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This item will be shipped through the Global Shipping Program and includes international tracking. Will usually ship within 2 business days of receiving cleared payment - opens in a new window or tab. Okay, so the title and book cover design are extremely overused (whoever came up with the original title must be just rolling in dough from the licensing fees), but this is a really good book for those with absolutely no previous music experience. A very popular book, How To Play Keyboards takes you step by step, adding chords and notes as you go along. As the other books in this series, this is an excellent book which takes you through easy and intuitive steps to learning to play piano. As the title of this music instruction book implies, this is a basic and concise guide to reading music. Want to learn to play piano, but the thought of having to learn to read music is a bit scary? For children between the ages of 3-7, a great book that lets kids learn music in an exciting, creative and fun way. Super Sight-Reading SecretsAn Innovative, Step-By-Step Program for Musical Keyboard Players of All Levelsby Howard B.
FREE DELIVERY FOR UK CUSTOMERSPlease be aware all items usually take around 24 hours to get ready for dispatch. In the unlikely even that you receive an item from us which is damaged or faulty, please get in touch with us before returning your order so that we can determine the best possible solution for you. You can earn 1% point on every purchase at any shop and use on your next purchase at the rate of 100 points = ? 1.00. The piano is one of the few versatile instruments in a jazz combo which can play chords, rather than single notes only. The piano has the capacity to be in itself a complete, autonomous, expressive musical medium.
Some of the most important, influential pianists of the 1950s and 1960s include Red Garland , McCoy Tyner , Ahmad Jamal, Wynton Kelly, Thelonious Monk, Phineas Newborn Jr., Oscar Peterson, Bud Powell, Horace Silver, Lennie Tristano. Bill Evans was part of a new generation of players emerging in the 1960s which included Chick Corea, Herbie Hancock, Keith Jarrett, John Taylor, Andy Laverne and Richie Beirach. Recent and contemporary pianists are Bill Charlap, Geoffrey Keezer, Brad Mehldau, Mulgrew Miller, Danilo Perez, Fred Hersch, Jacky Terrasson, Esbjorn Svensson, Tord Gustavsen, Robert Glasper , Gonzalo Rubalcaba and Enrico Pieranunzi. When one talks about “jazz piano music,” one is almost always talking about the piano trio in jazz music. The jazz piano trio has been an important part of the jazz scene for more than half a century.
The final disc takes up to the end of 1958, after which the chance to use copyright-free material runs out.
The last CD contains 4 pieces by Bill Evans: "Minority", "Tenderly", "Night And Day" and "Peace Piece" from the album Everybody Digs Bill Evans.
To begin, view the TIMELINE of the bassists and drummers of the Bill Evans trio from 1956 to 1980. The term piano trio in jazz usually refers to a group comprising a pianist, a double bass player and a drummer. The pianist is usually considered the leader of these trios, and trios are usually named after their pianist. Formerly, in the swing and bop period, the piano took on a very dominant role where, it was less a trio in the ideal sense of three equal roles, than it was piano plus bass and drums.
Regardless of style, era or instrument, the greatest jazz artists share an essential attribute: a recognizable sound. The percussive style of playing adopted by many of other pianists, was hardly compatible with his legato treatment of the eighty-eight keys. Wrongfully some, like the controversial jazz critic Stanley Crouch, write Evans off as a romantic pianist who didn't swing hard enough and played not deep enough into the blues. Some emotional situations can not be as the blues" (Bill Evans to Francois Postif in JazzHot). The earliest Bill Evans Trio, featuring bassist Scott LaFaro and drummer Paul Motian, is considered by many to be the prototypical "melodically and interactive" piano trio.
As continued inheritance we can nowadays listen to piano trios like those of Keith Jarrett, Steve Kuhn, Bill Charlap, Enrico Pieranunzi and Brad Mehldau. In an interview with Rubin and Enstice for the book Jazz Spoken Here (Da Capo Press, 1994), Evans stated "In my mind Scott LaFaro was responsible in a lot of ways for the expansion of the bass. After leaving Miles Davis in 1959, Bill Evans formed a trio with Jimmy Garrison on bass and Kenny Dennis on drums, later replaced by Philly Joe Jones. The recordings that Bill Evans, Scott LaFaro, and Paul Motian made at the Village Vanguard in 1961 were avant-garde for the time. From an interview with Paul Motian by Ted Panken, a professional jazz and creative music journalist (Down Beat, Jazziz, and Jazz Times): "It depended on who I played with. In 2001 the International Society of Bassists (ISB) organized a Convention recital at the Butler University, Indianapolis, with a special tribute to Scott LaFaro entitled "The Bassists of Bill Evans" with Chuck Israels, Eddie Gomez, Marc Johnson and special guest Scott's sister Helene. Scott LaFaro never recorded as a leader and appeared on less than twenty albums before his untimely death in that year by a car accident shortly after the Village Vanguard sessions with Bill Evans.
