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Grigory BONDARENKO

The basic progression in jazz - I.
The art of arrangement.
(practical guidance on jazz harmony)

for piano
A manual for secondary and higher musical institutions

Second revised edition

Moscow 2004

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TABLE OF CONTENTS
1. Foreword………………………………………..……………………………………………..……...3 2. A note of the author….………………………………..………………………….…………………...4 3. The basic progression in jazz (П-V-I)………………………………………..…………..…………...5 4. Chords comprehended in the structure of «The basic progression in jazz» (II-V-I)………………….6 Cm7………………………………………………………………………..…….……………….6 Cmaj7……………………………………………………………………..…….………………..8 Dm7(-5)…………………………………………………………………..…….………………...9 C7……………………………………………………………………….……..………………..11 5. Performance and analysis of the sequences of «The basic progression in jazz» as a means to educate harmonic ear……………………………………………………………….………….……………..…24 6. Tritone chord substitution in «The basic progression in jazz» (II-V-I)…………...….……………..29 7. The use of bifunctional chords. Suspension and the principles of its application in the chords of «The basic progression in jazz» (II-V-I)…………..………………………….……….…….…………33 8. Block chords and the principles of their structure and application….……..……….….…………....34 9. Transposition of chords to create a melodic line of accompaniment………………….…………….35 10. The basic principles of harmonization and arrangement using «The basic progression in jazz» (ПV-I)…………………………………………………….………………………………………………38 SELECTED WORKS………….……….………………………………………….…….………45 G. Bondarenko. «Zabaikalskiy parafraz» (Transbaikalian paraphrase) (09.2001)……………..47 I. Dunayevsky. «Serdtse» (Heart) (08.2001)………………………….…………………..….....49 M. Glinka. «Slavsya» (11.2001)…….…………………….………………………….……51 M. Glinka. «Patrioticheskaya pesnya» (The patriotic song) (11.2002)……………….…...53 R. Glière. «Gymn velikomu gorodu» (Hymn to a Great City) (09.2003)…………….…54 Russian folk song. «Cheryemukha» (bird cherry tree) (03.1999)…….…………………….….… 56 Georgian folk song «Suliko» (08.2001)……………………….….………………………………..58 Neapolitan folk song. «Come back to Sorrento» (11.2002)…………………..………….…………61 G. Bondarenko. Paraphrased ballad themes of M. Kazhlayev (02.2004)……………….….….62 M. Kazhlayev. «O tebe ya dumayu» (It’s you I’m thinking of) (09.1984)…………..……….66 Ch.Parker. «Bloomdido»(10.1996)………………………..………………………...……68 J.Kosma. «Autumn leaves» (03.1981)……………………………………………….….72 T.Monk. «Round midnight» (09.1988)………………….………………………….….76 I.Gordon. «Uforgettable» (11.2002)………………………………………………….…85 J.(Toots) Thielemans. «Bluesette» (10.2002)…...………………………….…….…………………88 G. Bondarenko. «Ellingtoniade» paraphrased themes of Duke Ellington (01.2001)..……….90 Old Scottish folk song (02.2004)……………....……………………………………………………..98

ã G. P. Bondarenko, 2004 г.

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FOREWORD
Grigory BONDARENKO is an outstanding jazz pianist and arranger. The musician received a classical education at Moscow Military Conservatory. He studied arrangement under colonel G. Kornilov, Honored Artist of Russia, the head of orchestration and playing from score department; and jazz band under colonel V. Myasoyedov, Honored Artist of Russia, the head of wing and percussion instruments department. Grigory Bondarenko has recently been busy with the theoretical study of jazz and arrangement. «The basic progression in jazz - I» uniquely summarizes both personal experience of Mr. Bondarenko as a performer and in-depth study of works of outstanding jazz musicians. This work consists of two parts. The first one theoretically considers a wide range of harmony issues: from positions of chords and their names to rules of relations between them and principles of arrangement. Each statement is illustrated with concrete examples for solo piano and a piano-bass duet. The second part contains selected arrangements of different nature ranging from folk and pop songs to jazz standard. I hope that «The basic progression in jazz - I» will be of use to all young musicians and jazz aficionados.

