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 srcinals 7. Comping (rhythm, melody, approach chords) 8. Theme’s 8.1 piano/trio arrangements 8.2 solopiano (rubato/performance) 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 (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 in Paris, Ornithology. To conclude this prex I have to admit that we must not forget that jazz is all about personal expression and interaction/communication between musicians and about developing your own style ofwhen playing, graduating at a conservatory is also about knowledge (especially youhowever 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:
?ú
ú
Dmi
w <ú > ú
G7
C^
combination with lines 3
G7
C^
úú
Dmi
Ï ÏÏÏÏ Ï Î ww < ú >
& ä Ïj Ï Ï Ï Ï bÏ Ï Ï ú ? úú Dmi
C6
3
C6
w
G7
C^
C6
ä Ïj Ï Ï Ï bÏ Ï ä JÏ 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
G7
? úú
ú ú
ú
Bb7
F7
w
ú
ú
Bb7
b ww
Bb7
bbúw
Gmi7
C7
bww w
F7/C
Bb7
bbúú
ú
nú F7
b úú ú
w
Cmi7
b úú
D7
#úú ú
C6
w <ú> F7
bb úú
w
B0
C^
úú
F7
bbww
? bbww ? bww
G7
ú
C6
ww < ú >
? ¡¢ . b www
Blues in F
Dmi
C^
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
w <ú > w
G7
C6
C^
Second possibility: the “shell”(3 and 7 or 6) with 1 note added; practise the following examples:
Dmi/9
? úú
G7/13
úú ú
ú
G7/13
C^/9
C7/#9
F7/13
ú
ú
? úúú b# úú
C6/9
Dmi/9
ww < ú > úú ú w búú b# úú úú Bb7/#9
bú
G7/b13
C^/9
b úú ú
Ami7
ú
Gmi7
Ab0
úbúú
C6/9
ww < ú >
w
Gb0
b úú
bb úúú
ú
Variation: Bill Evans type voicing (4-note chord , one note omitted!) Example:
C7
Gmi
? b úÏ Ï bÏ Ï úúÏ b Ï
F^
F6
wÏ Ï Ï bÏ ú
Quartal left hand voicings: build 2 fourth’s , preferably include third of the chord! Examples:
? ww w Dmi
ww w
Dmi6/9
ÏÏ.. ÏÏ ww J úú Dmi
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:
C^/9
ú
úúú ú
Dmi7/9
G7/b9/13
C^/9
Dmi7/9
G7/b9/b13
C^/9
Dmi7/9
? úú
G7/9/13
ú ú ? úú b úúú ? úú bb úúúú ú
Dmi7/9
G7/9/b13
? úú nb úúúú ú
úú
G7/9/13
C^/9
ú
úúú ú
A7b9/b13
Dmi7/9
G7/b9/13
C6/9
A7b9/b13
Dmi7/9
G7/b9/b13
C^/13
A7b9/b13
úú b# úúú ú ú
ú úú úú
ú b# úúú b# úúú
C^/9
A7b9
ú
ú
úú b# úúú ú
ú
And the most important inversions:
Dmi7/9
G7/9/13
ú
ú
úúú ?
