Index 1. Left hand voicings 1.1 2 voices 1.2 3 voices 1.3 4 voices 2. Two hand voicings 2.1 5 voices 2.2 drop 2 voicings 2.3 quartal voicings 2.4 upperstructures 3. Scales 4. Arpeggio’s 5. Chromaticism 5.1 leading notes 5.2 passing notes 5.3 embellishing notes 6. Building a repertoire 6.1 bebop 6.2 monktunes 6.3 modal jazz 6.4 standards 6.5 blues/hardbop 6.6 bossa 6.7 modern jazz 6.8 originals 7. Comping (rhythm, melody, approach chords) 8. Theme’s 8.1 piano/trio arrangements 8.2 solopiano (rubato/performance) (rubato/performa nce) 9. Listening/transcribing 1
2
Jazz Piano Essentials The purpose of this book is to provide the students with clear information about what they should know when they graduate from the conservatory. After 15 years of teaching jazzpiano at the Royal Conservatory in The Hague and the Conservatory of Amsterdam I discovered that the ‘natural’ talents will always develope into great jazzpianists anyway (just by listening to the recordings of the great masters), but there’s also a large group of students that need practical information and clear assignments how to study and what to work on. Also the fact that the government reduced the lenght of the study to 4 (!) years makes it even more important to study efciently to gain a reasonable level of musicianship. Besides that there’s also a number of students that seem to nd a way to escape from studying the essentials, by working on a very limited part of jazzpiano music. It’s good to develope your own style off course, but studying also other styles will actually expand your possibilities to work after nishing the school! It’s not necessary to study all the pianostyles chronologically chronologically (I started working on bebop after my graduation...) as long as you do study them! In the next chapters I will give clear examples and exercises to study; feel free to make as many variations as possible! I expect the student to work on at least 5 keys. Later on return to the same exercise and do the other 7 keys to complete it. Favourite (jazz-) keys to start with are: C, F, Bb, Eb and G and their minor keys Ami, Dmi, Gmi, Cmi and Emi. We will work on tunes to which the exercise can be applied. For example 5-note chords on a major II – V – I : Green Dolphin Street, Afternoon Aftern oon in Paris, Paris, Ornithology Ornitho logy.. To conclude this prex I have to admit that we must not forget that jazz is all about personal expression and interaction/communication interaction/communication between musicians and about developing your own style of playing, however graduating at a conservatory is also about knowledge (especially when you want to become a teacher yourself!) and skill (to be a versatile and usefull musician). So let’s get rolling and study the essentials of jazzpiano! Good luck!
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4
I Left hand voicings 1.1: 2 voices First of all let’s look at a number of 2-note voicings; the rst voicing to practise is what we call ‘Bud Powell-voicing’, you can use this type of voicing in the beboptunes. Also a very handy voicing to practise lines at home, because the root is in the chord. The root plus the 3 or 7 (or 6 sometimes); practise the following examples:
? úú
ú
Dmi
ww < ú > ú
G7
C^
C6
Dmi
G7
úú
combination with lines 3
Ï Ï Ï Ï Ï Î Ï ww < ú >
& ä Ïj Ï Ï Ï Ï b Ï Ï Ï ú ? úú Dmi
G7
C^
3
C6
C^
C6
w
ä Ïj Ï Ï Ï bÏ Ï ä ÏJ w ú úú w 3
Dmi
G7
C^
Possibility number 2: the third and the 7 (or 6) without root; we call this the shell of the chord. Can be used in the blues, or as a basis for upperstructures (2.4); practise the following examples:
Dmi
? úú
F7
b w ? . ww
Blues in F
Bb7
w bw ? bw
w bw bú
Gmi7
C7
? bww
w
ú
ú
Bb7
F7
C6
w bw bw
¡ ¢
Bb7
G7
C^
ú ú
ú
Dmi
ww < ú > ú
G7
bww w
úú
b ww
F7/C
Bb7
w
B0
nú
b úú búú ú bú F7
b úú ú
C^
D7
#úú ú
C6
w < ú > w
Cmi7
F7
b b úú
úú ú
Ami7
ú ú
G7
ú ú
D7
#úú ú
C7
búú
.