Boris Gnilov,

Doctor of Fine Arts, Associate Professor, Moscow State Thcaikovskiy Conservatoire

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A note of the author.
Jazz is a broad and many-sided definition, including a multiplicity of musical genres of the 20th century. Therefore jazz is always tricky to talk about, let alone giving any advice to jazz musicians since jazz, its basic principle, is all about the expression of a performer’s individuality. But still, I believe it would be appropriate to share my vision of some issues related to harmony of jazz. Harmony, as one out of three means of expression (melody, harmony, rhythm), arguably needs to be examined, studied and mastered more thoroughly than other two. This is even more true when we are talking about the spontaneous and extemporaneous performance. Here, in addition to a fine ear, musical imagination and wide hearing experience each musician will need technical skills. To «hear» chord is not enough. You need to know, for instance, what sounds it consists of and what modal function it may perform. Besides, the present-day art of arrangement is largely the art of harmonization, hence to wield a recent harmonic means, particularly the harmony of modern jazz is crucial to any arranger. I hope that this work will encourage young musicians to achieve this aim. I’d also like to underscore that this work focuses predominantly on practical implication of jazz harmonies rather than theoretical issues and most importantly on the use of II-V-I progression – «The basic progression in jazz». We’ll examine various types of chords comprehended in the structure of «The basic progression in jazz» (II-V-I) and will try to perform them by both a solo pianist and a piano-bass duet. I would like to thank my teachers - colonel Gennady Kornilov, Honored Artist of Russia, the head of orchestration and playing from score department at Moscow Military Conservatory, colonel Veniamin Myasoyedov, Honored Artist of Russia, the head of wing and percussion instruments department at Moscow Military Conservatory and Boris Gnilov, PhD, senior lecturer of the department of theory and history of music at Moscow Military Conservatory – for their sage advice and recommendations. I would like to profusely thank my good friend Gennady Strelnik - an academic of the entertainment department at Moscow regional college of arts, a jazz pianist and arranger of genius – for the material gathered for selected works. I would also like to thank my good friend Murad Kazhlayev, a professor, composer, art director and conductor of Y. Silantyev symphony orchestra for support. Every note example given in this work and every arrangement belong to the author.

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The basic progression in jazz - (II-V-I).
From the standpoint of classical harmony, the II-V-I progression is an ellipsis, i.e., a sequence of unresolved seventh chords, constructed on the II, V and I steps of the scale (it should be noted that later on we’ll use more difficult chords as well – ninth chords, eleventh chords etc.) The following example is meant to demonstrate how can «The basic progression in jazz» be used during the harmonization of a diverse range of material:

We can see that each measure of this theme has been harmonized by a sequence of dissonant chords, constructed accordingly in II ,V and I steps of the scale: D minor in first measure, G minor – in second measure, F major – in third measure etc. This sequence is called «The basic

progression in jazz»
We are not going to analyze each of these chords now. There are two aspects we’d like to mention. You’ve probably noticed that the second chord in bass has II lowered step of the scale in third and sixth measures rather than V. We suggest that this type of chord be interpreted as a variant of tritone chord substitution and will speak about it in one of the following chapters. You might have also noticed that the first chord in sixth measure has been constructed in V step of the scale toward G minor tonic. There is nothing out of the ordinary – this chord is bifunctional combining dominant bass and subdominant superstructure which plays a primary role in

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«The basic progression in jazz» (II-V-I). Composition of this type of chords as well as the idea of superstructure will be discussed later. Practice: While playing the note example pay attention to how harmonic progression combines with melodic line. Register the modulation. For the time being, do not try to give the interpretation of chords, simply listen to how «The basic progression in jazz» works.