Dmi7/9
úúú
G7/b9/b13
? úú bb úúú ú
C^/9
A7#9/b13
úúú # úúú ú ú
C^/9
A7b9/b13
úú #b úúú
ú
Dmi7/9
ú ú úú b úúú úú bb úúú ú ú
Dmi7/9
G7/9/b13
úú nb úúú ú ú
G7/9/13
ú
ú
Dmi7/9
úúú
G7/b9/b13
úú bb úúú
ú
w
w www www w
C6/9
www w
Dmi7/9
úúú
ww
C^/9
www w
C6/9
ww w
7
Minor key
Dmi7/b5
G7/b9
Cmi7/9
? b úúú b úúúú
bbúú
ú
Dmi7/b5/9
Ami7b5
Cmi6/9
? b úú bb úú
Dmi7/b5
A7b9/b13
Dmi7/b5/9
ú
ú
G7/b9/b13
b úúú
G7/b9
Cmi7/9
b úúú b úúúú
bbww
ú
búúú b# úú
w
G7/b9
Cmi6/9
b úú bb úú
bwww
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 úúú n#b úúúú ú
bwww 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
ÏÏÏ.. #bÏÏÏj úúú ä ÏÏÏj Î bbÏÏÏ.. n ÏÏÏj www Ï Ï Ï b Ï Ï Ï bÏ Ï b Ï Ï w j j j j j j j j &? ÏÏä Ïä ÏÏÏî Ï ÏÏ ä äÏ ÏÏ Ïî Ï bb ÏÏä äÏ ÏÏ î Ï bb ÏÏ ä äÏ ÏÏ î Ï Ï Ï Ï Ï Ï Ï > > ¡. ä ä . & bb ÏÏ ÏÏ ÏÏ. b ÏÏÏ ÏÏÏ ÏÏÏ... . ?¢ . Ï. Ïj Ï. bÏj bÏ. Ïj Ï b Ï n Ï . & ä ÏÏÏj Î ?Ï Ï Dmi7/9
8
G7/9/13
úúú Ï Ï
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
&ú ?ú Dmi7/9
& úú ?ú
Dmi7/9
& úú ?ú
G7/9/13
úú úú G7/b9/13
C^/9
úú #búú ú úú C^/9
bú úú bbúú úú
C^/9
G7/9/b13
C^/9
G7/b9/b13
b úú úú
A7b9/b13
A7b9/13
ú ##bú ú úú úú #búú ú úú úú #búú ú úú
A7b9/b13
A7b9
Dmi7/9
G7/9/13
C^/9
C6/9
úú ú
úú úú
úú ú
úú ú
Dmi7/9
ú ú Dmi7/9
úú ú Dmi7/9
úú ú
G7/b9/13
C6/9
bú úú bbúú úú
C6/9
G7/9/b13
C6/9
G7/b9/b13
b úú úú
w w ww w ww w
9
Important inversions:
Dmi7/9
G7/9/13
C^/9
A7b9/b13
Dmi7/9
G7/9/13
C^/9
Dmi7/9
G7/b9/13
C^/9
A7b9
Dmi7/9
G7/b9/13
C6/9
ú úú
bú ú
ww ww
Dmi7/9
G7/b9/b13
C6/9
& úú ? úú
úú ú
&ú ? úú
bú ú
Dmi7/9
úú búú úú # ú
úú úú
úú bú úú # ú
G7/b9/b13
& úú bbúú ?ú ú
C^/9
A7b9/b13
úú búú ú #ú
úú ú
ww ww
úú bbúú ú ú
ww w
In minor:
Dmi7/b5/11 G7/b9/b13
& b úú bbúú ? ú úú
Cmi6/9
A7b9/b13
úú #búú bú úú
Dmi7/b5/11
G7/b9/b13
úb ú bbúú ú úú
Cmi6/9
ww bw
add some rhythm!
DØ
G7alt
& ä b ÏÏ-j ÏÏ.j ä bbÏÏ ? ä ÏJ ÏJ ä ÏÏ 10
Cmi6/9
bÏÏ ä n ÏÏj Î. ÏÏ ä bJÏ Î.
