the melody. Look at the chord symbols and notice what chords you are playing.
IN HARMONY. Trafk 2. |: //. D min Flldim. G Aug. 20. Beginning jazz Keyboard ...
Description. This textbook introduces the fundamentals of jazz theory in such a
way as to encourage a spirit of creativity and professionalism in the classroom.
the student practical experience in the fundamental techniques of Jazz piano ...
PIANO and EXPLORING JAZZ PIANO (Schott), an ABRSM jazz examiner.
Jazz Harmony Page 1. Mike Hall 973 7052 www.mikehall.co.uk. JAZZ
HARMONY. Objectives of harmonic analysis. • to understand how a chord
progression ...
The "SOFT. KEYBOARD PIANO" is easy to carry and has been made under very
high ... Before using this product, please read the instruction sheet carefully. 1.
Nov 7, 2013 ... Improvisation (EJI) system for creation of jazz harmony and jazz solo ... Jazz
harmony has during the jazz history mainly been functionally ...
Imagine now that we now have to apply our new knowledge about chords and ...
more modern setting, and we've been asked to write a piano part for a song. C.
5. Four-note voicings. These four-note rootless voicings, pioneered by Bill Evans,
are the staple repertoire of jazz pianists and should be memorised and 'played ...
Page 1. JAZZ SONATA/ PIANO.
JAZZ PIANO STUDIES 1. John Kember. CONTENTS. 1. Bah-ba-doo bah page 3.
2. Anticipation page 4. 3. Early bird page 5. 4. Left hand drive page 6. 5.
An In'rroduclion 'ro Jazz for Classically Trained Piano Teachers. 2009 UTAH ... ....
jazz standard tunes in lead-sheet (melody plus chord symbols) format ....blues ...
Studying jazz piano is like all other serious music disciplines. It requires ...
sounds you can come up with. FMaj7 D7( 9). Gm9. C7( 9). FMaj7 D7( 9). Gm9. G
13.
16 Feb 2001 ... Jazz Piano voicings and comping techniques to your students. ➢ Expand ... “Jazz
Piano Voicings for the Non-Pianist” Mike Tracy published by ...
Syllabus – MSJ 305/306 JAZZ PIANO AND KEYBOARD HARMONY ... Find the
book: 30 compositions by Kenny Dorham ; arranged for piano by Walter Davis, Jr.
All students applying for the Civic Jazz Ensembles are responsible for preparing
the excerpts, scales ... MEDIUM SWING (J c M: L n s I I compgsegiagd arranged.
Erroll Garner. 6. Woodland Fantasy (June 1944). Willie the "Lion" Smith. 7. Honky
Tonk Train Blues (Aug. 1944). Meade "Lux" Lewis. 8. Medium Blues (AU9.
SEMESTER/YEAR. COURSE NAME Jazz Harmony I. Professor: COURSE NO.
MUSC 2070 3 credits email: Day/time phone: Office hours: Prerequisite: ...
(913) 432-9975 to find more learning resources for teachers, students and
parents. Piano Learning Center. Keyboard Puzzles. Lesson Plan by Kathy Tidd, ...
By the end of this lesson you will have a good idea of how to: 1. Play notes on the
Piano/Keyboard. 2. Play a simple song or two. 3. Play your 'major' scale in the ...
Piano Voicing Overview, p. 142. Practice until you can .... Sample F blues chorus
shown using basic left hand chords, octave right hand melody, typical comping ...
the student practical experience in the fundamental techniques of Jazz piano
such as rootless chord voicings, bass lines, improvisation techniques over 12-.
:*reliminary Studies in Keyboard Harmony and Transposition ... connection with
the piano lesson. and to be played as a part of the regu- lar lesson. New work ...
INTRODUCTION. A. Why study jazz piano? B. How to use the book. A COURSE
OF STUDY. PAGE. Chapter 1. Chord Construction. 1. The 'GRIP' method.
JAZZ PIANO & KEYBOARD HARMONY VOL. I ACCOMPANIMENT TABLE OF CONTENTS INTRODUCTION A. B.
Why study jazz piano? How to use the book
A COURSE OF STUDY Chapter 1.
PAGE Chord Construction
1. The 'GRIP' method....................................................... a. modal b. nonmodal 2. The STANDARD method................................................. a. pitch selection b. spacing c. density/balance Chapter 2.
12
Chord Connection
1. Voice leading............................................................. a. traditional b. unusual 2. Functional................................................................ a. ii-Vs/Cycles b. cadences/turnarounds 3. Modal/non-functional.................................................. a. common tones, common structures b. pedal point Chapter 3.
1
15
20
23
Comping
1. General concepts and comments....................................... 2. Range limits, hand placement & movement, Inversion selection...................................................... 3. Guidetones, obbligato melodies and fills............................ 4. Bass lines................................................................ a. general principles b. bass melodies c. balance d. clave.............................................................. (1) Latin/broken time (2) Jazz Latin (3) Mixed/odd meter
25 26 27 31
35
e. comping in "2"................................................. (1) Jazz waltz (2) Ballads (3) Strolling f. walking 4/4..................................................... (1) cadences/turnarounds (2) non-functional areas (3) odd meters
38
41
Chapter 4. Putting It All Together A. How to Practice 1. Keyboard orientation, Hand position................................. 48 2. By subject............................................................... 49 a. single chords, grips d. Latin, 8th note vamps b. chord connection e. Swing 4/4 c. bass lines 3. Practice Regimen....................................................... 54 B. Repertoire........................................................................ C.
Introduction to Reharmonization 1. General Comments....................................................... 2. Alterations/Substitutions............................................. 3. Harmonic Rhythm...................................................... 4. Arrangement............................................................
D.
54
54 54 59 63
Stylistic/idiomatic materials 1. Impressionistic/modal................................................. 2. Blues figures............................................................. 3. Latin.......................................................................