Chords comprehended in the structure of «The basic progression in jazz» (II-V-I)
In this chapter we’ll analyze the formation and the way of writing of different chords that may form «The basic progression in jazz», variants of chords spacing in both piano solo and a piano-bass duet and talk about the idea of superstructure. Interestingly enough, while classical harmony views chords in the context of scale, hence the scale’s functions and steps result in the names of the chords – dominant seventh chord (D7), six-five chord of the second degree (II56) etc., jazz and popular music predominantly use the concept of «the basic note», i.e. when chord is called according to the sound it has been constructed on: D minor seventh chord (Dm7), F secondary seventh chord with major seventh (Fmaj7) etc., regardless of its mode functions. Additionally, jazz harmony widely uses parallel fifths, octaves and full consecutives prohibited in classical harmony. Performingly, each chord can be divided into bass and superstructure. In this case the bass is a bass sound of chord (it can be doubled) that corresponds with the concept of «the basic note». The remaining sounds of the chord form its superstructure.

Cm7
Let’s begin with secondary seventh chord with minor third and its derivatives:

Now let’s take a look at these chords in extended position, i.e. in a way, most commonly used by a solo pianist:

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As well as in a piano-bass duet. Pay attention to the functional division of chord into bass and superstructure – bass function is performed by contrabass while the chord in piano part is given as a superstructure:

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We’ve given only several examples of the possible spacing of secondary seventh chord with minor third and its derivatives. An attempt to give every possible one arguably seems impossible. Before we proceed to other chords, let’s list the most common variants of «The basic progression in jazz» (II-V-I): II7 – V7 – I maj7, П7 - V7 - I 7, II7 – V7 – I m7 , II m7 – V 7 – I maj7, II m7 – V 7 – I m7, in which II7 and V7 – dominant seventh chord and its derivatives, constructed on the II and V steps of the scale; I maj7 – secondary seventh chord with major seventh and its derivatives, constructed on the I step of the scale; II m7 и I m7 – secondary seventh chord with minor third and its derivatives, constructed on the II and I steps of the scale. Later, we’ll learn tritone chord substitution and suspension and the number of such variants will considerably increase.

Cmaj7
Let’s take a look at the chord Cmaj7 and its derivatives, firstly in close position:

Pay attention to examples 46 and 47, in jazz such structures are called polychords - in our case C major has been «thickened» with D major triad. However, a diverse range of tonality combinations can be used here. Now let’s take a look at Cmaj7 and its derivatives in different variants of its extended position which is most commonly used in practice:

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Pay attention to example 53 – here we have the indication of chord by letter and number, which are equally correct. We believe that a fraction indication of this chord, where letter C can mean C major triad or sound C in bass, is more comfortable. Using our terminology, this is bass and superstructure, divided by a fraction mark It should be noted that jazz literature most commonly uses this very indication. But let’s go back to Cmaj7 and its derivatives and take a look at some frequent variants of the spacing of these chords in piano-bass duet:

Dm7(-5)
The next chord we’re going to look at is used, as a rule, as the first link of the II-V-I progression and consequently is constructed on the second step of scale - II m7(-5). First, let’s take a look at this chord and its derivatives in close position:

In different variants of the extended piano position:

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Now let’s see, how this chord will look as a «superstructure» in a piano-bass duet:

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С7
And finally, the last and the biggest group of chords we are going to discuss, is dominant seventh chord (С7) and its derivatives:

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As an example, we have given 43 (!) variants of dominant seventh chord. Now let’s take a look at this chords in various extended positions:

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And finally, here are the examples of how С7 and its derivatives can be used in a piano-bass duet:

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Now that we have analyzed different types and variants of chords, which may form «The basic progression in jazz» and convinced you that there may be a multitude of them, we can speak about the universality of this harmonic technique. In the next chapter we are going to talk about different types of chords in the context of the II-V-I progression, rather than separately. Practice: Try to devise your own variants of chords for piano and a piano-bass duet, discussed in this chapter.

Performance and analysis of the sequences of «The basic progression in jazz» (II-V-I) as a means to educate harmonic ear.
This chapter is addressed primarily to beginner jazz musicians and focuses on showing the ways to educate and perfect a harmonic ear and harmonic thinking via «The basic progression in jazz» (II-V-I). But before we proceed to the main topic, let’s dwell on such an important question as voiceleading and analyze the following example accordingly:

Thus, here we have a typical II-V-I idiom: Dm9-G7(-9)6-Cmaj9(6). First, let’s take a look at linking of the first two chords - Dm9 и G7(-9)6: 1. Prime Dm9 is resolved by leap of a fifth down to prime G7(-9)6. 2. Third Dm9 stays put and turns into seventh G7(-9)6, 3. Seventh Dm9 is resolved to minor second down to third G7(-9)6, 4. Ninth Dm9 stays put and turns into sixth G7(-9)6, 5. Fifth Dm9 is simultaneously transposed to minor second down and up, hence forming third and flattened ninth G7(-9)6.