ú
5
1.2: 3 voices The rst one is a combination of the former 2 voicings: the root plus 3 and 7 (or 6). Also used by Bud Powell (Celia/Bouncing with Bud) ; to be practised in both close and wide voicing:
? úú
ú ú
Dmi
ww < ú >
G7
C^
C6
ú ú
úú
Dmi
G7
C6
w <ú > w
C^
Second possibility: the “shell”(3 and 7 or 6) with 1 note added; practise the following examples:
Dmi/9
ú ?ú
G7/13
úú ú
ú
G7/13
C7/#9
ú # ú b ? úú ú ú
C^/9
C6/9
Dmi/9
ww < ú > úú
F7/13
w
ú # ú b búú ú b ú
G7/b13
C^/9
b úú
Ami7
Gmi7
Ab0
úú úú ú bú
C6/9
ww < ú >
ú
ú
Bb7/#9
w
Gb0
b úú búú ú b ú
Variation: Bill Evans type voicing (4-note chord , one note omitted!) Example:
C7
Gmi
ú Ï b Ï bú ú Ï Ï b Ï ? Ï ú
F^
F6
wÏ Ï Ï bÏ ú
Quartal left hand voicings: build 2 fourth’s , preferably include third of the chord! Examples:
w ?w w Dmi
Dmi6/9
ww w
ÏÏ.. úú Dmi
ÏÏ ww J
Dmi
úú ú
G7
úú ú
C6/9
ww w
1.3: 4 voices Also referred to as “Bill Evans voicings”, the shell with 2 notes added, for example the 5 + 9, or 7 + 13, etc Practise the following examples:
6
Major Key with different extensions:
Dmi7/9
ú ?ú ú
Dmi7/9
G7/9/13
úúú ú
C^/9
G7/b9/13
C^/9
ú ú ? ú b úúú ú
Dmi7/9
G7/b9/b13
ú b ú ú b ? úúúú ú
Dmi7/9
G7/9/b13
ú b ú ú n úú ? ú ú
A7b9/b13
úú b# úúúú ú ú
A7b9/b13
úú b# úúúú ú ú
C^/9
A7b9/b13
úú ú
C^/9
Dmi7/9
úú ú
Dmi7/9
A7b9
Dmi7/9
ú
G7/b9/13
ú
ú # b úúú ú
úú b# úúú ú
úúú ú
úú b úúú ú
Dmi7/9
G7/9/13
G7/b9/b13
úú b b úúúú ú ú
G7/9/b13
úú bn úúú ú ú
C^/9
ww w
C6/9
www w
C^/13
www w
C6/9
www w
And the most important inversions:
Dmi7/9
úúú ? ú
Dmi7/9
G7/9/13
úúú ú
G7/b9/b13
úúú b b úúú ? ú
ú
C^/9
A7#9/b13
úúú # úúú ú
C^/9
ú
A7b9/b13
úúú b# úúú ú
ú
Dmi7/9
úúú ú
Dmi7/9
G7/9/13
úúú ú
G7/b9/b13
úúú b b úúú ú
ú
C^/9
www w
C6/9
www w
7
Minor key
Dmi7/b5
G7/b9
Cmi7/9
Ami7b5
b ú ú ú ú ú ú b b b ? ú úú bú úúú ú
ú
Dmi7/b5/9
G7/b9/b13
ú b ú b ú b ? úúúú ú
A7b9/b13
Cmi6/9
ú ú # ú b ú ú ú ú b ú ú
Dmi7/b5
G7/b9
Cmi7/9
b úúú b úúú b bww ú ú
Dmi7/b5/9
w
G7/b9
Cmi6/9
b úú b b úúúú ú
w bww
ú
w
In minor we can choose for a root or 9 on the II; Also the II can be replaced by a IV mi(6):
Fmi6/9/D
G7/#9/b13
Cmi6/9
b ú ú n b ú # ? ú úúú
w bww
ú
w
Also a good thing to practise in the right hand with the left hand providing the root, or a (walking) bassline! Examples:
Dmi7/9
C^/9
A7b9/b13
Dmi7/9
G7/b9/b13
C^/9
j j j j ä Î b Ï ú ä Î Ï ú Ï b Ï . . & ÏÏ úú ÏÏÏ. # ÏÏ úú ÏÏ b ÏÏ. n ÏÏÏ www ? Ï Ï Ï Ï Ï Ï Ï b Ï Ï Ï bÏ Ï b Ï Ï w j j j j ä ä î ä ä & ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ î b b ÏÏÏj ä ä ÏÏÏj î b b ÏÏÏj ä ä ÏÏÏj î ? Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï > > ¡ . . ä ä & b b ÏÏ ÏÏ ÏÏ.. b ÏÏÏ ÏÏÏ ÏÏÏ... ?¢ . Ï. Ïj Ï. bÏj bÏ. Ïj Ï . b Ï n Ï Dmi7/9
8
G7/9/13
G7/9/13
Dmi7/9
G7/9/13
Cmi7/9
F7/9/13
Cmi7/9
F7/9/13
II Two hand voicings 2.1: 5 voices Use the “Bud Powell” voicings in the left hand, root + 3 or 7 (6), and add 3 notes with the right hand. These voicings are great for comping. Examples:
Dmi7/9
& úú ?ú Dmi7/9
G7/9/13
úú úú G7/b9/13
& úú búú ? ú úú Dmi7/9
G7/b9/b13
& úú b búú ? ú úú Dmi7/9
G7/9/b13
& úú b úú ? ú úú
C^/9
A7b9/b13
úú b#úú ú úú C^/9
A7b9/13
úú # b#úú ú úú
C^/9
A7b9/b13
úú b#úú ú úú
C^/9
A7b9
úú b#úú ú úú
Dmi7/9
G7/9/13
C^/9
C6/9
úú ú
úú úú
úú ú
úú ú
Dmi7/9
G7/b9/13
úú búú ú úú Dmi7/9
G7/b9/b13
úú b búú ú úú Dmi7/9
G7/9/b13
úú b úú ú úú
C6/9
ww w C6/9
ww w C6/9
ww w 9
Important inversions:
Dmi7/9
G7/9/13
C^/9
A7b9/b13
Dmi7/9
G7/b9/13
C^/9
ú &ú ? úú
úú ú
ú ú ú b ú & ? úú ú Dmi7/9
G7/b9/b13
ú b ú ú b ú & ? úú ú
Dmi7/9
G7/9/13
C^/9
A7b9
Dmi7/9
G7/b9/13
C6/9
A7b9/b13
Dmi7/9
úú búú úú # ú
úú úú
úú búú úú # ú
C^/9
úú ú
úú búú úú ú
úú búú úú # ú
ww ww ww ww
G7/b9/b13
C6/9
úú b búú úú ú
ww ww
In minor:
Dmi7/b5/11 G7/b9/b13
& b úú b búú ? ú úú
Cmi6/9
A7b9/b13
úú b#úú bú úú
add some rhythm!
