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Techniques dimprovisation
551 - IMP - AA551 - SS1 - AA551 - SS2 - AA
Notes de cours
Professeur : Robert PelletierMusique - Collge dAlma
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Table des matires :Exercices chromatiques sur les accords de
base 3
Groupes de 4 notes et gammes ou modes associs 5
Grille #1 6
Les principaux accords en arpge 8
Trois gammes essentielles 8
Grille #2 9
Les principaux cycles 11
Les chelles pentatoniques 11
Les chelles blues 12
Les phrases dans le blues 12
Les grilles de blues typiques 13
Les enchanements mlodiques 14
Larpgement 16
Gammes supplmentaires 18
Utilisation des pentatoniques 20
Accords et pentatoniques 20
Exercices pour les gammes bop 22
Approches diatoniques et chromatiques 23
Groupes rythmiques de 3 et 4 units 25
Phras rythmique : le concept 8/8 26
BL151 27
Arpgements II-V-I 30
Groupes de 2 et 4 notes MA 31
Groupes de 2 et 4 notes MI 37
Groupes de 2 et 4 notes MA avec b2 41
Groupes de 2 et 4 notes MI b5 46
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Bibliographie :Inside improvisation series - Jerry Bergonzi
Advance MusicVol. 1 Melodic Structures
Vol. 2 Pentatonics Vol. 3 Jazz Lines
Vol.4 Melodic Rhythms,
Intermediate Jazz Improvisation Georges Bouchard, Jamey
Aebersold
Jazz
How to Improvise Hal Crook Advance Music
Drum Wisdom Bob Moses, Modern Drummer Publications
Jazz Mallets in Session Arthur Lipner, Malletworks
publications
Volumes recommands :Jamey Aebersold Playalong series :
Vol. 3 The II/V/I progression
Vol.16 Turnarounds, cycles & II/V7s
Vol. 84 Dominant 7th workout
Building a jazz vocabulary Mike Steinel Hal Leonard
HL00849911
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4444
Ct ! t t !t t ct !t t !t t c
C = 120
t t !t t bt t !t t b
t !t t !t t ct !t t !t t c
t t !t t bt t ! t t b
t "t t t bt " t t t b
5
t "t t "t t ct "t t "t t c t "t t t bt "t t t b t "t t "t t ct
"t t "t t c
C
t!t t "t bt!t t "t b
9
"t #t t !t t c"t #t t !t t c
t !t t "t bt !t t "t b
"t #t t !t t c"t #t t !t t c
t "t t t "t ct " t t t "t c
13
"t t "t t b"t t "t t b t "t t t "t ct "t t t "t c "t t "t t b"t
t "t t b
Robert Pelletier 2008
Page 3
Groupes chromatiques sur les accords de base
Majeur - groupes de notes : 5454
Mineur - groupes de notes : 4545
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C7
t !t t !t tc
t !t t !t t c
17
tt !t t b
t t !t t bt !t t "t bt !t t "t b
"t #t t !t t c"t #t t !t t c
t "t t t "t c
t " t t t "t c
21
"t t "t t b
"t t "t t b
t "t t t b
t "t t t b
t "t t "t t c
t "t t "t t c
C
t !tt !t t t #t
t
25
t
c b t t !t t t t #t t
Ct !t #t ! t #t !t t !t
28
t c b t !t #t t t t !t t
Page 4
Dominante - groupes de notes : 5445
Motifs supplmentaires
Invers
1. Jouer avec les articulations swing et latin
2. Transposer dans les douze tons. Remarquer les groupes de 5
notes (3ce MA) et 4 notes (3ce MI)
3. Mlanger les motifs ascendants et descendants
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C
1t
2
t3
t5
t b31
5
t3
t2
t1t b
1t
3
t5
t6
t b6
t5
t3
t1t b
1t
3
t5
t7
t b35
7
t5
t3
t1t b
1t
2
t3
t4
t5
t6
t7
t8
tgamme majeure ou mode ionien7
t6
t5
t4
t3
t2
t1t
C
1t 3"t 4t 5t b39
5t 4t 3"t 1t b 1t 2t 3"t 5t b 5t 3"t 2t 1t b
1t
3
"t5
t7
"t b43
7
"t5
t3
"t1t b
1t
2
tb3
"t4
t5
t6
tb7
"t8
tmode dorienb7
"t6
t5
t4
tb3
"t2
t1t
C7
1t
2
t3
t5
t b47
5
t3
t2
t1t b
1t
3
t5
t6
t b6
t5
t3
t1t b
1t
3
t5
t7
"t b51
7
"t5
t3
t1t b
1t
2
t3
t4
t5
t6
tb7
"t8
tmode mixolydien ou mixob7
"t6
t5
t4
t3
t2
t1t
P P P P c55
P P P P c PIP PIP c d PId PIP P c
P P P P cPage 5
MAJ
Groupes de 4 notes et gammes ou modes associs
MIN
DOM
1. Jouer avec les articulations swing et latin 2. Transposer
dans les douze tons3. Mlanger les motifs ascendants et descendants
4. Faire des variations et
dplacements rythmiques 5. Appliquer sur la grille des pages
suivantes.