And linking G7(-9)6 и Cmaj9(6): 1. Prime G7(-9)6 is simultaneously resolved by leap of a fifth to prime Cmaj9(6) and stays put , forming fifth Cmaj9(6) , 2. Seventh G7(-9)6 is resolved to minor second down to third Cmaj9(6), 3. Third G7(-9)6 is transposed to a second down to sixth Cmaj9(6), 4. Sixth G7(-9)6 is also transposed to a second down, forming ninth Cmaj9(6), 5. Flattened ninth G7(-9)6 is resolved to a minor second down to fifth Cmaj9(6), 6. Third G7(-9)6 stays put and forms seventh Cmaj9(6).

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Thus, regardless of the inevitable leaps in bass, we’ve got a very fluent voice-leading. This is an ideal «euphony» that needs to be attained in general, though it is clear that different artistic goals can definitely require different approaches to voice-leading. However, let’s go back to the main topic of the chapter. We believe that the basic way to educate a harmonic ear, and more importantly, a harmonic thinking involves practical work with an instrument. It should include a drill in performing patterned harmonic sequences in different keys, as well as in analyzing different harmonic material, which you can easily find, particularly in this manual. Here you can see an example of such pattern: D9-G9(6)-Cmaj9, presented in every key. When playing it, pay attention to the fact that every change of key produces new «colors» in its sound:

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Practicе: Learn this sequence by heart and play it in every key. In examples 397-407, write the indication of chords by letter and number the way it was done in example 396. It is highly important to both learn to analyze such chords instantly and to do it automatically, subconsciously, otherwise we cannot speak about quality harmonization. Below we have more harmonic sequences – patterns, as usual, for piano and a piano-bass duet. Of course, they are variants of «The basic progression in jazz» (II-V-I). Play them in every key, analyze the chords they are made of and write the indication of them by letter and number. Try to devise your own variants of «The basic progression in jazz».

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2.0

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to

C

lic

28
om
w

k

he

w

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

29
om
w

k

he

w

w.

A B B Y Y.c

om

w

Tritone chord substitution in «The basic progression in jazz» (II-V-I).
Tritone substitution is a characteristic feature of jazz harmony. It involves the substitution of one chord for another, positioned a tritone higher or lower while the superstructure of this chord stays put or alter. Of course, tritone substitution can also be applied to chords of II and V steps of the scale, comprehended in the Basic progression in jazz. Books, more often as not, lack the details of this, therefore we would like to be more specific and talk about a tritone substitution that is very interesting and widely used in practice. In jazz music the so-called ««traditional coda» is a rather frequent occasion.

And now let’s compare this example to another:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
w.
A B B Y Y.c

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30
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w

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A B B Y Y.c

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I’d like to draw your attention to the fact that the superstructure of chords А7(+9)6 and Eb9(-5)6; D7(6) and Ab7(+9)-5; G9(-5)6 and Db7(+9)-6 are enharmonically equal i.e. they consist of absolutely identical sounds (we are talking about tempered mode). That means that in the given example, a tritone substitution has been simply done by transposing a bass sound (of tonic) to tritone. Analyze these chords to make sure of it by yourself. Thus, we see that you do not need to necessarily build a new chord to have a tritone substitution of the dominant seventh chord; it is enough to transpose bass to tritone, changing the superstructure of the main chord or keeping it unchanged. Let’s take a look at some variants of the tritone substitutions for piano and a piano-bass duet. Pay attention – the text has enharmonic substitutions necessary for the comfortable reading as is customary in jazz literature:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

2.0

re

to

C

lic

31
om
w

k

he

w

w.

A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

2.0

re

to

C

lic

32
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w

k

he

w

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A B B Y Y.c

om

w

Practice: Analyze these examples and try to devise your own variants of tritone substitutions.

