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Art Van Damme Ð Tony Dannon Ð 1 Compressed PDF
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Art Van Damme Ð Tony Dannon Ð 1 Compressed PDF
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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 TonyCONSTRUCTION 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—13riots ———, 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 ResorB-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 Aros abr a0 Do GO (add 18) G95) G0 (nda 19)SOFTLY ‘Moderately.(d-188) m7 BPS) mah? (0809) O Do5 Moderately(J+144) ¥majs eo Basegon, | 2 af ‘Bassoon @ Maser NLY LOVE Gm? (add 11) Cis(aca1y O18 Cofeaait) o7Cis(add it) CIs Hedi 2a sys] 8 32) “3 Gnr Gm7 (eda cra reHONEY 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 zyCIRI-BIRI-BIN Moderately Fast(-152) re cotm, on cs 5 Sebi 244 2p (Two Bar pick up into Jazz chorus ) ale a 43 ZYB-FLAT BLUES No.2 Moderately Fast(-152) (Choris tet} Oneal, 8,”77-17GREAT 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. Orin 6 NTIS ‘ROCK BLUES FOR ACCORDIONEy Leon Su an Lee Mogan. Oot vas (pest cordenia Loon Sais aah wy nara is ny Cteion ts ees Bute But, Sto as, Ssh’ Do Bs, se ‘tae Jos ‘Ags Jz Met 3 JAZZ WOOKS by PalmenFiaghes 10 For Accordion, Book 3 ‘2s jazz Method for Acrrdion, Boot 2 {1422 SYNCOPATION FROM THE BEGINNING by ico Dio J. BSNS Pets Deo te pours pale exces ‘Sloe wih ti 7 page tok wl orig a fin founda ‘ei ening ne sora i soe cigs 2s en tte sghteatng, Orie No, POTEE [MODERN ACCORDIONIST by Mat Mathews, Promos af he ete sect Jaa exponents comes 3 ‘aatbod fo Frac, engadsong and andres, cord wih nerve ‘fencnt itech i rhe fda ces ty Shia james” Gale? No D736 POP MUSIC SERIES for ACCORDION SOLO ‘se sutable for duct andr combo Spanish Fle, Woche. estared by eto alpertand the Tans Bret) 202% "Recordin Slo 20033 Duet asoorson and gute, of wo atcovdons _Sony, Moderate Rack Hob Deto, J. (th les) ‘aree Beamon Sao ‘ooas Duet er ossrton and Guitar ‘Whatever Wi Be Wi Be (Que Sera, Sea), Chingeton vane (th ies) sansa Aaron Sle atBa Dua eccrdon ad gute, bo acpant oct Tai tr sections and guitar ‘The Lock of Love tom fm “Casino Roya ‘Bacharach Dele, dvi cs Ps=) 2x0 postion Sob oot Duet secon and gute, eo aceon zamne Testo acorns and guiter (Gab Driver, Parker, 2. uth ties) 20008 Posten So 20008 Dost ston and ult, of vo accarione 20008, To: ho acorns ar! guar sa q) Tom ieee Eiocerers
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