Eddie Gomez, the bassist of Evans from 1966 till 1977: "I'd always wanted to play with Bill Evans because I felt that the relation between the piano and the bass always gave the bass such an openness that anything went, in musical way. Bill Evans talking with bassist Eddie Gomez and drummer Marty Morell (Audio excerpt from the DVD Bill Evans Trio in Helsinki, 1970). Marc Johnson, the last Evans' bassist from 1978 till 1980 is rather modest about his playing with Evans, in reality his fresh ideas clearly energized and inspired the pianist. The bassist could play something different while also feeling the time and the form, and relating to the structure of the piece. Bill Evans considered his last trio with Marc Johnson and Joe LaBarbera as important as his first trio with Scott LaFaro and Paul Motian. Jazz is always, as Bill Evans once remarked, “a social situation”; it involves a number of musicians speaking a shared language, but with highly individual sensibilities.
Amazingly, Evans told Marian McPartland in an interview for her Piano Jazz series (The Jazz Alliance 1978, reissue 2002), that the trios had had only about four rehearsals in 20 years. That's why I play in some way or other rather on my own, because I know exactly what happens and because the feelings and the intentions should agree. For others, unlike the piano trio, solo piano jazz represents the ultimate challenge: a grand piano and a grand pianist in the most intimate setting.
The combination of these elements has placed the Maybeck Recital Hall series among the most respected undertakings in modern piano jazz.
The house was purchased in 1987 by jazz pianist Dick Whittington, who opened the hall for public recitals.


Concord Records in California set out to take advantage of the building’s amazing acoustics. CDs of 10 jazz duets with piano and bass that were performed at Maybeck during this same period. Bill Evans never performed solo at Maybeck Recital Hall, because he untimely died in 1980.
For every jazz pianist, unaccompanied solo playing is the musical equivalent of single combat: no bass no drums, just one mind, two hands and 88 keys. The main characteristics of modal jazz are: slow-moving harmonic rhythm, the repetition of a single chord or a pair of alternating chords lasting for at least 4 measures, absence of standard functional harmonic patterns and static harmony for a longer part of a piece. In modal jazz, improvisations are based on individual scales or modes rather than on the overall key of a piece. Miles Davis recorded one of the best selling jazz albums of all time in this modal framework with "Kind Of Blue" in 1959 with Bill Evans at the piano.
Here's why Miles liked Bill's playing, he considered him as one of a few pianists who didn’t only play the chord, but played a sound. The meaning of Bill Evans for his contemporary pianists is best illustrated by the next survey. The jazz writer Gene Lees* interviewed in the early eighties more than 60 noted pianists in that period. Christmas poem responses - bethany roberts, Christmas is not about the presents nor is it about your turkey or your phesent the bright green and red that shine as carolers sing in a line christmas trees line.
The nightmare christmas (1993) - rotten tomatoes, It's been twenty years since the nightmare before christmas was released and ten years since i first saw it. The night reviews - metacritic, Always energetic wild whoop bachelor party, lights burn brightest night indulges big goofs kooky tangents..
Contact the seller- opens in a new window or tab and request a shipping method to your location. It gently walks you through the basics of learning piano, and you'll be playing tunes for the family pet before you know it. Geared towards those who are complete beginners in music, this book will make the initial steps of learning to read music an easy process. This great little package will have your fingers tickling the ivories in the styles of the great blues masters themselves. If you are a piano player with some experience, the book will guide you through the blues scales, chords ad patterns while the CD supports the lessons with superb samples by Cohen. A very comprehensive book that offers the parent or teacher guidance in introducing and instructing young children in music. Well known by many great musicians, this book is a highly valuable tool for pianists of all musical backgrounds and levels. From the beginning jazz piano has been an integral part of the jazz history , in both solo and ensemble settings. Zoot Sims: "I think one of the best things you can do, no matter what you play, is to take up piano. A boxed set, which contains no fewer than 25 CDs tracing the history of jazz piano from early 1899 to the end of 1958. This means that we hear nothing from many important modern pianists, such as Herbie Hancock, Keith Jarrett, Joe Zawinul, McCoy Tyner et al. There will always be room for more straight-ahead swinging piano trios, where bass and drums play roles more defined as timekeeping and support for the pianist, but at present the trios evolve to a much greater interaction.
An individualist like Bill Evans announces himself: his tone, phrasing, touch, harmonic choices and rhythmic turns are calling cards.