DØ
G7alt
Cmi6/9
. j j j ä ä b Ï ä b Ï & b ÏÏ ÏÏ b Ï Ï n ÏÏ Î. ? ä ÏJ ÏJ ä ÏÏ ÏÏ ä bÏJ Î. 10
Dmi7/b5/11
G7/b9/b13
b ú ú b b ú ú ú úú
Cmi6/9
ww bw
>Ïj Ï ^ .j bÏ Ï> w Ï# Ï bÏÏ ä b ÏÏ Î b bÏÏ b Ï bÏ bw ÏÏ ÏÏ ÏÏ ä Ï Î ÏÏ Ï bÏÏ bww J J A7alt
DØ
G7alt
Cmi7/9
2.2: drop 2 voicings This is a very special piano technique that is related to the former voicings; you just omit the root. You take any 4-note voicing and drop the 2 nd voice (from the top) an octave down. Practise the next examples:
Dmi7
& ÏÏ ? Ï
ÏÏÏ ÏÏ ÏÏ
D7
& # ÏÏ ÏÏÏ ÏÏ ? Ï #Ï Ï
Dmi7/b5
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
#ÏÏ #ÏÏ ÏÏ Ï # w # Ï Ï ÏÏ bÏÏ #ÏÏ b#ÏÏ ÏÏ Ï # w Ï w Ï b Ï Ï b Ï bÏ Ï w Ï Ï Ï Ï #Ï w bÏ #Ï Ï Ï Ï Ï #Ï bw
ÏÏ Ï
ÏÏ Ï
ÏÏÏ Ï
ww w
Ï b Ï b ÏÏ ÏÏ Ï Ï Ï bÏ
ÏÏ bÏÏ bÏÏ ÏÏ bÏÏ w Ï b w Ï Ï Ï bÏ Ï w
Eb0
Eb0 variation
D^
# Ï # Ï Ï & # ÏÏ n ÏÏ b bÏ# Ï Ï##ÏÏ b bÏÏnnÏÏ # ww ## ÏÏ ÏÏÏ#ÏÏ ÏÏ b Ï Ï Ï Ï #Ï bw Ï #Ï Ï # Ï Ï ? bÏ #Ï
##ÏÏ #ÏÏ ÏÏ # ÏÏÏ ## w w Ï # Ï Ï #Ï w
Diatonic suspension/passing notes
Dmi
G7alt
b Ï b Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï bbÏÏ Ï w Ï Ï b Ï b Ï & Ï ÏÏ ÏÏ Ï ww Ï w Ï Ï b Ï Ï b Ï Ï Ï Ï bÏ Ï Ï bw Ï Ï ? Ï Ï w G7b9/#11/13
b ÏÏ b Ï ÏÏ & bÏ ÏÏÏ ?
ú
(oct)
Ï bÏÏ Ï #Ï
Ï #ÏÏ Ï bww Ï bÏ bÏ w 11
Ï Ï b Ï Ï Ï Ï b Ï Ï ÏÏ ÏÏ & Ï b Ï Ï ? Ï Ï Ï bÏ Ï Dmi
G7b13
ÏÏ ÏÏ ÏÏ î ÏÏ Ï ÏÏ Ï b b bÏÏ bÏ b bÏÏ bÏ b Ï bÏ nÏ î Ï Ï Ï Ï bÏ bÏ bÏ Ï
C^
Dmi
G7
Abmi
Db7
G7alt
b Ï b Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï b Ï bÏ Ï bbÏÏ Ï & ÏÏ b# ÏÏÏ n ÏÏÏ Ï Ï Ï Ï Ï b Ï Ï b Ï Ï Ï Ï bÏ Ï Ï Ï ? Ï Ï Ï Dmi7
C^
ww w
Ï
C6/9
ww w
ú
2.3: quartal voicings As we saw with the 3-note left hand voicings we build fourth’s into 4-note or 5-note chords. Practise diatonic movement in different scales/keys!
