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Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a "crossover" composition by the jazz pianist and composer Claude Bolling. [1] The composition, originally written in 1973, is a suite of seven movements, written for a classical flute, and a jazz piano trio (piano, string bass, and drums).
Jazz compositions originally or most commonly played in the key of G major. Pages in category "Jazz compositions in G major" The following 22 pages are in this category, out of 22 total.
Serenade for flute, violin and viola in D major, Op. 25; Trio for piano, flute, and bassoon in G major, WoO 37; Pierre Boulez: …explosante-fixe…, various configurations with flute and other instruments (1971–72, 1973–74, 1985, 1991–93) Le marteau sans maître for contralto voice, alto flute, viola, guitar, xylorimba, vibraphone, and ...
In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. [1] For example, if a tune is in the key of C, if there is a G chord, the chord-playing performer usually voices this chord as G 7.
In popular music and rock music, "borrowing" of chords from the parallel minor of a major key is commonly done. As such, in these genres, in the key of E major, chords such as D major (or ♭ VII), G major (♭ III) and C major (♭ VI) are commonly used. These chords are all borrowed from the key of E minor.
Only two or three frets are needed for the guitar chords—major, minor, and dominant sevenths—which are emphasized in introductions to guitar-playing and to the fundamentals of music. [92] [93] Each major and minor chord can be played on exactly two successive frets on exactly three successive strings, and therefore each needs only two fingers.
Example 1: Below, a common voicing used by jazz pianists is given for the chord C 7 ♯ 9 (C major chord with a minor 7th, and extended with an augmented 9th).. In the lower stave the notes E ♮ and B ♭ are given.
It is a challenge to adapt conventional guitar-chords to new standard tuning, which is based on all-fifths tuning. [27] Some closely voiced jazz chords become impractical in NST and all-fifths tuning. [28] It has a wide range, thus its implementation can be difficult. The high B4 requires a taut, thin string, and consequently is prone to breaking.