By Mark Levine
RETAIL (I got rid of the DRM myself)
A wonderful consultant to all issues Jazz, this handbook is an entire approach for Jazz piano. greater than a trifling concept e-book, The Jazz Piano e-book is a pragmatic and special approach, utilizing the various most interesting examples from genuine Jazz recordings to ascertain the ideas, voicings and phrasings of Jazz piano. It starts off its guideline from the very starting and progresses via complex thoughts when protecting the main inspirational gamers and tune from 1930 to 1990.
Comprehensive and readable, this quantity contains recommendations such 'Comping, So What Chords and Block Chords, and masses extra!
This publication is meant for intermediate gamers who've a few wisdom of periods, chords, key signatures and the most typical scales.
The Jazz Piano ebook is an instructional by way of Mark Levine that goals to summarise the musical thought, together with jazz concord, required by way of an aspiring jazz pianist. Upon its e-book in 1989, it speedy garnered frequent compliment from either proven jazz musicians and educators for its concise, pleasant tone and its accomplished scope. Kenny Barron defined it as "One of the easiest jazz piano books I've ever obvious – really easy to understand."
Its aim readership seems to be analyzing musicians who're new to jazz, implicitly classical musicians—there is particularly little dialogue of actual pianistic procedure, and just a very short precis of musical durations meant as a refresher. one other major omission is any dialogue of post-stride solo piano techniques—it is usually assumed bass participant could be current to supply a root for the voicings which are discussed.
The booklet covers more than a few subject matters together with left-hand voicings, scales and modes, improvisation, chords and 'comping. a lot of the ebook comprises musical idea, as Mark Levine states within the advent. Jazz criteria are pointed out often, frequently with notated examples, to assist to provide an explanation for a selected subject or suggestion.
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Additional info for The Jazz Piano Book
The C "major seventh" chord doesn't even have a major seventh! Left-hand voicings give you a lot more flexibility. You're not tied to playing the root, and your left hand is higher up on the keyboard, playing chords that include ninths and thirteenths. Don't worry about the lack of a root in the chord. When playing in a rhythm section, the bass player will often play the root on the first beat of a given chord, and jazz pianists even use these voicings when playing solo piano. Figure 7-1 41 CHAPTER SEVEN Figure 7-2 There are many left-hand voicings, but I'll begin with the basic ones.
Also, the root, C, is in the voicing, but not on the bottom where you'd normally expect a root to be. Some pianists play seventh, ninth, third, and fifth for the I chord (figure 7-5). This option is OK, but use it with care. By itself it sounds more like a G6 chord than a CA chord. If you precede it with a G7 chord, it will sound like a CA chord. If you precede it with some other chord, however, it could sound too much like G6. If you or your bass player play C, the root, underneath, the chord will sound like CA.
That's true of unaltered dominant chords, but once you start altering notes on dominant chords, the boundaries of what defines a dominant seventh chord become more flexible, and strange (and beautiful) sounds will happen. Figure 8-10 shows two voicings for a C7+9 chord, third or seventh in the little finger. Dominant seventh +9 chords usually have a fifth but no thirteenth in the voicing, as in both of these examples. The second voicing, with the seventh in the little finger, is seldom played because the voicing with the third in the little finger sounds so much stronger.