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
w.
A B B Y Y.c

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A B B Y Y.c

om

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The use of bifunctional chords. Suspension and the principles of its application in the chords of «The basic progression in jazz» (II-V-I)
The term «suspension» has been borrowed from classical harmony, where it is a means of forming a melodic line while in harmony of jazz it is a means of forming the chord itself. The bottom line is that the third of chord is replaced by fourth as a «suspended» sound, unresolved to the third. As a result, we have a new chord that has its own indication in number and letter, for instance - С9sus. However, we can have a simpler indication - C/Gm7. We’ve already discussed this way of indication, thus we’ll move on and will take a look at the following examples:

We can see a vague functional similarity between these chords – while Dm7 in C major is a deep subdominant, G/Fmaj (in our case it is a G9 suspension) is polyfunctional, combining dominant bass and subdominant superstructure. In practice, the first chord is frequently replaced by the second one, which is not difficult, since Dm7 turns into G/Fmaj simply by transposing bass-tonic. Here are several examples of the II-V-I progression having such substitutions of the suspended chord and tritone substitutions:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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34
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w

k

he

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A B B Y Y.c

om

w

Pay attention to examples 486 and 487. Here we can see the suspended chords on the dominant and tonic of key. Practice: Analyze the chords of «The basic progression in jazz» (II-V-I) in the examples above and try to devise your own examples of the suspension in different melodic positions, as well as in a piano-bass duet. Play it on the piano in different keys.

Block chords and the principles of their structure and application.
Block chord is a chord, edged by a perfect octave. The harmonic function of such chord is defined by sounds in the octave formed by the edged sounds. An arrangement of a theme of «The Snowdrop» by P. I. Tchaikovsky stands as a good example of the principle of block chord harmonization:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

35
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k

he

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A B B Y Y.c

om

w

Practice: Complete the example with a bass line. Give the indication of each block chord in letter and number.

Transposition of chords to create a melodic line of accompaniment.
Until now, we have not talked about a melodic line, formed by the upper sounds of chords comprehended in harmonic sequences. However, such melodic line does exist. It is especially important to a pianist accompanying a voice or a monophonic solo instrument in a chord structure. In this case the melodic line formed by chords of accompaniment becomes audible and acts as a counterpoint which, in its turn, can interact with the soloist’s melody in different ways – emphasize it, duplicating in unison or otherwise, interweave with it, fill pauses etc. And last but not least, it creates the «motion» effect of the accompaniment itself. Such melodic line is created by transposing the chord to various melodic positions. Let’s take a piece «In good mood» by G. Bondarenko as an example in which a melodic line of the chord accompaniment contrapuntally interacts with the soloist’s melody:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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lic

36
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w

k

he

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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to

C

lic

37
om
w

k

he

w

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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lic

38
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k

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A B B Y Y.c

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Practice: Give the indication of chords in letter and number. Make your own harmonizations of the famous tunes paying attention to the melodic line of the chord accompaniment. Analyze it.

The basic principles of harmonization and arrangement using «The basic progression in jazz» (П-V-I).
In this chapter, we are eventually going to discuss the major issue of the book - the use of «The basic progression in jazz» in harmonization and arrangements of diverse thematic material. To understand how to do it, we will make a harmonization of the specific theme using «The basic progression in jazz» (II-V-I) and will dwell on certain stages of this process. An excerpt from Richard Rodgers’ "Falling in love with love", with the indication of the basic harmonic functions, will make a good example:

We have a melody and the basis of harmony, which will allow us to make a detailed and broader harmonization. Let’s try to make it using the harmonic principle of «The basic progression in jazz» (II-V-I):

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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39
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A B B Y Y.c

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And now let’s play what we’d got. In accompaniment use simple seventh chords in close position:

We want to make it clear that our harmonization is not the only one possible or even ideal. Each of these variants is characteristic of this or that jazz style, and what is more, of any individual performer. This is even more true when we are talking about arrangement itself. Now let’s change or better to say create the structure of accompaniment using our hearing experience as well as knowledge of different chords and their formation, alterations, tritone substitutions etc.:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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We’d like to note that 1,3,5,6 and 9 measures include the technique of structure saturation by duplicating the tones of chords. Measures 11 and 12 include the technique of inner voice-leading known as «wandering fifth»:

