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  • Cornerstone 2000

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    This document contains two musical compositions by Junji Lerma: 1. A modern jazz piece in A with call-and-response phrases and complex rhythms. 2. A longer composition that modulates between several keys and features overlapping melodic lines between instruments. It builds in intensity through repetition and variation of its themes. Both pieces reflect Lerma's style of experimental modern jazz through their layered complexity and rhythmic interplay between different musical elements.

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    This document contains two musical compositions by Junji Lerma: 1. A modern jazz piece in A with call-and-response phrases and complex rhythms. 2. A longer composition that modulates between several keys and features overlapping melodic lines between instruments. It builds in intensity through repetition and variation of its themes. Both pieces reflect Lerma's style of experimental modern jazz through their layered complexity and rhythmic interplay between different musical elements.

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    © All Rights Reserved
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    6 views1 page

    Cornerstone 2000

    Uploaded by

    francis.deveyra
    This document contains two musical compositions by Junji Lerma: 1. A modern jazz piece in A with call-and-response phrases and complex rhythms. 2. A longer composition that modulates between several keys and features overlapping melodic lines between instruments. It builds in intensity through repetition and variation of its themes. Both pieces reflect Lerma's style of experimental modern jazz through their layered complexity and rhythmic interplay between different musical elements.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
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    of 1

    Modern Jazz

    Cornerstone
    Junji Lerma
    q = 130
    A.

                       


    A7(#11) A7(#11)
      
             

    4
              
    A7(#11) C7(#11)
          C7(#11)
             
           

      


                     


    A7(#11) A7(#11)
         
    7 C7(#11)
        
        
    B.
    E¨13(“4) D‹7(“4) D¨‹13(“4) C‹7(“4) F‹7(“4)
                        
    10
      

    A¨‹7(“4) F©(“4) G(“4) G©(“4) A(“4)
     
    1. E%(#11)/B¨
     
          
                  
    12
       

          
    2. A¨‹7(“4) F©(“4) G(“4) G©(“4) A(“4) G©(“4) A(“4) B¨(“4) B(“4) E%(#11)/C
         
    14
                         
          

    Junji Lerma 2017

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