Scribd Logo
Upload

Welcome to Scribd!

  • Common Tones - Pedal Points - Combining Techniques

    Uploaded by

    uq2
    19 views8 pages

    Original Title

    Common tones- Pedal points - Combining techniques

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    19 views8 pages

    Common Tones - Pedal Points - Combining Techniques

    Uploaded by

    uq2

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 8
    Aovancee Reuawontaarion —_——_———— oats Common Tones Nica coca chr ees are called common toes. Asan example, the Scales of C7 2nd Ab. have four common tones. f.G, and Bb (figure 14-195). Wher a melody notes epestd, harmonizing each ocautence of the note with a different chord can be a beaut effet, 2s long asthe notes common tothe sae ofeach ew chord. Pay figure 14-196, the fist four bars cof Jerome Kern's Al The Things You A" The four Grote a ow on the E57 chord ofe-a geet ‘opportunity to play four chords to whith Gis 2 commen tone, Pay figure 14-197 on listen to the four chromaticaly descending V chords that replece 7. G, the melody note, isthe Sth of C7, the 5 of 878, the 13th of B7, and the th of A7, Paying foe V chords ina row opens ual sorts of harmonic posses, because V chord can be sitered in so many ways. oy figure 14-198 to hear some of these posits. Pa igure 14-119 and lsten to what McCoy “Tyne played onthe cod of Jn Colton’ recording (oF Richard Rodgers "ts Easy To Remember The £¥ melody note common tal the chats Figure 14-119 ‘McCoy Tyner plano vocings simpited ha aal aba cha ca old ‘Sey Coane Baad NCAT 1951. Mesyeet ‘dng rab ot ia pen ees ‘lc playdate que conmon ee oy ap 2 ‘eten Meet gear arpon bus owt keen : {fony camels ot hes al on Pu Camp Bed Fone ote, 5, “ft he ata te eo ede ce by pte Bischoa Meco ito as suohon meer ‘ooninte tes 2 2a Pedal Point ed point, often shortened jst pes, means paying 2 series of chords ove the sare bas note Pay igure 14-120 and stent the chars pled ‘ove an Eb peal on the fist eight bars af Bronsiau Koper "Green Dolphin St” Rodgets’ "Spring Here.” Now pla figure 14-122, Kenny Barron’ reharmonization ofthese four bars wing ches played over 3G pedal poirt5 We'll raze KennyS version of “Springs Here” which is played entry over a G pedal in Chaper 16, Figure 14-120 é cy co eb a Figure 14-121 ee why dy a7 oF Figure 14-122 ca caltcalS cs Galas Has ca aS coe “aera, Ra Si, Cv 1990 Combining Techniques oucan combine many ofthe ecu dscsed sor when rearmoiing a cho =p, of an entre tue. Figure 14-123 Sows tts 8 of Hay Wares “Thre WI Never Be Ath You? ay igure 4-124 ar stent 9 rehamoncation thatses porte sesh cho, roma approach {719 ths, and sche ebamensaton (Eh sbstsing for 8-7). Figure 14-123 co eh Figure 14-124, che oho che GWG AYA Gi AWA 7H chub bes Gearres Pourreen, Oe Figure 14-125 shows the ast fou 2a of Jerome Keen "Yestrdays" Figure 18-125 shows the same four bars reharmonizd with a vatieyo techniques: Fsus replaces C-7 in the fist bt ‘The FET/ used 10 approach in ‘the second baris the “V chore 8 ‘major ed below" that ly Stayhorn sed in "UMM." (figure 1479), Paral (Ess, Fs) 1s used in the second ba. + Chromatic approach (Fs o€7 10F7) Is used inthe third ba. ‘Conary motion occurs between the melody and rct going from Faust 7, ‘The last two bars have been eharmonzed with Cotrane changes, which explore Inthe no chapter. Figure 14-125 cr obs e7 ar Figure 14-126 Fausto Firm ob chsus sus £77 aha eft Figure 14-127 Be 7 a bale obit cy pay Gialt Figure 16-127 shows the fist ewbars of Hoagy Carmichael "Styark 2 tune jazz muslans have loved to play since it was written 1942. Play figure 14-128 ard hess At Slokey and The Jazz Messengers version (ith Ceder Walton laying ano) reharmonized with varity techniques: + ABb pe points played in the fist wo bars. The fst and thr chords (Crab and 4/8) are ash chords. + 5us cho reemoriaton (Bhsus substituting for F-) is Played nthe ist bac + AIL 7, AN) chromatic oproach to Abais played inthe td tar. ‘The last ve chords (with an

    You might also like