exemples de variations rythmiques
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C
Concert
60 F B"7
C64
B " E "7
A"68 A D7
D72
G7 C E" A" D "
D
Bb76
G C7
D80 C F7
B
"84
B E7
E88
A7 D FB
" E "
Page 6
Grille #1
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AEb92 D G7
A96 G C7
F100 F! B7
B104
E7 A C F B"
108
109
110
111
Page 7
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C7"9
1t b2"t 3t 5t b
112
5
t3t b2"t 1t
b1t b2"t 3t 4
t5
tb6
"tb7
"t8
tgamme "jewish" = la gamme mineure harmoniquede fa (depuis la
quinte)
b7
"tb6
"t5
t4
t3t b2"t 1t
C1t
3
"t4
tb5
"t b116
b5
"t4
t3
"t1t b
1t
3
"tb5
"t7
"t b7
"tb5
"t3
"t1t b
1t b2"t b3"t 4t b5
"tb6
"tb7
"t8
tmode locrien120b7
"tb6
"tb5
"t4t b3"t b2"t 1t
Ct t t t b
Les principaux accords en arpges
122
t t t t bC7
t t t "t b "t t t t b
C
t "t t "t b126
"t t "t t bCt "t "t "t b "t "t "t t b
t t t t t t t t130
t t t t t t "t t t t "t t t t "t t
Page 8
Matriel supplmentaire
Cet exercice se continue en descendant ensuite la fondamentale
d'un demi-ton.
gamme majeure ou
mode ionien
Trois gammes essentielles :
gamme de dominante ou
mode mixolydiengamme mineure ou
mode dorien
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C
Concert133
F
D137
G7! 5!9
C
E"141 A "7 D "
D145
G7! 5!9
C G7! 5!9
D
Bb149G
E153 A7! 5!9 D
F
157
B "7 E "
E161 A7! 5!9 D
A7! 5!9
Page 9
Grille #2
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AEb
165
D
B169
E7! 5!9 A
C173
F7 B "
B177
E7! 5!9 A E7! 5!9
181
185
189
193
Page 10
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C F197
B" E" A" D " F! B E A D G
C D"203 D E" E F F! G A" A B" B
t t t t t tpentatonique majeure209
t t t t t c t "t t t "t tentatonique mineure
"t t t "t t c
t t t t "t t
pentatonique mixo213
"t t t t t c t "t t t t tentatonique mineur 6
t t t "t t c t "t t"t"t t
entatonique locrien217"t"t t"t t c t "t t "t t t
entatonique diminut "t t "t t c
Page 11
A - le cycle de quintes
Les principaux cycles
B - le cycle chromatique
Utiliser les cycles de quintes A et B pour groupes chromatiques,
groupes de 4 notes,
arpges, gammes, motifs, phrases, etc...