Ï# Ï>j ÏÏ bÏÏ^ ä ÏÏ.j Î bbÏÏ bbÏÏ bÏÏ> bww b ÏÏ ÏÏ ÏÏ ä ÏJ Î ÏÏ Ï bÏÏ bww 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 2nd voice (from the top) an octave down. Practise the next examples:
Dmi7
& ÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ?Ï Ï & # ÏÏ ÏÏÏ ÏÏ ÏÏ ? Ï #Ï Ï Ï D7
Eb0 variation
Dmi7/b5
ÏÏ ÏÏ ÏÏ ÏÏÏ ww b ÏÏ bÏÏÏ ÏÏ ÏÏ bÏÏ bÏÏ ÏÏ bÏÏÏ b ww ÏÏÏ bÏ Ï Ï Ï bÏ Ï w ÏÏ Ï w #ÏÏ #ÏÏ ÏÏ Ï # w # Ï b Ï ÏÏÏ bÏÏ #ÏÏ#bÏÏ bÏÏÏ Ï # w Ï w Ï Ï bÏ Ï w Ï Ï Ï Ï #Ï w b Ï #Ï Ï Ï Ï Ï #Ï b w Eb0
D^
#ÏÏ #Ï bÏ nÏ Ï #Ï Ï b Ï# Ïb Ïn#Ï #bw ## Ï #ÏÏ Ï # Ï
& Ï b Ï #Ï ? #bÏ n#Ïb Ï# Ï
##ÏÏ Ï Ï Ï Ï # Ï Ï # ÏÏ ## w
Diatonic suspension/passing notes
Dmi
& ÏÏ Ï ÏÏ Ï ÏÏ Ï ÏÏÏ Ï ?ÏÏÏÏÏÏÏ Ï G7b9/#11/13
b ÏÏ b Ï b ÏÏÏ & Ï Ï ? Ï
G7alt
bbÏÏ b Ïb ÏÏÏ Ï bÏÏ Ï bÏ Ï w b Ï Ï Ï b Ï b Ï Ï bÏ Ï Ï w bw
ww w
ú
(oct)
Ï bÏÏ Ï #Ï
Ï #ÏÏ Ï Ï bÏ bÏ
bww w 11
& ÏÏ ÏÏ bbÏÏ ÏÏ ÏÏ ÏÏ ? Ï b Ï Ï Ï Ï Ï bÏ Ï Dmi
G7b13
C^
ÏÏ ÏÏ ÏÏ î Ï b Ï nÏ î
Dmi
ÏÏ Ï ÏÏ Ï b bÏÏ bÏ bÏ bÏ w b bb Ï w Ï Ï Ï Ï bÏ bÏ bÏ Ï w G7
Abmi
Db7
G7alt
Dmi7
C^
Ï
C6/9
& Ï b# ÏÏ n ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ bbÏ b ÏÏbbÏÏÏ b ÏÏ bÏÏ Ï bbÏ Ï w bÏ Ï Ï w ?Ï Ï Ï Ï
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)
-note
Ï Ï &? ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ 4-note
Ï ÏÏ
Ï ÏÏ
Ï Ï
Ï Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
Ï ÏÏ
You can add a third to the voicing, like the “so what” chord
including third
& ÏÏ ?Ï Ï & ÏÏ ?Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
Also practise a pentatonic movement
pentatonic
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï 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 ä ä Ï & ÏJ J J ? ä ÏJ ä ÏJ ä ÏJ Ï
úú ú
ÏÏ.. Ï.
ÏÏj ÏÏ ÏJ Ï
Î Î
ÏÏ Ï
ÏÏ Ï
úú .. ä ÏÏj ä ÏÏj ÏÏ úú ú . ä ÏJ ä ÏJ Ï ú
Over a harmonic progression:
ÏÏj ÏJ
(alone together)
&ä ?ä
AØ
& úú ? bú
ÏÏ Ï
ÏÏ Ï
ÏÏ Ï
Eb7alt
úú . bbúú Bb7
bú ä #Ïj ÏÏ ÏÏ úú .. #ú Ï Ï ú. ú A7
w
D7alt
bbbú bb úú
Dmi
búú #úú
Gmi6
ww
búú #ú
bww
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
& úú ?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 ? úú
bbúbúú bb úúúú
ú
G7alt
bbbúú b úúú
ú b##wúw
ú ú
G7alt
ú
ú
w
bú bú &? bbbwwúw bbú w
úú b úú
DØ/9/11
ww ww
Cmi7/9
w bbbwww
C#0
w
Cmi^/9
ww bww w
Cmi11
bb ww
2) the fourth chord upperstructures sound especially good on dominant chords; practise:
F7
& úú .. b ú. ? ú.
B7 Bb7
bbbÏÏ ÏÏ ÏÏ Ïb Ï
úú .. ú. ú.