The neoclassicist Crouch, who appeared in Ken Burns' 2001 criticized documentary "Jazz" and who served on the film's advisory board also postulated with a tunnell vision that the European and classical traditions have never made any significant contribution to the history of jazz music.
While Bill Evans swings in a very different way than Oscar Peterson, the same could be said for other authoritative pianists - it’s different. Scott Lafaro had an amazing fluidity and velocity on his instrument and was also very melodic and inventive. In this trio, the bass critically provided complex poly-rhythmic and melodic counterpoint and also offered lead lines as raw material for the rest of the group. Bill Evans employs a floating pulse with subtle ways of phrasing so as to avoid accenting the most obvious beats, absence of walking bass, staggered placement of phrases, displaced and fragmented drumming accompaniments, reharmonizations of comping chords, blurring of turnarounds, quartal harmonies, playing in and out of swing feeling. I remember the day when I first played with Bill Evans and Scott LaFaro, the way Scott LaFaro was playing.
In 2009 Helene published a biography of Scott Jade Visions (University of North Texas Press) with an introduction by Gene Lees. The album closes with a 20 minutes rehearsal tape of "My Foolish Heart" with Bill Evans and Scott LaFaro from 1960 and a 13 minutes interview of Bill Evans about his collaboration with Scott LaFaro from 1966.
So, there was a looser quality that finds bassists playing through the forms instead of obviously outlining the form." "Focus and commitment always come to mind when I think of him. The music is evolving and growing of itself like the first trio." (Interview after a performance in Norway at the Molde Jazz Festival on August 9th, 1980).
He experimented endlessly with slow, cloudy numbers, and the singing climaxes all but vanished. In an other interview by Michael Spector for Contemporary Keyboard, (1977) Evans postulated about practicing: "No. One can mention only a few notable combinations such as Duke Ellington with Billy Strayhorn, Duke Ellington with Count Basie, John Lewis with Hank Jones, Hank Jones with Tommy Flanagan, Chick Corea with Herbie Hancock, Alan Broadbent with Bill Mays, Richie Beirach with Andy LaVerne and Stefano Bollani with Franco d'Andrea.
It was built in 1914 by the distinguished architect Bernard Maybeck and seats up to 50 people.
From 1963 till 1978 however he recorded 7 solo studio albums without audience: Conversations With Myself (1963, Grammy Award), the first recording of overdubbed solos, Solo Sessions Vol 1 and Vol 2 (1963), Further Conversations With Myself (1967), the second recording of overdubbed solos, Alone (1968, Grammy Award), Alone Again (1975) and New Conversations (1978), the third and final recording of overdubbed solos. For Evans, as a protective cover in a creative and interactive setting, performing in the context of the piano trio with bass and drums was actually indispensable. Herbie Hancock attributes hearing the modal concepts of Evans’ solo on “So What” as a turning point in his own approach. The scales formed the stepping stone of solos instead of the busy progressions that had featured jazz music since the bop period.
In a piano trio they choose not to play their songs using chords, but instead use modal scales. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. It is better suited to the person who wants to learn the basics, and how to play out of fake books and begin improvising. While you will probably need to graduate to more advanced music instruction fairly quickly, this easy to use book helps make the initial baby steps of learning to read music easy and enjoyable. This is an intuitive instruction method which includes a CD, instruction book and a poster as well. This is also a superb teacher's book, and will help you prepare great lessons which will inspire your students to learn in fun and challenging ways.
The piano is also an essential instrument in the understanding of jazz theory and arranging, because of its combined melodic and harmonic nature.


Johnson, Jelly Roll Morton, Willie "The Lion" Smith , Art Tatum, Thomas "Fats" Waller, Mary Lou Williams and Teddy Wilson.
The goal was not just a pianist with two backing instruments, but rather a three-way conversation. Bill Evans was accused of not being able to swing, or abused for an "weak" approach to jazz that was unfamiliar to its African sources. However, there are plenty of Evans recordings which show that he could indeed flash the technique and swing as hard as anyone when he wanted to, especially in the first and last period of his career. Bill Evans developed a more democratic piano trio with an integrated trio sound, encouraging greater contrapuntal interplay. Bill gives the bass harmonic freedom because of the way he voices, and he is practically the only pianist who does. My confidence grew, my ability to concentrate heightened, my sense of timing improved, and my knowledge of harmony expanded. After all, in a classical composition, you don't hear a part remain stagnant until it becomes a solo. It is true Bill Evans played in a duo setting with guitarist Jim Hall on two albums, with Tony Bennett on two albums and one with bassist Eddie Gomez, but duos with fellow pianists are exceptional.
A friend of Earl Zindars showed Bill Evans the lead sheet, who decided to record it on his album From Left To Right (1970).