Les chelles pentatoniques
1. Jouer dans tous les tons en utilisant les cycles A et B
2. Usage :
accord majeur = P mineur (de la tierce) Ex: C
= E Pmiaccord mineur = P mineur
accord dominant = P mineur 6 (de la quinte) Ex: C7 = G Pmi6
accord mineur b5 = P locrien
accord dominante b9 = P dim (de la quinte) Ex: C7b9 = G Pdim
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t "t t !t t"t t
lues - forme mineure221
t t "t #t tt t
lues - forme majeure
Ct t c c d tILes phrases dans le blues
223
Ct t d tI t t d tI tC
t t t bC7d "tIt t t
F7
t tc c d
"tI
227 F7
t td"tIt t
dtI t
C
t tt c d tI
Cd tIt t t
tG7t c c d tI231
G7
t t d tI t t d tI tC
t t t bFine
Cd t t t
Page 12
1. Jouer dans tous les tons en utilsant les cycles A et B
2. S'utilise sur les accords mineurs correspondants
3. S'utilise sur un blues de la tonalit correspondante, c--d
si
blues I IV V = C7 F7 G7 = chelle C blues
phrase 1 phrase compl.
phrase 2 phrase compl.
phrase 3
Il y a trois phrases dans un blues 12 mesures. Souvent la
troisime sera contrastante mais les deux premires sont
souvent preque identiques. Les phrases complmentaires
sont facultatives et servent de lien.
phrase compl.
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F7
Grille blues "jazz" typique
I235
B "7 IV F7 I
B"7 IV239 F7 I D7 VI
G II243
C7 V F7 D7I VI G C7II V
CGrille blues mineur typique
I247
C7! 5!9
F IV251
C I
A"7 D bVI255 G7 G7! 5!9 V C I G7! 5!9D II V
Page 13
1. Mmoriser ces grilles
2. Transposer dans tous les tons (Truc: une ligne la fois)
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D7
AIImi7 - V7
259
G7
3
A D| t t G7
| |
Dt t "t t |263
G7t tI | Db t t t tG7t t t t |
Dd tY t t t t t t267
G7
t t !t t | DtIt t t tI G7
t t t |
D| "t t
II - V7b9
271
G7"9
| |Dt t "t t "|
G7"9t "t t |
Db t t "t t
275 G7"9t t t t |Dd tY t "t t t t t G7
"9t t !t t |
D
tIt "t t tI279 G7"9
t "t t t |D
t t t "t tI t tIG7"9t t "t t |
Page 14
Enchainements mlodiques1. Transposer chaque extrait dans tous
les tons
2. Travailler lentement, couter l'enchainement d'accords
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G7A
V7 - I
283 CA G7| t t C| |
G7b t t "t t
287 Ct t t |G7b t t t t
Ct t t t |
G7b
ttt t
291 C
t t !tt |
G7b t tt t
C
t ttt |
G7"9| t t
V7b9 - Imi
295 C"| | G7"9
b t t "t t C"t t t |
G7"9
b t t t t299 C
"t t t t |G7"9
b t t t tC
"t t t t |
Ct t t t t t t
I - I303
t t t |Ct t t t t t t t t t b
Ct t !t t t t t t307
t t t t |Ct t t t | t t t t |
Page 15
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D
1
t3
t5
t7
tG7
3
t1
t7
t5
t311 C
3
t5
t7
t6
t |
D
1
t7
t5
t3
tG7
1
t3
t5
t7
t C3133
t1
t7
t5
t |
D3
t5
t7
t9
t G75
t3
t1
t7
t315 C
3
t5
t7
t9
t |
D
5t
3t
1t
7t
G7
3t
5t
7t
9t
317 C
5t
3t
1t
7t |
D
5t
3t
1t
7t
3t
5tG7
7t
b9" t
319 C
5t
3t
7t
6t |
Page 16
L'arpgement (outlining chords) est une technique commune
plusieurs styles.
Cette technique est particulirement utile dans l'interprtation
des standards.
Il est bien d'viter d'tre trop conclusif sur le premier degr
MAJ.