Gb7
F7
F7
úú bú úú
bbbÏÏ ÏÏ ww bÏ bÏ w
bbbúú b úú
Ab7/D7
G7/Db7 Gb7/C7
úú bbbúú ú bú b
bú
< >
F7
ww bw ww
3) the 4-note upperstructures give a typical sound; practise:
C7/9/#11
& #ww ? bww AØ
& úú ? b úúú
C7/#9/#11
F7/#9/#11/13
#b www bw
##ww bww
bbúú ##úú
D7alt
ú
w
# w bbbÏÏ b ww b Ï Gmi^
w
C7
Ï
F7#9/13
Bb7#9/13
Î #ÏÏ Î bbnbÏÏ b ÏÏ b Ï ú bú ÏÏ ###nÏÏ nbÏÏ b ÏÏ # ÏÏ nb ÏÏ Ï bÏ F7
Bb7
Eb7
bÏ
Eb7#9/13
Ab7#9/13
Î #bÏÏ Î bnbÏÏÏ b ÏÏ bÏ b ú bú Ab0
Ab^
bnÏÏÏ b úúú bb úúú bww
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 b Ï n Ï b Ï Ï b Ï & Ï bÏ bÏ nÏ #Ï Ï Ï & Ï b Ï Ï Ï #Ï Ï b Ï b Ï Ï b Ï Ï Ï #Ï Ï b Ï b Ï w & Ï #Ï Ï Ï bÏ Ï bÏ bÏ nÏ Ï #Ï Ï bÏ #Ï Ï #Ï w b Ï # Ï Ï bbÏ #nÏ nbÏ bbÏ Ï bÏ Ï & #Ï Ï bbÏ #n Ïnb Ï bb 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 bÏ bÏ Ï Ï Ï Ï bÏ bÏ bÏ b Ï b Ï Ï Ï b Ï Ï & bÏ b Ï Ï Ï # Ï b Ï n Ï b Ï Ï & Ï bÏ bÏ nÏ #Ï Ï Ï bÏ ? Ï b Ï Ï Ï #Ï Ï b Ï b Ï Ï b Ï Ï Ï #Ï Ï b Ï b Ï Ï b Ï Ï Ï #Ï Ï b Ï b Ï Ï b Ï Ï Ï #Ï Ï b Ï b Ï w & ? b Ï n Ï # Ï Ï Ï b Ï Ï b Ï b Ï nÏ # Ï Ï Ï b Ï w Ï bÏ C7b9/#11/13
E0
20
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 Ï & ÏÏÏÏÏÏÏ & ÏÏÏÏÏÏÏÏ
ÏÏÏÏÏÏÏ Ï ÏÏÏÏ ÏÏÏÏ Ï Ï Ï Ï Ï
ÏÏÏÏÏÏÏÏ Ï ÏÏÏÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏÏÏÏÏÏ ÏÏ ÏÏÏ ÏÏÏÏ Ï Ï ÏÏ Ï
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 3
variation3
&ÏÏä ÏÏä & ÏÏÏÏÏÏÏÏ COMBINATIONS
ÏÏäÏÏä ÏÏäÏÏäÏÏäÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏ 3
3
3
3
3
intervalls can be played melodically or simultaniously (harmonically).
Ami (harmonic)
Ami (melodic)
Ï #Ï & Ï Ï Ï Ï #Ï Ï Ï Ï # Ï # Ï Ï Ï Ï #Ï #Ï Ï & # Ï bb Ï nn Ï ## Ï bÏ nÏ #bÏ Ï #w A7 (oct)
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) 3
3
3
&ÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏ 3
D minor (harmonic)
3
3
3
3
& Ï Ï Ï b Ï Ï Ï Ï Ï #Ï Ï b Ï Ï Ï #Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï
3
3
3
3
3
5
3
3
3
3
Ï bÏ Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï b Ï & Ï Ï Ï bÏ Ï Ï Ï Ï & Ï # Ï Ï Ï Ï #Ï #Ï Ï b Ï Ï Ï Ï Ï #Ï Ï Ï #Ï Ï bÏ Ï #Ï Ï nÏ Ï Ï bÏ #Ï Ï #Ï nÏ #Ï #Ï E7 (altered)
bÏ
7
C# (diminished scale)
Ï Ï # Ï Ï Ï ÏÏ Ï # Ï n Ï Ï # Ï n Ï Ï Ï Ï Ï Ï # Ï n Ï Ï & #Ï Ï Ï Ï #Ï nÏ Ï nÏ 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 ÏÏ Ï ÏÏ 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 # Ïj Ï Ï Ï Ï Ï ä #Ïj Ï Ï Ï Ï Ï ä Ïj Ï Ï Ï Ï Ï ä #Ïj & b Ï Ï Ï Ï Ï ä #Ïj Ï Ï Ï Ï Ï ä Ïj Ï Ï Ï Ï Ï ä nÏJ Ï Ï Ï Ï Ï Î 44 Arpeggio (3-note):
& b 44 # Ïj Ï Ï Ï#Ï Ï Ï Ï Ï Ï Ï Ï#Ï Ï Ï Ï#Ï Ï Ï Ï Ï Ï Ï ÏnÏ Ï Ï Ï#Ï ú
Descending:
b ÏJ Ï Ï Ï b Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï bÏ Ï Ï 4 b &4 Ï Ï
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):
& b # Ï Ï Ï Ï Ï # Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï
etc...