Pay attention to the fact that the motion of the fifth tone of Am9 in semitones upwards and downwards changes both modal color and alteration of the chord. In conclusion, I would like to offer you an arrangement of the same theme by R. Rodgers for a pianobass duet:

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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C

lic

41
om
w

k

he

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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to

C

lic

42
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w

k

he

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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lic

43
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k

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A B B Y Y.c

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Practice: Analyze the final version of R. Rodgers’ piece (example 495) and give the indication of the used chords in letter and number. Do the same with the pieces given in «selected works»(!). We have examined some of the aspects of the modern jazz harmony, which I hope you found interesting. Writing this book I wanted to share my own vision of the problems discussed here and to give professional advice on how to use the most common harmonization techniques. At parting, I would like to give a few more advice to beginner jazz musicians: Don’t be afraid to experiment; Listen to more different music; While listening to music, try to perceive it not only as a listener, but also as a performer; Analyze more harmonies – that’s the passport to your professional growth.

I wish you every success!

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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44
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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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A B B Y Y.c

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Хрестоматия

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

F T ra n sf o

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er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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w

k

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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er

er

ABB

ABB

y

bu

bu C lic k he re to
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y
w.
A B B Y Y.c

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48
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w

k

he

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

F T ra n sf o

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ABB

ABB

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bu

bu C lic k he re to
w

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w.
A B B Y Y.c

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A B B Y Y.c

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Y

Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
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y
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A B B Y Y.c

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50
om
w

k

he

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A B B Y Y.c

om

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
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A B B Y Y.c

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C

lic

51
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w

k

he

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

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w.
A B B Y Y.c

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lic

52
om
w

k

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

er

er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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C

lic

53
om
w

k

he

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

F T ra n sf o

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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C

lic

54
om
w

k

he

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

F T ra n sf o

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

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C

lic

55
om
w

k

he

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A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

2.0

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to

C

lic

56
om
w

k

he

w

w.

A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

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lic

57
om
w

k

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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ABB

ABB

y

bu

bu C lic k he re to
w

y
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A B B Y Y.c

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lic

58
om
w

k

he

w

w.

A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

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er

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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C

lic

59
om
w

k

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A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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C

lic

60
om
w

k

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w.

A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

61
om
w

k

he

w

w.

A B B Y Y.c

om

w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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lic

62
om
w

k

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w

w.

A B B Y Y.c

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Y

Y

Y

PD

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rm

Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
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A B B Y Y.c

2.0

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C

lic

63
om
w

k

he

w

w.

A B B Y Y.c

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w

Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

F T ra n sf o

rm

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er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

64
om
w

k

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w

w.

A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

rm

Y

PD

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er

ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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C

lic

65
om
w

k

he

w

w.

A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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C

lic

66
om
w

k

he

w

w.

A B B Y Y.c

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Y

Y

Y

PD

F T ra n sf o

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Y

PD

F T ra n sf o

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

67
om
w

k

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w

w.

A B B Y Y.c

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Y

Y

Y

PD

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Y

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ABB

ABB

y

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A B B Y Y.c

2.0

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C

lic

68
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w

k

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w

w.

A B B Y Y.c

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Y

Y

Y

PD

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Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

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to

C

lic

69
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w

k

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w.

A B B Y Y.c

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Y

Y

Y

PD

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Y

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ABB

ABB

y

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w

y
w.
A B B Y Y.c

2.0

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to

C

lic

70
om
w

k

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w

w.

A B B Y Y.c

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w

Y

Y

Y

PD

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Y

PD

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ABB

ABB

y

bu

bu C lic k he re to
w

y
w.
A B B Y Y.c

2.0

2.0

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to

C

lic

71
om
w

k

he

w

w.

A B B Y Y.c

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w

Y

Y

Y

PD

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72
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ABB

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73
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74
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ABB

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75
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ABB

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ABB

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ABB

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ABB

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79
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ABB

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80
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ABB

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81
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ABB

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82
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ABB

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83
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ABB

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ABB

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ABB

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100
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ABB

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102
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ABB

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103
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