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Art Van Damme Ð Tony Dannon Ð 1 Compressed PDF

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0% found this document useful (0 votes)
580 views24 pages

Art Van Damme Ð Tony Dannon Ð 1 Compressed PDF

Uploaded by

rafael monteiro
Copyright
© © All Rights Reserved
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INTRODUCTION ‘The magic of Jazz" is revealed by the proper use of this album written by America's favorite jazz artists Art Van Damme and Tony Dannon, ART AND TONY SAY: IMPORTANT ‘The best way to sbsorb the contents of this book 4s to MEMORIZE - becamse any pattern assimilated now will serve you for a long time, As you will notice the chord progressions used throughout this book are those used in popular standard songs and will always prove practical. By memorizing them, you will always be able to fall beck on these basic standard patterns. They will also benefit you in making your own jazz riffs later on. While it is assumed that anyone who undertakes to learn jazz playing {s a reasonably advanced student, the basic requirement before starting this book is a thorough knowledge of all scales and intervals. The chord charts on pages 3-4-5 can serve as a reference guide, To get best results remember to: 1, Memorize the Chord Melody line on the top line first so that you will learn its chord construction and be able to play it without hesitation. 2. Memorize the second line (jazz line) so that when you try other tunes you will always be able to use these same patterns in addition to your own. 3, Don't think that learning one song in this album will make you a professional, ‘This is only the start; the rest will follow. Sincerely, Art and Tony CONSTRUCTION OF CHORDS CHORDS ARE CONSTRUCTED BY A COMBINATION OF SCALE STEPS ( DEGREES OF THE MAJOR SCALE, Chords: Combine the following intervals of the Major Scale 1. Major 1s —5 2. Minor 1—bg~5 8. Diminished 1—bg —bs 4. Augmented t—3—ts 5. Major th 1—3-—5—6 8. Minor 6th. 1—b3 —5—6 7. Dominant 7th. 1—38—5—)7 8. Major7th. 9. Minor 7th. 10, Augmented 7th. Lx 11, Diminished 7%. bg —bs— 9 [The St ie ty 12, Dominant oth. 1—3s—s—h7—9 13, Major 6th-aaa oth. 1—8—5—6—9 14, Minor 6th. aad 9th 1—’3—5—6—9 15, Mojor7th.adagth. 1—3—5—7—9 16. Minor 7th add oth. 1—a— s—h7 9 17, Dominont 11th. 1—s—s—hy—9—11 18, Augmented 11th. t—3a—5s—y —o—t 19, Dominant 13th. 1— 3—5—b7— 9—13 riots ———, Fiicjor—Fvinar Tein. Te aug. major etl inor et lam TT Major Pines 7A Tag 77m. 1 * Dim: Diminished © Aug. Augmented *Dom=Dominant - Toim.7 Toom.9%. Taolor 6t®- Tainor st Twojor 7h. mh T : Dim. im. 9%. Tar sth Tinar | mojorzik Taigog Zi Toom.1i# Taug. 11th. bom. JAZZ MAGIC ART VAN DAMME Moderaiely(J = 144) and Fo Bo. ‘TONY DANNON Bassoon'ay 3 1 77-17 Comyriht 201 by Emes Definer Publieons,P.0. Box 11683, Alexancs, VA 22312 USA nomaionol Copyright Secure, Pied in USA Al gts Resor B-FLAT BLUES No.1 Mod J 14d lodgrately(4 = 144) Cm? (aad 9) FAREWELL BLUES Moderately Fast(-168 ) rc) pa? Abo ow Sry ‘Master oe Ag Ar os abr a0 Do GO (add 18) G95) G0 (nda 19) SOFTLY ‘Moderately.(d-188) m7 BPS) mah? (0809) O Do 5 Moderately(J+144) ¥majs eo Basegon, | 2 af ‘Bassoon @ Maser NLY LOVE Gm? (add 11) Cis(aca1y O18 Cofeaait) o7 Cis(add it) CIs Hedi 2a sys] 8 32) “3 Gnr Gm7 (eda cra re HONEY KNOWS ‘Moderately(/=144) F Peon Gm? ois F F¥itim Gm con oad. ar 2 Sf @ Maser “ on 34 te2u3 2 1/,2 22,5 2 zy CIRI-BIRI-BIN Moderately Fast(-152) re cotm, on cs 5 Sebi 244 2 p (Two Bar pick up into Jazz chorus ) ale a 43 ZY B-FLAT BLUES No.2 Moderately Fast(-152) (Choris tet} Oneal, 8,” 77-17 GREAT COLLECTIONS and BOOKS for ACCORDION MASTER METHODS for POP, JAZZ, BLUES, BOOGIE, LATIN etc, ‘PROGRESSIVE IDEAS FOR FOP PLAY by Any Mora, Foon who want {Braun be mage on, cra vege tees and ni owe poe ‘rg reocucsr, none tn te, ts, Mra ba- ‘Eileen bebe mse nv ago" No. 0008 STU roe, eos od ond et cnpine sere etineyerermeeme con Selanne bane ee [PROGRESGVE JAzz STLES by hay acre wae Dt page econ ‘Soon pe teen ct yore nb nem om tran ht wn aa nd ‘ASH WAZ, Bok wt Book 2 as ath etn wag Az bok by a ost ‘Seam crtape, ise Bc i, aed Vek ‘aap Lon Lng hs Gooound Yawn Brag.” odes Ne TO Lars PLAY ooaIE WOOGIE Fk Cnt lve tite mao Sra ioneingiongige mt OnTepet una. 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