Melodic contrafact as a significant component of composition in jazz music of the 1930–1960 years

One of the most important components determining the level of professional competence of a modern musician specializing in jazz performance is the possession of the basic laws of improvisational art based on knowledge and understanding of the laws of traditional harmonic constructions and stylistic features of composition in jazz music of the 1930–1960. Understanding the historical context of the emergence of harmonic models in the sections of form, recognition and skillful use of stylistic elements of musical language, its means of expression, is an integral part of the professionalism of a qualified performer and teacher. The typology and systematization of the main types of harmonic schemes of jazz works of the midtwentieth century helps the optimal practical and theoretical development of technological principles and various creative methods aimed at the further development of the harmonic thinking of the performer. The object of this study is one of the most important methods of jazz composition of the 1930–1960 years – melodic contrafact.