Dmin (dorian)
4-note
&Ï ? ÏÏ
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
Ï Ï
-note
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
You can add a third to the voicing, like the “so what” chord
including third
& ÏÏ ? ÏÏ
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
Also practise a pentatonic movement
pentatonic
& ÏÏ ? ÏÏ
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
úú ú 13
A combination of the 3 possibilities:
combination (kenny kirkland)
Ï Ï Ï Ï Ï Ï & ä ÏJ ä J ä J Ï Ï Ï Ï Ï Ï ? ä ÏJ ä J ä J Ï
úú ú
ÏÏ.. Ï.
ÏÏj ÏÏ ÏÏ J
Î Î
ÏÏ Ï
ÏÏ Ï
úú .. ú.
j j Ï ä ÏÏ ä Ï ÏÏ Ï Ï Ï Ï Ï äJ äJÏ
úú ú
Over a harmonic progression:
ÏÏj Ï J
(alone together)
&ä ? ä
AØ
ú &ú b ú ? úú
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
Eb7alt
b b búú b úú
úú . bú ä #Ïj Ï Ï ú .. Ï Ï ú Ï Ï ú. búbúú # úú Bb7
A7
w
D7alt
búú #úú
b ú
Dmi
Gmi6
ww
búú #ú
ú
bww w
2.4: upperstructures Take any left hand voicing and add a structure with the right hand; this could be: 1) a triad (preferrably a major or minor triad) 2) a fourth chord 3) a 4-note chord (dominant 7/ diminished7 chord) 1) you can build triads on all steps of the scale; choose the ones you like best; practise the following examples:
Dmi7/9
ú &ú ?ú 14
G7b9/13
búúú úú
C^9
ww ww
Dmi7/9/11
úú úú ú
G7/9/13
úú úúú ú
C^9
ww ww w
Dmi7/9/11
C^9
G7/b9/b13
úú b b búúú & ú b ú ú b ? úúúú
DØ/9/11
ww ww
ú
úú b úú
b b búú b búú b & b w b ? www G7alt
ú#ú b#ww
Cmi7/9
w bw b bww
w
G7alt
ú
ú
w
b b búú b úúú úú
C#0
w
Cmi^/9
ww w bw w
Cmi11
bww b b ww
2) the fourth chord upperstructures sound especially good on dominant chords; practise:
F7
B7 Bb7
b Ï . ú Ï b . & ú b Ï Ï . b ú Ï Ï . ú Ï b Ï ?
Gb7
úú .. b bÏ Ï b Ï Ï ú . bÏÏ bÏ
F7
Ab7/D7
G7/Db7 Gb7/C7
úú b b búú b úú b úú
F7
ww w
F7
úú b b búú ww úú b b úú b ww
ú b < úú > b< úú > b< úú >
w
3) the 4-note upperstructures give a typical sound; practise:
C7/9/#11
& #ww ? b ww AØ
ú &ú b ú ? úú
C7/#9/#11
##ww bww
D7alt
b búú ##úú ú
F7/#9/#11/13
w#w b b ww w
Gmi^
# ww b ww w
Î
F7#9/13
ú b b bÏÏ ÏÏ b Ï b ÏÏ C7
F7
Ï Ï
Bb7#9/13
Ï#Ï Î b b bnÏÏ b ÏÏ b Ï bú Bb7
###nÏÏ # bÏÏÏ
Eb7
Eb7#9/13
Ab7#9/13
Î b#ÏÏ Î b bnÏÏÏ b ÏÏ bÏ b ú bú Ab0
Ab^
bnÏÏ nÏÏ ú b ú b Ï b úú b úú bn ÏÏ w bw b Ï
Now let’s move on to the melodic aspects. 15
© Sebastiaan Cornelissen
16
6)
diminished scale; to be used on diminished chords and dominant 7 (with b9/#11/13) practise the following examples in C, G and D (C7/A7/Gb7/Eb7 and E0 /Db0 /G0 /Bb0 are the same scale)
b Ï Ï Ï # Ï & Ï bÏ bÏ nÏ #Ï Ï Ï bÏ Ï bÏ bÏ nÏ Ï b Ï Ï Ï #Ï Ï bÏ bÏ Ï bÏ Ï Ï #Ï Ï bÏ bÏ w & C7b9/#11/13
E0
20
b Ï n Ï b Ï Ï Ï #Ï Ï bÏ #Ï Ï #Ï w b Ï Ï & Ï #Ï Ï Ï b Ï # Ï Ï b bÏ #nÏ bnÏ bÏ Ï b bÏ #Ï Ï b bÏ #n Ï bn Ï b b Ï w & Ï b Ï #Ï Ï Ï Ï bÏ bÏ #Ï Ï Ï bÏ bÏ bÏ Ï Ï Ï bÏ bÏ #Ï Ï Ï #Ï nÏ & Ï Ï Ï b Ï # Ï b Ï Ï b Ï b Ï b Ï Ï Ï b Ï bÏ Ï Ï Ï Ï bÏ bÏ bÏ b Ï Ï & b Ï Ï Ï # Ï b Ï n Ï & Ï bÏ bÏ nÏ #Ï Ï Ï bÏ Ï bÏ ? Ï bÏ Ï Ï #Ï Ï bÏ bÏ Ï bÏ Ï Ï #Ï Ï b Ï b Ï Ï b Ï Ï Ï #Ï Ï bÏ bÏ Ï bÏ Ï Ï #Ï Ï bÏ bÏ w & w b Ï Ï Ï ? # Ï b Ï n Ï b Ï Ï b Ï Ï Ï b Ï b Ï n Ï #Ï Ï