Double approach:
> > & b Ï nÏ Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï #Ï >Ï Ï Ï Ï #Ï Ï >Ï nÏ 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:
& b ú Ï ú bÏ ú bÏ ú bÏ ú Ï ú bÏ ú bÏ ú F major scale
& b ú bÏ ú bÏ ú bÏ bú Ï # ú bÏ n ú b Ï ú Ï ú A7 altered scale
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
& b >Ï Ï Ï bÏ Ï Ï Ï Ï >Ï bÏ Ï bÏ Ï Ï Ï Ï >Ï bÏ Ï bÏ Ï #Ï Ï Ï >Ï > > Ï b Ï n Ï b 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
Ï Ï Ï Ï # Ï Ï Ï nÏ ú . & b Ï Ï Ï Ï Ï Ï#Ï Ï Ï ÏnÏ Ï ú Ï ÏbÏ Ï ú Ï Ï Ï#Ï ú nÏ ÏbÏ Ï ú
&b ú 30
ú
w
& b #Ï Ï Ï b Ï ú F minor
& b ú bú
#Ï Ï Ï #Ï ú w
Ï nÏ Ï bÏ ú
Ï Ï Ï Ï Ï b Ï b Ï nÏ ú .
& b Ï Ï Ï Ï ÏbÏ Ï Ï bÏ ÏnÏ Ï ú Ï ÏbÏ Ï ú Ï Ï Ï Ïbú Ï bÏ ÏnÏ ú & b #Ï Ï Ï bÏ ú #Ï Ï Ï Ï bú Ï bÏ bÏ nÏ ú peterson
etc...
& b Ï Ï b Ï nÏ Ï Ï Ï b Ï Ï # Ï Ï Ï Ï nÏ b Ï Ï Ï Ï Ï # Ï Ï Ï b Ï n Ï In combination with a scale type line
& b Ï# Ï Ï Ï Ï Ï Ï Ï #Ï ÏbÏ#Ï Ï Ï Î #Ï Ï ÏbÏ Ï ÏnÏ Ï nÏ Ï ÏbÏ Ï Ï Î & b Ï Ï Ï Ï#Ï Ï ÏnÏ Ï ÏbÏ Ï Ï Ï Î ä #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î In combination with arpeggio’s
& b Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï #Ï Ï b Ï Ï Ï Ï Ï Ï etc...
& b Ï Ï b Ï Ï Ï Ï Ï Ï #Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï 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 fortwo/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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34
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 b bb w
You
& bbbb ww ? bbbb w
ú.