L'arpgement
exemples d'arpgement et phrass conventionnels
Lorsqu'on part de 3 il est courant d'aller jusqu' 9. (3 - 9
)
Sur l'accord de dominante on peut baisser 9. (3 - b9)
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F7
t t "t t t t t321 B "7t t t t "t "t #t
F7
t t "t t t t t | c
B "7t t "t "t "t t t
325
t "t "t t t #tF7
t t "t t t tD7| c
G
c t"t tt t t329 C7t
t "t t t
F7
t t t
D7
|
G
a
C7
F7
t t "t t t t t333 B "7
t t t t "t "t #tF7
t t "t t t t t t d tIt t"t
B "7t t "t "t "t t t
337
t "t "t t t #tF7
t t "t t t tD7d t t t !tI
G
d"tY t t t t t t341 C7
t t "t t t tF7
t tD7
|G
t "t t tC7
t t t t
Page 17
avec phrases complmentaires
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t t "t t t "t t t
t t "t t t "t t t
345
t t "t t !t !t t t
t t "t t !t !t tt
346
t t "t t t t t t
tt "t t t t t t
347
t t t !t t t t tt t t !t t t t t
348
t t t !t t t "t t
t t t !t t t "t t
349
Page 18
Gammes supplmentaires :Mineure harmonique (jewish)
S'emploie sur la dominante
(G7b9)
Diminue - ton 1/2ton - huit notes - symtrique
S'emploie sur B7b9 (implique une 13e naturelle)
Mineure mlodique aussi appele
mineure jazz
S'emploie sur Cmin
Lydien
S'emploie sur C
Lydien b7
Driv de mineure jazz
S'emploie sur C7, C7#11 (surtout
lors d'une substitution)
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t "t "t "t "t "t "t t
t "t "t "t "t "t"t t
350
t t t t t t "t #t
t t tt t t "t #t
351
t t t t t !t t tt t t t t !t t t
352
t "t "t t t "t "t tt "t "t t t "t "t t
353
t "t " t #t t t "t "tt "t " t # t t t "t "t
354
Page 19
Altre (super locrien, diminue-ton)
Driv de mineure jazz
S'emploie sur C7#9, C7#5, C7b5, C7alt
Bebop dominante - huit notes
S'emploie sur C7
Bebop majeure - huit notes
S'emploie sur C
Phrygien
S'emploie sur C7sus (modal)
Phrygien espagnol (spanish phrygian)
S'emploie sur C7 ou enchainement C Db Eb
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t
t "t"tt t t t "t t t t t t t
t t "t "t t t t t " t t t t t t t
355 t "t "t t t t t t t t t"tt t
tt " t "t t t t t t t t t "t t t t
t
t t "t t "t t t t "t t t tt " t t
t t t "t t "t t t t " t t t t t " t t
357 t "t t t t "t t t t t "t t tt "t
tt " t t t t "t t t t t "t t t t "t t
Ct t t t t
P mineur
359 C
t t t !t t
C6
t t t t t361 C
t "t t t"t
C
t "t t t t363 C
t t t t t
Page 20
UTILISATION DES PENTATONIQUES - formules de pratique sur Cp
Accords et pentatoniques
de 3 de 7
de 6
de 5 de 2
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C
t "tt "t "t
P locrien
365 C9
tt t "t t
C
t t t "t t
C7"9"13
" t "t "t "t "t368 C
!t t t t t
C7
t "t t t tP min6
370 C
t "t t t t
C7
"9
t "t t "t tP dim
372
t t t "t !t !t t !t t "t !t !t !t t t
C7!11
t t "tC
"t "t
P aug
376
Page 21
de 3 de 6
de 7 de 4
de 5
de 5 de 3 de 9 de 7
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C7
t t "t t t t t
377 t tt t "t t t
t t t tt t "t t t t t !t t t
Ct "t t t t t t
381 t t t "t t t t t t t t t "t t t t t !t t t t
C7"9t t"t "t t t t
385 t "t t t "t "t t t t t "t t t "t t t t "t "t #t t
C7
t t t t "t t t tMotif supplmentaire
389
"t #t t t t t t t t t t t "t #t t t "t t t t |
Ct t t !t t t #t !t
393
t t t t t t t t t t t t t t t t t "t t t |
C7"9t t t "t "t t t t397 "t#t t "t t t t t t "t t t"t #t t t "t
"t t t |
Page 22
Exercices pour les gammes bop
Remarque : le principe des gammes bop peut s'appliquer la
plupart des chelless
sept notes en ajoutant une note entre 7 et 8 ou 5 et 6 selon la
qualit du septime degr.