Another way of practising scales is to divide them into intervalls; let’s try the third’s, fourth’s and sixth’s:
C major
& ÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï & ÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï & ÏÏÏÏÏ Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
Make as many variations as possible:
+ leading note
3
3
& Ï Ï # Ï Ï Ï #Ï Ï Ï Ï Ï Ï #Ï Ï Ï #Ï Ï Ï #Ï Ï Ï Ï Ï 3
3
3
3
3
rhythmic
variation
3
&ÏÏä ÏÏä 3
COMBINATIONS
& ÏÏÏÏÏÏÏÏ
Ï Ï Ï Ï ä Ï ä ä ä Ï ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 3
3
3
3
3
intervalls can be played melodically or simultaniously (harmonically).
Ami (harmonic)
&Ï Ï Ï & # Ï b b Ï A7 (oct)
Ami (melodic)
Ï #Ï Ï Ï Ï # ÏÏ # ÏÏ ÏÏ nn Ï ## Ï bÏ nÏ b#Ï
ÏÏ ÏÏ #ÏÏ #ÏÏ #ÏÏ Ï #w
We will see the same thing with triads and four note chords in the next chapter. 24
IV Arpeggio’s A very important thing to practise that you can apply to almost any jazzstyle! Practise 3-note arpeggios in different type of scales (for example minor, major, altered, diminished, etc), but also on harmonic progressions. Examples:
D minor (dorian)
Ï Ï Ï Ï Ï Ï &ÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏ ÏÏ Ï Ï 3
3
3
3
D minor (harmonic)
3
3
3
3
Ï Ï Ï Ï Ï Ï Ï Ï Ï # Ï # Ï Ï b Ï b Ï b Ï Ï Ï Ï & Ï Ï Ï Ï Ï Ï
3
3
3
3
3
5
3
3
3
3
b Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & Ï Ï Ï b Ï bÏ Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï E7 (altered)
C# (diminished scale)
Ï # # Ï Ï Ï Ï # Ï # Ï Ï Ï # Ï Ï Ï n # Ï n Ï b Ï Ï b Ï b Ï & Ï # Ï Ï Ï Ï Ï# #Ï Ï Ï Ï Ï# Ï Ï Ï
7
Ï Ï Ï # Ï Ï Ï Ï Ï # Ï n Ï # Ï Ï n Ï Ï Ï Ï Ï Ï # Ï Ï n Ï & #Ï Ï Ï Ï #Ï Ïn Ï Ïn Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & Ï Ï Ï Ï # Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï #Ï Ï #Ï Ï Ï
9
C major
(leading note)
11
> > Ï > Ï Ï> Ï Ï Ï> Ï Ï Ï> Ï Ï Ï Ï> Ï Ï Ï Ï> Ï Ï Ï & Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
13
rhythmic variation
25
photo by Linda Burmeister
28
V Chromaticism 5.1: leading notes can be used both ascending and descending, however the former is the strongest. Leading notes can be applied to arpeggios and to scaletype lines. Practise single approach and double approach, and before the beat and on the beat. Note: examples are in D minor; practise different keys and scales! Scale:
& b 44 # jÏ Ï Ï Ï Ï Ï ä #Ïj Ï Ï Ï Ï Ï ä Ïj Ï Ï Ï Ï Ï ä #Ïj Ï j Ï Ï j Ï Ï Ï Ï Ï Ï Ï 44 Ï Ï Ï Ï b Ï ä Ï ä Ï ä n Ï Î Ï & Ï Ï #Ï Ï J Arpeggio (3-note):
Ï Ï Ï Ï 4 Ï Ï Ï Ï Ï & b 4 # jÏ Ï Ï Ï#Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï #Ï Ï Ï Ï nÏ Ï# ú
Descending:
b Ï Ï b Ï Ï b Ï Ï Ï Ï Ï Ï b Ï 4 J Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï b Ï Ï &4
etc...