You can always do that and have some fun together, but to achieve one's aim to produce one's own intrinsic contribution, what should be relatively pure, than you need exactly the right partner.
Moreover he played solo tracks on several albums from his earliest recordings on New Jazz Conceptions (1956) to his last-known solo tracks during the interview with Marian McPartland on the Piano Jazz album (1978).
Often, modal jazz performances move back and forth between only two chords based on a mode. This means that the bassist, for instance, don't have to 'walk' from one important note of a chord to that of another - as long as he stays in the scale being used and accentuate the right notes within the scale, he can go almost everywhere. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall. It is probably not the best choice for those who want to learn more advanced theory of music. It teaches you the basic blues chords, chord symbols, the 12 bar blues, chords inversions, swing and shuffle rhythms, blues improvisation and a whole lot more. Later Earl Hines, the "father of jazz piano" expanded the piano capabilities in all respects: rhythmic, harmonic and melodic. The sensitive, quiet and introverted Bill Evans wanted to work with the music more freely, from the inside out. Also Tom Piazza, who is part of the Wynton Marsalis and Stanley Crouch camp, dismissed Bill Evans in his Guide To Classic Recorded Jazz (Iowa Press 1995): “I have trouble sitting still for his work for very long. To disprove the myth that Bill Evans can’t play the blues, one only need listen to the Oliver Nelson recording "Blues And The Abstract Truth", "Freddie the Freeloader" on the album "You Must Believe In Spring" or "Blues In - F" on the album "Bill Evans Trio at Shelly`s Manne-Hole".
So I mold the contour of my bass line to fit the character of the piece." Therefore because Israels knows the harmonic nature of the piece, Evans knows he can leave out the bass voice on piano, Israels will fit it in.
There are transitional development passages - a voice begins to be heard more and more and finally breaks into prominence." (From an interview with Bill Evans by Nat Hentoff in The Jazz Review, October 1959). On the album Jazz in the Space Age (1960) by George Russell some tracks features duelling pianos between Bill Evans and Paul Bley like a real piano battle, perhaps one of the most memorable encounters in modern jazz.
The pianist will not have to play the same chords or variations of the chords, but can do anything, as long as he also stays within the scale being used. I had to change the way the band sounded again for Bill's style by playing different tunes, softer ones at first.
The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins.
This is best "learn to play blues piano" music instruction book and CD this side of New Orleans.
The pianist has all the elements of complete musical expression: rhythm, melody and harmony with innumerable combinations.
He doesn’t swing enough, he can’t play the blues, and I don’t feel close to his soul.” Evans seemed to be immune from criticism, he was simply uninterested in the blues, both as a form and as part of his musical vocabulary and repertoire.
Jazz author and jazz historian Eric Nisenson in his book Blue: The Murder Of Jazz (Da Capo Press 2000): Does Evans “sound white”?
I found out playing with Bill that I have a deep respect for harmony, melodic patterns and form. Chuck Israels made a clarifying and thorough analysis of the music of Bill Evans in an article on his website.
All of the pianists who I have played with in other trios have been touched by Bill's conception. During the interview on Piano Jazz (1978) on some tracks he plays duo with pianist and interviewer Marian McPartland. Bill played underneath the rhythm and I liked that, the way he played scales with the band.
We were each contributing something and really improvising together, each playing melodic and rhythmic phrases. The article deals about rhythm, tone color, melody, voicings, phrasing and the compositions of Bill Evans.
On the album The Ivory Hunters (1959) Bill Evans plays duo with trombonist Bob Brookmeyer this time on piano, with Percy Heath on bass and Connie Kay on drums. Even when Bill Evans played his standard tunes, which are essentially tonal, he used modes as an element of harmonic and melodic renewal, but without altering the original form, as for example Maurice Ravel did in his own context.
Red's (Garland) playing had carried the rhythm but Bill underplayed it and for what I was doing now with the modal thing, I liked what Bill was doing better. He is white, after all, and if his music is authentic it has to be expressive of his own life and truth.
The harmony would be improvised; we would often begin only with something thematic and not a chord sequence. On one track on the DVD The Bill Evans Trio In Europe Bill Evans participates in a four-hands jam with the pianists John Lewis, Marian McPartland and Patrice Rushan with Eddie Gomez on bass and Paul Motian on drums.
One can draw parallels between "Since We Met" and Ravel's "Sonatine", for example, or the minimalism and the climate of "Peace Piece" with a "Gnossienne" of Satie. The beauty and power and—yes—authenticity of Bill Evans's music is vouched for by the fact that some of the greatest African-American musicians of this century . Two fine modal examples of Bill Evans compositions are "Re : Person I Knew" and "Time Remembered" .
There are too many things to learn and too many things you can do, to keep doing the same things over and over.



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