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t t
ct t
cnote infrieure dia.401
t t c t t c t t
t tt t
t t t t c t t cnote suprieure dia.404
t t c t t c t t t t t t t t
t t t t t t
notes infrieure et suprieure dia407
t t t t t t t t t
t t t
t t t
t t t t t t t t t
note suprieure et infrieure dia.410
t t t t t t
t t t t t tt t t t t t
t t t t t t t t t t t t t tt t413 t t t t t t t t t t t t c
t ttt t t t t t t t t t t t t
415
t t t t t t t t t ttt c
Page 23
Approches diatoniques et chromatiques
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t t
c!t t
cnote infrieure chr.417
!t t c t t c t t
!t t!t t
t t "t t c t t cnote suprieure chr.420 "t t c "t t c "t t t t "t
t "t t
t "t t !t t t
note infrieure et suprieure chr.423
!t "t t t"tt t
"tt
!t t t
!t "t t
t "t t "t t t t !t t
note suprieure et infrieure chr.426
"t !t t "t t t
"t t t t !t t"t !t t "t t t
t t "t t t !t t t t !t "t t t t "t t429
t !t t t t !t "t t t t "t t c
t "t t t t t !t t t"t
!t tt "t t t
431
t t !t t t"t
!t t t "t t tc
Page 24
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PPPd d PYPP433 d d PPPYd d PY PPd d PPPd d PYPPd d PP PYd d
PYPPd d
P P P d c P P438
PY d c P P P d c P P PY d c
dPY P P
d d dPY
441
P Pd d d
PY P Pd d d
PY P Pd
P PY444
P P P P d d P P445
P P d d P P P P d d P P P P d d d PY P P PY d d PY
448
P P P d d PY P P PY d d PY P P P d
PPPPc dPY451
PPPdc PP PPc d PYPP PYdc PPPP c dPYPPPd c PPPPc d PYPPPYdc
P P P458
PY P PY P PYPage 25
groupes de 3
3(2)
Groupes rythmiques de 3 et 4 units
3(3)
3(3) dcal
variation
groupes de 4
4(2)
4(2) dcal
4(3)
var.1 var.2var.3
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1 2 3 4 5 6 7 8
461
1 2 3 4 5 6 7 8
t463
465
t
t467
469
t
t471
473
t
t475
477
tPage 26
Le 8/8 est une subdivision trs utilise dans la musique de
"groove"
Phras rythmique - le concept 8/8
& de 4, 1eChaque point rythmique suggre un "feel"
diffrent.
& de 4, 2e
& de 2, 1e
& de 2, 2e
& de 3, 1e
& de 3, 2e
& de 1, 1e
& de 1, 2e
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4444
bt c tb t t
C = 151 tc c"t "tc td ttI
ddtY
tI cc tb t ttc ct bd t
b
"t c
"t
b"t t
5 t
c
c
"t"tc
tdttI
d
d
tY
tI
c
ctbt t t
c
c
t
b
d !t
c
t
"t
c
t d
b
tY t9 t
c
t c
t
t
c
t
d
t
tI
d
d
tI
tI
c
c
b
c t
a
c t d !t
F713 B "7 F7
B"717 F7 D7
G21 C7 F7 D7
G C7
BL151swing feel R. Pelletier
Robert Pelletier 2005
- 27 -
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!! 44 44
bt c tb t t
C = 151 tc c"t "tc td ttI
ddtY
tIcc tb t ttc ct bd t
!!