Double approach:
etc...
& b Ï #Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï #Ï Ï Ï Ï Arpeggio (4-note):
Ï # Ï n Ï Ï # Ï Ï Ï Ï Ï Ï Ï # Ï Ï ÏÏÏ b Ï Ï Ï & Ï
etc...
Double approach:
>Ï Ï #Ï >Ï > > Ï Ï # Ï nÏ Ï Ï Ï Ï # Ï Ï b Ï n Ï Ï Ï Ï Ï ÏÏ & Ï Ï
etc...
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5.2: passing notes The best system I ever saw is designed by Barry Harris. The general idea is that the scale notes are placed on the strong beats, and the chromatic passing notes in between. If this is not possible, play the note from the scale one step up. Example:
Ï ú ú b Ï ú bÏ ú bÏ ú Ï ú bÏ ú bÏ ú b & F major scale
A7 altered scale
& b ú bÏ ú bÏ ú bÏ bú Ï # ú bÏ n ú b Ï ú Ï ú A7 oct.
& b ú bÏ ú nÏ #ú nÏ ú #Ï bú Ï bú bÏ ú b Ï ú n Ï w Practise starting on each step of the scale, improvising your own ending of the phrase
> Ï > > Ï Ï b Ï Ï b Ï Ï Ï b Ï Ï Ï ÏÏ Ï Ï Ï Ï bÏ Ï bÏ Ï #Ï Ï Ï & b > > > & b Ï bÏ Ï nÏ Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï bÏ Ï bÏ Ï Ï Ï Ï etc...
5.3: embellishing notes Actually a combination of leading and passing notes. Practise with 2-note ,3-note and even 4-note embellishment. Examples:
F major
& b ú
ú
w
Ï Ï Ï Ï #Ï Ï Ï nÏ ú .
& b Ï Ï Ï Ï Ï Ï#Ï Ï Ï ÏnÏ Ï ú Ï Ï bÏ Ï ú Ï Ï Ï#Ï ú nÏ Ï bÏ Ï ú 30
& b #Ï Ï Ï bÏ ú F minor
& b ú bú
#Ï Ï Ï #Ï ú w
Ï nÏ Ï bÏ ú
Ï Ï Ï Ï Ï bÏ bÏ nÏ ú.
b Ï b Ï Ï Ïú ú b Ï n Ï Ï Ï Ï n Ï b Ï Ï Ï b ú & Ï Ï Ï Ï Ï Ï b Ï Ï Ï ú Ï Ï & b #Ï Ï Ï bÏ ú #Ï Ï Ï Ï bú Ï bÏ bÏ nÏ ú peterson
etc...
& b Ï Ï bÏ nÏ Ï Ï Ï bÏ Ï #Ï Ï Ï Ï nÏ bÏ Ï Ï Ï Ï # Ï Ï Ï bÏ n Ï In combination with a scale type line
Ï b Ï Ï # Ï #Ï Ï Ï Î b Ï & Ï# Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï ÏÎ & b Ï Ï Ï Ï Ï# Ï nÏ
#Ï Ï Ï bÏ Ï ÏnÏ Ï nÏ Ï Ï bÏ Ï Ï Î ä Ï# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
In combination with arpeggio’s
etc...
Ï b Ï Ï Ï Ï Ï Ï Ï b Ï & Ï Ï #Ï Ï Ï Ï Ï #Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï & Ï Ï bÏ Ï Ï Ï #Ï Ï bÏ Ï Ï Ï Ï #Ï Ï etc...
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VI Building a repertoire Besides practicing all these very essential things you also have to build a decent repertoire, to be able to function in various settings. First of all you have to know the most played tunes by heart; it looks ridiculous if you’re reading stella by starlight from the real book when you are a graduate from a conservatory! Examples of standards you will have to memorize and off course have to be able to play are: 1. 2. 3. 4. 5. 6. 7.
Stella by starlight (Bb) Autumn leaves (Gmi, optional Emi) All the things you are (Ab) There will never be another you (Eb) My funny Valentine (Cmi) Darn that dream (G) Blues – Now’s the time/Billie’s Bounce/Sonnymoon for two/Thing ain’t what they used to be/Au privave 8. Rhythm changes – Oleo/Rhythm-ning/Anthropology/I got rhythm 9. Someday my prince will come (Bb) 10.On green dolphin street (Eb, optional C) 11.It could happen to you (Eb) 12.Just friends (G, optional F) 13.There’s no greater love (Bb) 14.I love you (F) 15.The days of wine & roses (F, or F/Ab) Also good to work on and to know by heart: 1. some bebop-tunes like: Conrmation/Scrapple from the apple/Celia/Bouncin’ with Bud 2. Monktunes: Round midnight/I mean you/ Evidence/ Straight no chaser/Blue Monk/Let’s cool one 3. modal jazz: So what/All blues/Milestones/Witch hunt/Speak no Evil/Little sunower/Effendi 4. blues/hardbop: Worksong/Doxy/Moaning/Sister Sadie/Mercy,Mercy 5. bossa: Triste/Wave/Black Orpheus/Chega de Saudade/The girl from Ipanema/ How insensative 6. modern jazz: (shorter/hancock/wheeler/beirach,etc) : Leaving(Beirach)/The Sorcerer(Hancock)/Nefertiti(Shorter)/Aspire(Wheeler).