Ï
are
the
ww w
Ï Ï Ï Ï
pro
missed
úú ú
kiss
bbúú ú
of
Ï ú
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
~
&O ä À À À & O À À ä Àj
ä Àj ä Àj ~ O ä Àj ä À Àj ~ À^ À^ ä Àj ä Àj ~ 3
~
~
3
35
rhythmic patterns like the dotted quarter note; practise different variations:
. . . j j j Î Î . . . . . . & À À À À À À À À À À À À À Àj - .j -j .j j & ä À. À. À À À. À. ä À. - À ä . ä À À- À .ä ä À-. & Î À. À. À. À. À Î À. Àj Î À. Àj Î À & À-. À.j Î À- À À. Î À-. À.j Î À-. À.j Î . - .j - .j - .j & À. À Î À À À Î À. À Î À. À Î 2. melody; pay attention to the toptones of your voicings! Use repetition or create a melody. Examples:
&ä ? ä &ä ?ä 36
ÏÏj bÏ JÏ Ïj bÏÏ J
C7/13
C7/13
ÏÏ Ï Ï ÏÏ ÏÏ
B7b9/13
bbÏÏ Ï Ï bbbÏÏ ÏÏ
B7b9/13
ÏÏ Ï Ï ÏÏ ÏÏ
ä ÏÏj Ï ä ÏJ ä ÏÏJ ä bbÏJÏ
Bb7/13
Bb7/13
ÏÏ bÏ bÏ ÏÏ Ï Ï
A7#9/13
ÏÏ bbÏÏ Ï Ï Ï Ï ÏÏ bbÏÏ bbÏÏ ÏÏ
A7#9/13
ä ä ä ä
ÏÏj Ï bJÏ nÏÏJ bbÏÏ J
Eb7/9
Eb7/9
D7/9
ÏÏj #Ï ä JÏ ä #ÏÏJ ä ÏÏJ ä
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 ? Ï #Ï nÏÏ ÏÏ
tritone dominant
ÏÏ b ÏÏÏ ÏÏ bn ÏÏÏ Ï #Ï nÏÏ ÏÏ
ww w
chromatic
& ÏÏ bÏÏ ÏÏ b ÏÏ
ÏÏ bÏÏ ÏÏbbbÏÏ ? Ï bbÏ Ï bbÏ ÏbbÏ Ï bÏ
ÏÏ ÏÏ ÏÏ bÏÏ ÏbbÏÏ ÏÏ bÏ dim. chord
ww w
ÏÏ ÏÏ ÏÏ b ÏÏ Ï##Ï nÏ #Ï
ÏÏ b ÏÏÏ ÏÏ bn ÏÏÏ Ï bbÏÏ ÏÏ bÏ
ww w
ÏÏ b ÏÏ n ÏÏ ÏÏ ww Ï##Ï nÏ bÏ w
A combination with rhythm:
ÏÏj Î bÏÏÏ.. #nÏÏj î bÏ. Ï ? ä ÏJ Î b Ï. ÏJ î & úú ä ÏÏj ä ÏÏj úú ? ú ä bbÏÏJ ä ÏÏ úú J &ä
ä bbÏÏJ ä bÏ ä bJÏ ä Ï Ï b ÏÏ ÏÏ Î #Ï Ï
ÏÏj Ï ÏJ úú ú
úú ú ú
búú bú bú Ï. Ïj bb ÏÏ.. ÏÏj
ú úú
úú b ÏÏ. ÏÏj . . ú > >Ï. ÏJ>j ÏÏ ##ÏÏ ä ÏÏ bÏÏ nÏÏ ä bÏÏ J 37
38
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^
2. pedal on V
& .. ¡ ¢
Bb^
Cmi7
F pedal Bb^
&¡¢ . & .. ¡ ¢
.. ¡¢ ..
B^
F pedal
Ebmi6
Bb^
Ab^
..
. ¡¢ .
F pedal Bb^
Bb^
C#0
Cmi7
F7b9/13
.. ¡¢ ..
