Jazz Piano: Piano: Reference

An in-depth look at the styles of the masters featuring lessons music historical analysis and rare photos this book and CD set provides a complete overview of the techniques and styles popularized by 15 of the greatest jazz pianists of all time. All the best are here: from the early ragtime stylings of Ferdinand 'Jelly Roll' Morton to the classically inspired modal escapades of Bill Evans through the '70s jazz funk of Herbie Hancock.The accompanying CD contains 15 full-band tracks giving you the best all-round guide to the world of the Jazz Piano at its very best.

Learn the timeless techniques of jazz harmony and improvisation. This book is based on the author?s experiences of teaching jazz workshops and has been produced to fill a gap in the jazz education market by providing an explanation of the principles of the art form. The appeal in the first instance is to the aspiring jazz pianist seeking an explanation of the principles of the music. This book is intended to serve as an aid to developing potential. Non-keyboard jazz musicians will also benefit from this book, for it encourages them to play harmonies en-bloc at the keyboard as they would be played by the jazz pianist. Finally, it is useful in the classroom as an educational reference for teachers wishing to include jazz as part of the music curriculum, relating the music to conventional music training.

Media Type : Book Level : Beginning-Intermediate Musical Genre : Jazz Number of pages : 128 This informative volume provides a chord reference for any pianist wanting to learn to play jazz. Starting with the most basic intervals, the text explains how chords are built and how they are used in different performance settings. After covering the basics, advanced chord types such as 9ths, 11ths, 13ths, drop voicings, and the blues chord are presented and explained. The functions of chords are described, as are substitutions, clusters, and polytonal clusters. Numerous charts are provided which can be helpful for practicing and for quick and easy reference as to which can be used with given bass notes. The Melody Harmonization Charts show chords based on fourths. Learning to use these chords will help the pianist play with more harmonic variety, color, and interest. Check out the All About Jazz Review.

This informative volume provides a chord reference for any pianist wanting to learn to play jazz. Starting with the most basic intervals the text explains how chords are built and how they are used in different performancesettings. After covering the basics advanced chord types such as 9ths 11ths 13ths drop voicings and the blues chord are presented and explained. The functions of chords are described as are substitutions clusters andpolytonal clusters. Numerous charts are provided which can be helpful for practicing and for quick and easy reference as to which can be used with given bass notes. The Melody Harmonization Charts show chords based on fourths.Learning to use these chords will help the pianist play with more harmonic variety color and interest.

Across a decades-long career, Chick Corea (1941-2021) exerted a limit-stretching influence on many a musical genre. With dozens of albums and an astounding 23 Grammy Awards to his credit, he was a potent force in music: exploring, experimenting, and discovering. His impact will be felt for years to come. This collection pays tribute to him with 26 note-for-note transcriptions with meticulous easy-to-read notation, chord symbols to facilitate analyzing the solos, rehearsal letters, rhythmic styles and metronome marks, and transcription reference included with the song title.
Armando's Rhumba
Blue Miles
Blues For Art
Brasilia (Lyric Suite Part 5)
Bud Powell
Chick's Piano Solo (Spanish Fantasy Part 3)
Children's Song No. 6
Crystal Silence
Duende
Eternal Child
500 Miles High
Humpty Dumpty
Improvisation On Scarlatti
La Fiesta
Love Castle
Mirror, Mirror
Morning Sprite
Quartet No. 1
The Romantic Warrior
The Sky
Sometime Ago
Spain
Stride Time VII (Rhapsody For Mr. T)
Waltz (Lyric Suite, Part 2)
Windows
The Yellow Nimbus
/ Partitions jazzandblues / Piano - claviers / Piano / HAL LEONARD

Stuart Corbett's handbook is designed primarily to accompany London College of Music Jazz Piano grades examination syllabus. It also provides a solid foundation of musical education for any Jazz student any age whether theyintend to take an exam or not.

Jazz Hands is a series of original jazz pieces for Piano by Mark Tanner which covers all standards from grade one through to red hot. Although the player may feel free to indulge in a spot of improvisation in response to the printed music there is no expectation to do so in any of the books. Nor are there any chord symbols or other bespoke abbreviations the like of which presuppose a degree of familiarity with the genre which may not actually be the case. Rather the idea is that the player will become gradually more confident and adept at playing in a jazz style as he/she works through the books. It may well be that a classically-trainedpianist has reached say grade 5 but feels currently at a more modest stage when tackling jazz. This is absolutely not a problem and indeed is all the more reason for the 'straight' player to extend their jazz skills to match.The title of this series 'Jazz Hands' derives from the familiar exuberant gesturing seen in music theatre fingers spread and extended with palms facing upwards an effect frequently amplified by a convulsive shivering of the hands. Cheerleaders have tended to make widespread use of jazz hands while the concept has also found its way into revues Broadway shows and films as well as contemporary dance. In the current context I am of course referring to the jazz pianist's hands which in only the most ambitiously spaced Art Tatum chord would require the player to stretch the digits to such an extent as in the aforementioned theatrical sense. The term 'jazz' has been adopted and adapted in a multiplicity of ways (not unlike 'classical' indeed) so that it no longer tells us very much about the music itself. Aficionados immediately recognise the better-known subgenres such as 'bebop' or 'New Orleans' styles and may even be able to distinguish 'smooth' from 'groove' or 'fusion/crossover' from 'postmodern'. And yet these are just labels not music. In an understandable bid to define all that we hear