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VII Comping (rhythm, melody, approach chords) Of course it’s very important to develop your skills as a soloist, but don’t forget that in real life most of the pianists are sideman for 80 % of the time! So let’s also focus on comping. When you comp a singer be carefull with the topnotes of your voicings; use a consonant interval according to the melody! This could be: unison/ third/ sixt/ maybe fourth or fth. Example:
& b bb b w
ú.
You
Ï
are
b b b & b ww ? b bb b w
the
ww w
Ï Ï
pro
missed
úú ú
Ï Ï
kiss
b búú ú
of
ú
Ï
spring
úú úú
Î
time
úú úú
When comping a hornplayer you have more freedom, however always try to play a supporting role; your solo comes later! Things to work on: 1. rhythm; you are totally free in this case; however, things that have proven to work: the use of the “four-and”. Examples:
& O.
ä Àj
O
~
ä Àj ä Àj ä Àj ä À Àj 3
&O
ä ÀÀÀ
~
&O
À À ä Àj
~
~
3
O ^ ^ ä jä j À À À À
~
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rhythmic patterns like the dotted quarter note; practise different variations:
. . . j j j j Î Î & À. À. À À À. À. À À. À À À À À. À . . j j j j & ä À. À. À À À . À. ä À . À ä ä À À À ä ä À . . . j j & Î À. À. À. À. À Î À. À Î À. À Î À . Î -. .j Î -. .j Î -. .j Î &À À À À À À À À À . Î -. .j Î -. .j Î -. .j Î &À À À À À À À À À 2. melody; pay attention to the toptones of your voicings! Use repetition or create a melody. Examples:
j Ï &ä Ï ? ä bÏÏJ j ä & Ï ? ä bÏÏJ
C7/13
C7/13
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ÏÏ ÏÏ ÏÏ ÏÏ
B7b9/13
b bÏÏ ÏÏ b b bÏÏ ÏÏ
B7b9/13
ÏÏ ÏÏ ÏÏ ÏÏ
j Ï ä Ï ä ÏÏJ ä ÏÏJ Ï b ä bÏJ
Bb7/13
Bb7/13
A7#9/13
ÏÏ ÏÏ b bÏÏ b bÏÏ ÏÏ ÏÏ ÏÏ ÏÏ bÏ b Ï Ï bÏ Ï Ï b Ï Ï
A7#9/13
j Ï ä Ï ä ÏÏj ä bÏJ ä #ÏJ ä nÏÏJ ä #ÏÏJ b Ï Ï ä bÏJ ä ÏJ Eb7/9
D7/9
Eb7/9
D7/9
3. approach chords; create some harmonic movement. You can approach most chords - by a dominant - the tritone dominant - chromatic approach - a diminished chord (especially to minor)
Examples: (I-VI-II-V-I)
dominant
& ÏÏ ÏÏ ÏÏ # ÏÏ ? ÏÏ #Ï nÏÏ ÏÏ chromatic
& ÏÏ bÏÏ ? ÏÏ b bÏÏ
ÏÏ b ÏÏ ÏÏ b bÏ
tritone dominant
ÏÏ b ÏÏÏ ÏÏ bn ÏÏÏ Ï #Ï nÏÏ ÏÏ ÏÏ bÏÏ ÏÏ b b bÏÏ Ï b bÏÏ ÏÏ bÏ
ww w
ÏÏ ÏÏ ÏÏ bÏÏ Ï b bÏÏ ÏÏ bÏ
ÏÏ b ÏÏÏ ÏÏ bn ÏÏÏ Ï b bÏÏ ÏÏ bÏ
ww w
ÏÏ b ÏÏ n ÏÏ ÏÏ Ï##ÏÏ nÏÏ bÏÏ
ww ww
dim. chord
ww w
ÏÏ ÏÏ ÏÏ b ÏÏ Ï##ÏÏ nÏÏ #Ï
A combination with rhythm:
j j Ï j Ï & ä ÏÏ Î bÏÏÏ.. #nÏÏ î ä b bJÏ ä Ï b Ï . b Ï ? ä ÏJ Î b Ï. ÏÏ î ä bÏJ ä ÏÏJ J & úú ä ÏÏj ä ÏÏj úú Ï Ï b ÏÏ ÏÏ úú ? úú ä b bÏÏ ä ÏÏ úú Î #Ï Ï ú J J
úú úú
búú b búú
Ï. b bÏÏ..