b
"t c
#t
b
"t t5 t
c
c
"t
"t
c
t
dt
tI
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Robert Pelletier 2005
- 28 -
Bb
-
8/4/2019 Cours_impro
31/53
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R. Pelletier
Robert Pelletier 2005
- 29 -
Eb
-
8/4/2019 Cours_impro
32/53
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-
8/4/2019 Cours_impro
33/53
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- 31 -
-
8/4/2019 Cours_impro
34/53
t t t t t t t t40
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- 32 -
-
8/4/2019 Cours_impro
35/53
t t
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- 33 -
-
8/4/2019 Cours_impro
36/53
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120
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- 34 -
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190
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- 35 -
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tt t t
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218
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225
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232
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- 36 -
-
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t "t t
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4 notes MI
- 37 -
-
8/4/2019 Cours_impro
40/53
t t t t t t t t t t t t t t t "t A
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- 38 -
-
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t t t t t t t t t t t t "t t t t A
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117
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- 39 -
-
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tt "t t
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5134127
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148
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162
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- 40 -
-
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44t "t t t t
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groupes de 2 et 4 notes avec b9
- 41 -
-
8/4/2019 Cours_impro
44/53
t t t !t t "t t ! t t "t t !t t t t t A
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- 42 -
-
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t t !t t "t t ! t t "t t !t t "t t t t A
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t t "tt
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- 43 -
-
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!t t t t ! t t t "t !t t t "t t t t "t A
t ! t # t t t "t t t3215
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t "t t t t "t t t3251
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t t t "t t t t "t3512
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t "t !t t t "t t t t "t A
t t "t t t t "t t3521
t t t "t t t t "tt "t t "t t t t "t
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tt "t t
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-
8/4/2019 Cours_impro
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tt t "t
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! tt ! t # t
t t !t tt
t ! t "t t t !t "tt
t t "t A
t "t t t t "t t t5213
tt "t t t
t " t t"t
t "t t tt "t t
!t t !t !t! t # t t ! t
t t t !t t "t t ! t t "t t !t t "t t t A
t "t t t t "t t t5231 t
t t "t tt t "t
"tt t "t t
t t "t!t t !t !t
! t # t ! t t
t t !t t t "t ! t t t "t ! t t t "t t t A
t t t "t t t t "t5312
t t "t #t "t t "t #t "t t "t # t "t t "t#t!t ! t !t t ! t ! t t
# t
t !t t t t ! t t "t t !t t "t t t t "t A
t t
"t t
t t "t t
5321 t t t "t t t t "t"t t t "t t t
t "t
!t ! t t !t! t ! t # t t
t !t t t t ! t "t t t !t "t t t t "t t A
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t "t t
"t t "t "t"t
1345
"t "t "t"t
!t !t ! tt !t t !t
t! t t !t
#t !t t tt t t t
t
t t t "t t t t "t t t t "t t "t t "t A
t "t
"t t t "t"t "t
1354
"t "t"t "t
!t !tt !t !t t
t !t! t t
#t !t !t tt t t t
t t
t t "t t t t "t t t t "t t t "t "t t A
t t "t
"t t "t "t"t
1435
"t "t "t"t
!t !t ! tt !t !t t
t! t !t t
#t ! t t tt t t t
t
t t t "t t t t "t t t t "t t t "t "t A
t t "t "t t"t "t
"t
1453
"t "t"t "t
!t !t t !t !t! t t t
! t ! t #t t !tt t
tt t
