
Price 2,00

CHORD WORKSHOP
by Angelo Dellorra
/l ,>upHb >N1,'kt..J'1.
Price 2.00

f!,)( de't Jpmg chord

WORKSHOP
0
11.1'~
Simple explanations 10 highly com pi., ..
"J&<l' amples of IhlS modern ,nnoval,on
Price 2.00
SYSTEM
b y Walter Stua rt
Wolten 10 c.·;d Imb,. and diagram,
The m",t u ,d :~urd PI &1e~ on' 0' al
facU'lj and undermod,"g The tfchOlQue PLAY POPULAR PIANO popular gu,lar key"
01 ulrntrng chord; Irom ~ales IS Ihor DICTIONARY Of BY CHORDS Price 2.00
QUghly "pfOlled All po:.slblr altmoons by W aiter St uart
Ire p1Pseoled for further slud,nl .. plora 7 PART CHORDS
~A"""o....... , The simplest. mosl easy to undersland LEFT HAND PEDAL CHOkDS
I,on
Complete Book $5 00

CHORD READING SIMPLIFIED

..
••
to • . -
,0
o
•
method for learnmg 10 play through Ihe
use of chords W,dely used by teachers
and students throughout Ihe world
Price $2.50
For OrganIsts
b y Wo lte r Stu art
Mosl cllmp,,"'n, '" funy lustra led com
plete breakdown 1f every usable chord and
by Albert DeVito
""g OS m'ers'ons hlghllghl,ng all chord ymbol.
o for left hand ,nd pedal technlqu
An u"bt ""V"~'I~ 11 ar ''''1 If' P.~' of the DICTIONAR Y OF CHORDS
Make Up of chord diagrams, 111",lral,ng ~ M O DERN BASS
Price 2.00
both Staff Placement and Scal' LOI:allon .~iiir.!"iiiii-oq IN 7 PARTS
CHORD by Maury Deutsch EASY 9 CHORD GUITAR
of revealin, all fJdrls of all chord CONSTRUCTION
Price An exhausllVe Hslmg of chords From Toad SYSTEM
to Ihe J31h Includes Major Chords, Har b y Mickey lake r
monIC MIOor Chords, MelodIC MIOor Chords, [I~ven h'l mg' that have sold over a
JAZZ CHORDS Whole Tone Chords '11ll1lon lples N, chords play 'ny ;on2
by Angelo o.lIolro Price $200 10 the book
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
MODERN BASS CHORD Price 2.00 ~~5~ll!~~
chordS d ~y liJda~ mode In r • CONSTRUCTION GUITAR CHORDS
by Geo A G ibbs, Jr. b y Harry Vo lp e
Price 2.00 A complete Chord [ncydoped" for all A r "Ihod that '1" b, u~ "d fa' bolh be
Ba!.1 Instrumenls, fully explalOed. Illus ginner ,IOd pr." lanai loward, d""loplng
1500 CHORD PROGRESSIONS Ira ted and d"grammed orch,\lrallon plaYing
by Wolter Stuart
Price $250 Price $2.50
r' 'oro
....-
A rrusnual .' r.' rd U1' d I'r
h4rmon'ztng all popular musIC In,aluable . ----
-----
---_.-.
._- .. -
lor P,,",sls. argam ~ GUll. ,. ni FUN WITH GUITAR CHORDS DICTIONARY OF CHORDS
W1Jters ",d Arrirl~er'
Price 2.00
by MIck e ., loker
ane of the em'sl melhods yel pubhshed
by Don Scha e ffe r
A Ihesauru' of chord. for Ihe arran."
_. - ._-
o.
CHO ..
- O.

lor play,ng Ihe gu,lar. D"grams, plclures and the ,tudent of ImproVisatoon A hstlng
anyone can play In mlnules and dlagramm,ng 01 chords In the modern
Price 2.00 Idiom tn malar, minor Jnd harmonic modt!s
Price $2.95

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