. Bb^
Db ^
C^
Cb^
.. 39
Some ideas for endings: #IV descending:
EØ
Ebmi7
Bb/D
& bb úú bbúú ?bb nú bú & bb ä ? bb ä
ÏÏj ?bb ä nJÏ & bb ä
úú ú
Ïj bbÏ ÏÏ nÏJ bÏ Ï
EØ
EØ
Db0
Cmi7
n úú bú
Cb^/6/9
bb ÏÏ ÏÏ bbÏÏ ä ÏÏj bÏ Ï bÏ ä ÏJ
Cmi7
Bb/D
Ebmi7
Bb/D
Dbmi
ww ww
úú bbúú ú bbúú
ÏbbÏ ä ÏÏj bÏ ä Ïj
Ebmi7
Bb^/6/9
Cb^/6/9
mCi7
bbÏ bbÏÏ
Dbmi
Ï ÏÏ
Bb^/6/9
ÏÏ ÏÏ
úú úú
Cb^/6/9 Bb^/6/9
ÏÏ bbÏÏ ÏÏ úú Ï bbÏ Ï ú
bVII ascending
Ab7/13
A7/13
Bb7/13
& bb úú ## úú ?bb bbúú nnúú
ww bww
Ab6/9
úú búú
A6/9
Bb6/9
nn úú n#úú
ww ww
bII
Cb^/6/9
& bb bbUww ?bb bbww 40
Bb^/6/9
Uw w ww
Cb^/#11
bbUww bww
Bb^/#11
nUww ww
Cb^/#11
Uww w bw
Bb^/#11
Uw n ww ww
bVI - bII
Gb^
Uw w w
Cb^
& bb úú ? b b bú
Bb^
úú bú
Gb^/6/9
Cb^/6/9
bb úú bbbúú búú bú
Bb^/6/9
Uw w ww
“Lady Bird’’ ending
C6/9
& úú ?ú &î ?ä
U # Ï Ï Ï úú úú bb úú # ww Ï Ï #Ï bú bú bú w > Ï bÏ > Ï > b Ï Ï Ï Ï bÏ b Ï Ï Ï Ï b Ï Ï > Ï ÏJj Ï Ï Ï b Ï Ï bÏ Ï bÏ Ï Ï bÏ Ï bÏ Ï Ï bÏ Ï Eb^
Ab^
C6/9/#11
Db6/9/#11
Bill Evans
3
3
circle of fth’s
C^
&ú ?ú
F^
Bb^
Eb^
Ab^
Db^
úú ú úú ú úú ú bú b ú bú b ú
U Ï Ï Ï ww 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
42
IX Listening/transcribing Still the best way to learn to play jazz (besides studying all the former material, this will only help to speed up the process and give you a solid basis as a jazzmusician) is to listen to all the good recordings available (and there are a lot of them!). There are 2 ways of listening: 1. putting the record on, starting up your computer and enjoying the internet (or whatever, maybe watching TV or preparing a great meal) and 2. putting the record on, closing the windows and truly trying to “feel” the music and even analysing what exactly is happening on the part of harmony, melody, rhythm and what the interaction is between the musicians, how solo’s are build into a climax, what the drummer is doing during the 2nd chorus of the pianosolo etc... to put it short, what jazzmusic is about! Making transcriptions can be a usefull tool to really understand what’s happening on the record, if you make an analysis of your transcription and maybe even study it by heart! However, it’s a lot of work to transcribe a whole solo, start with small phrases that you like, and don’t be afraid to use great transcriptions available! (Bill Evans, Herbie Hancock, Chick Corea, etc) Recommended material:
Clare Fisher: harmonic exercises Mark Levine: The Jazz Piano Book
All the Bill Evans books (!) - Warner Brothers Charlie Parker Omnibook Whatever you can nd!
I hope you did enjoy studying all this material; I sure did (and still do)! Keep up the good work! Yours sincerely, Rob van Bavel
Rob van Bavel is teacher Jazz Piano at the Rotterdam Conservatory (Codarts) and the Amsterdam Conservatory (Holland) ; he graduated with the highest mark, received numerous soloist awards in Europe, and got second prize at the rst “Thelonious Monk Jazz Competition” in Washington D.C. Recorded over 70 Cd’s and toured in Europe, China, Brazil, USA, Canada. Played with Woody Shaw, Johnny Grifn, Chet Baker, Mark Murphy, Slide Hampton, Joe Henderson, Wynton Marsalis, etc. Selected discography: Rob van Bavel trio (Generations, Piano grand slam, The Other Side, Rob van Bavel Trio, Just for You), Rob van Bavel Octet (Endless), Tineke Postma (First avenue, For the rhythm), Jarmo Hoogendijk, Ben van den Dungen 5 ( heart of the matter, run for your wife) , Piet Noordijk (Piet plays Sinatra, Piet plays Bird) 43