t t
t t "t t t t "t t t t "t t t t "t "t A
t
"t "t t t"t "t "t
1534
"t"t "t "t
!tt !t !t !t
t t !t! t
#t t !t ! tt t t t
t t t
t "t t t t "t t t t "t t t t "t "t t A
t
"t t "t t"t "t "t
1543
"t"t "t "t
!tt !t !t !t
t !t t! t
#t !t t !tt t t t
t t t
4 notes MIb5
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t "t t t t "t t t t "t t t t "t t "t A
"t t "t t "t t t "t3154
"t "t "t "t !t !tt !t t ! t
t ! tt ! t
#t !t t!tt t t t
t t
t t "t t t t "t t t t "t t "t t "t t A
"t t t "t "t t "t "t3145
"t "t "t"t
!t !t ! tt t ! t ! t
tt ! t !t
#t t!t tt t t t
t
t
tt "t t t t
"t
t tt "t "t t t
"t A
"t t t "t "t "t t "t3415
"t "t "t"t
!t !t ! tt t ! t ! t
tt !t ! t
# t t t!tt t t t
t
t t t "t t t t "t t t t "t "t t t "t A
"t t "t t "t "t "t t3451 "t "t "t "t !t !t t !t
t ! t t ! t t !t #t! tt t t!t
t t t t
t t "t t t t "t t t t "t t "t t "t t A
"t"t
tt "t
"tt "t
3514
"t "t "t "t !t t
!t
!t tt
! t ! t
t
#t
! t!t t
t!t t
t t t t
t "t t t t "t t t t "t t t "t "t t t A
"t "t t t "t "t "t t3541
"t "t "t "t !t t !t !tt t ! t ! t t #t !t ! t
t t t!tt t t t
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t "t t t t "t t t t "t t t "t "t t t A
t t "t "t "t t "t "t4135
"t "t "t"t
!t ! t !tt ! t ! t t
t!t ! t t
#t t !t tt t t t
t
t t t "t t t t "t t t t "t t t "t "t A
t t "t "t "t t t "t4153
"t "t"t "t
!t !tt !t
! t ! tt t !t! t
# t tt !t
t tt t
t t
t t"t
t
t
t
"t t
t t "t t
t
t
"t "t A
t "t t "t "t "t t "t4315
"t "t "t"t
!t ! t !tt ! t t ! t
t!t t! t
#t t t !tt t t t
t
t t t "t t t t "t t t t "t t "t t "t A
t "t "t t "t "t "t t4351
"t "t "t "t !t ! t t !t! t t t ! t !t t #t! t
t t t !tt t t t
t t "t t t t "t t110
t t "t tt "t "t t A
t "tt
"t"t "t t "t
4513
"t "t "t "t !t t !t ! t! t t ! t t ! t #t
! tt
t t !t tt t t t
t "t t t t "t t t t "t t t t "t t "t A
t "t "t t "t "t "t t4531
"t "t "t "t !t t !t ! t! t t t ! t ! t #t t! t
t t t !tt t t t
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t "t t t t "t t t t "t t t t "t "t t A
"tt "t t
"tt "t "t
5134 "t"t "t "t t
!t !t ! tt
! t t ! t #t! t t !t
t! t t t
tt t t
"t t t t "t t t t "t t t t "t t "t t A
"tt t "t
"tt "t "t
5143 "t"t "t "t t
!t !t ! tt
! t ! t t #t! t !t t
t! t t t
tt t t
"t t t t "t t t t "t t t t "t t t "t A
"t "t t t "t "t t "t5314 "t "t "t "t t !t !t ! t
t t ! t ! t # t t ! t !tt t ! t t
t t t t
"t t t t "t t t t "t t t t "t "t t t A
"t "t tt
"t "t "t t
5341 "t "t "t "t t !t !t ! tt t ! t ! t# t t !t
! t
t t t ! tt t t t
"t t t t "t t t t "t t t t "t "t t t A
"t t t "t "t "t t "t5413
"t "t "t "t t !t !t ! tt ! t ! t t # t !t! t t
t t ! t tt t t t
"t t t t"t t
tt
"t t t t"t t
t "tA
"t t "t t "t "t "t t5431 "t "t "t "t t !t !t ! t
t ! t t ! t # t !t t ! tt t t ! t
t t t t
"t t t t "t t t t "t t t t "t t "t t A- 49 -
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Liste de standards etpices originales.
Titre Tons Mtr.
a child is born 3
a foggy day 4
a night in tunisia 4
afternoon in paris 4
alice in wonderland 3all blues 3
all of me 4
all of you 4
all the things you are 4
au privave 4
autumn leaves E- G- 4
beautiful love 4
black orpheus 4
blue bossa 4
blue monk 4
bluesette 3
body and soul 4
corcovado 4
days of wine and roses F Ab 4
desafinado 4
footprints 3
four 4
freddie the freeloader 4
gentle rain 4
giants steps 4
girl from ipanema 4green dolphin street C Eb 4
have you met miss jones 4
how high the moon 4
how insensitive 4
invitation 4
just friends 4
lady bird 4
lullaby of birdland 4
misty 4
mr pc 4
my foolish heart 4
my funny valentine 4
my one and only love 4
my romance 4
night and day 4
oleo 4
once i loved 4
one note samba 4
recordame 4
round midnight 4
scrapple from the apple 4
serenade to a cuckoo 4
shadow of your smile 4
Titre Tons Mtr.
someday my prince will come 3
sometime ago 3
song for my father 4
stella by starlight 4
stolen moments 4stompin' at the savoy 4
straight no chaser 4
sugar 4
take five 5
take the a train 4
there is no greater love 4
there will never be another you 4
tough talk 4
triste 4
up jumped spring 4
wave 4
well you needn't 4
4
caravan 4
things ain't what they used to be 4
moondance 4
poinciana 4
little sunflower 4
the way you look tonight 4
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