jÏ ÏÏj
j Ï . b Ï. ÏÏ ÏÏ.. ÏJ >Ï Ï> Ï>j ä # Ï# Ï Ï bÏÏ nÏÏ ä bÏÏ J
úú úú ú úú
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VIII Theme’s piano/trio arrangements solopiano (rubato/performance) As I have mentioned before, most of the time you will be comping, also during the theme, however when playing trio (most exams at the conservatory!) you’ll have to play the theme as well. In this case, you have to put some effort in arranging the theme for the piano and/or the trio. This means some nice voicings, a little reharmonising of the melody (use the two hand voicings as mentioned in chapter 2!), some nice lls (lines or chords) and of course an intro and ending! Some ideas for intro’s: You can use any kind of turnaround or a vamp (repeat as often as you like): 1. pedal on I
&¡ ¢ ..
Bb^
&¡ ¢ ..
Bb^
Cmi7
Bb pedal B^
Bb pedal
.. ¢ ¡ .. .. ¢ ¡ ..
Bb^
Ebmi6
Bb^
Ab^
.. ¢ ¡ .. .. ¢ ¡ ..
Bb^
Ebmi6
.. ..
2. pedal on V
&¡ ¢ ..
Bb^
&¡ ¢ ..
Bb^
&¡ ¢ ..
Cmi7
F pedal B^
F pedal Bb^ F pedal
C#0
Cmi7
F7b9/13
.. ¢ ¡ ..
Bb^
Bb^
.. ..
Ab^
Db^
C^
Cb^
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..
Some ideas for endings: #IV descending:
EØ
Ebmi7
Bb/D
b b & úú b búú ? b b nú bú & b b ä ? b b ä b b & ä ? b b ä
Db0
Cmi7
úú n úú ú bú
jÏ bÏ Ï b Ï nÏJ bÏ jÏ bÏ Ï b Ï nÏJ bÏ
úú ú
j ÏÏ b bÏÏ ä ÏÏ Ï bÏ ä Ïj
EØ
Ebmi7
Bb/D
EØ
Ebmi7
Bb/D
Dbmi
Cmi7
ww ww
b búú b búú
Cb^/6/9
b bÏÏ b bÏÏ
ÏÏ ÏÏ
Bb^/6/9
ÏÏ ÏÏ
Cmi7 Cb^/6/9 Bb^/6/9
j ÏÏ b bÏÏ ä ÏÏ Ï bÏ ä ÏJ Dbmi
Bb^/6/9
Cb^/6/9
ÏÏ Ï
b bÏÏ b bÏÏ
ÏÏ ÏÏ
úú úú úú úú
bVII ascending
Ab7/13
b b & úú ? b b b búú
A7/13
## úú nnúú
Bb7/13
ww bww
Ab6/9
úú ú bú
A6/9
Bb6/9
nn úú #núú
ww ww
bII
Cb^/6/9
U b & b b bww ? b b b bww 40
Bb^/6/9
Uw w ww
Cb^/#11
b b Uww w bw
Bb^/#11
Unww ww
Cb^/#11
Uw ww bw
Bb^/#11
Uw n ww ww
bVI - bII
Gb^
Uw w w
Cb^
& b b úú ? b b b ú
Bb^
úú bú
Gb^/6/9
Cb^/6/9
ú ú b b b ú b b ú ú ú b bú
Bb^/6/9
Uw w ww
“Lady Bird’’ ending
C6/9/#11
U # Ï Ï & úú úú úú b b úú # ww Ï Ï #Ï Ï ? úú bú bú bú w > > > b Ï Ï î b Ï b Ï & Ï Ï Ï Ï b Ï Ï Ï Ï b Ï Ï > Ï ? ää Ïj Ï ÏÏ Ï Ï bÏ Ï bÏ Ï Ï bÏ Ï bÏ Ï Ï bÏ Ï ÏJ Ï b Ï C6/9
Eb^
Ab^
Db6/9/#11
Bill Evans
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3
circle of fth’s
C^
&ú ? ú
F^
Bb^
Eb^
Ab^
Db^
úú ú ú ú ú ú ú ú bú b ú bú b ú
U Ï ww Ï Ï Ï Ï Ï Ï Ï Ï w C^
Make any variation you like, or borrow any ending you like from your favourite pianist! Also work on playing pianosolo (maybe an entire tune, or a part of the theme). Same thing, nice voicings or further reharmonisation of the melody, nice lls and intro-ending. However, also pay more attention to rubato playing, which means more dynamics, ritenuto/accelerando, sound of the piano and use of the left hand! Listen a lot to solo recordings, like Bill evans –alone/alone again, all the Live at Maybeck recordings (Barry Harris, Kenny Barron, Fred Hersch, Hank Jones, etc), some great Oscar Peterson recordings (Little girl blue!), Herbie Hancock- The Piano, Chick Coreaexpressions, etc. 41
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