Online jazz piano lessons free videos,casio lk 100 metronome,price for yamaha u1 piano - Tips For You

Author: admin | Category: How To Learn Piano | 30.01.2016

As you listen, read along with the music and pay attention to the details of how the right hand notes are played: phrasing, articulation, rhythmic feel and the overall expressive inflection. Also listen to the source recording that the licks were derived from: "Confirmation" by the Tommy Flanagan Trio. Transcription of the introduction to the Major ii-V-I Progression lesson, taken from the bridge of Tommy Flanagan's solo over "Confirmation" from his 1982 recording of the same name. Record your performance and compare it to the introduction to the lesson and the original recording. How does your recording compare and contrast with the original recording with respect to phrasing, articulation, rhythmic feel and the overall expressive inflection? In  the first eight bars of Victor Young’s Beautiful Love each sweet note occurs on beat 1 and above the chord. Blue In Green, credited to Miles Davis but probably composed by Bill Evans, has a cyclical structure that never seems to resolve. In the following example, rather than writing out the complete melody, I’ve illustrated just the target notes, plus a suggested left-hand accompaniment. I’ll be providing plenty of soloing ideas that work with these strategies, but the main focus is to integrate your right and left hand.
Because, for the most part, the right hand takes on the primary role, I’ll spend the first section of this chapter looking at how the left hand can make a meaningful contribution, rather than just marking out the time. I’ve been asked to bundle all 20 playing jazz piano online video lessons into a discounted 20-pack. My Play Jazz Piano Online video course would not be complete without a tutorial about Rhythm changes. Next to a 12-bar blues, Rhythm Changes is the most important chord sequence in jazz, but I’ll tell you more about this nearer the time. This new 30 minute video shows you how to reharmonise a lead sheet and employ substitute chords to make for a more creative solo. Following on from lesson 18, I’ve taken All The Things You Are and substituted many of the chords. In lesson 18, I dissected Jerome Kern’s All The Things You Are, analysing its structure and breaking it down into key centres. The creation of a new, sophisticated chord structure will allow your solos to take on a far more creative journey.
As always, the 30-minute video will come with 4 downloadable backing tracks, sheet music and a quiz. On the staves below, visually identify each major ii-V and ii-V-I progression in the chord changes to the tune "Lady Bird." Look for the chord qualities minor 7, dominant 7, maj7 (or maj6 or triad) in that order.
To turn the page, swipe (on touchscreen devices) or press the navigation arrows on PCs (hover over the notation to reveal the arrows) to reveal the major ii-V-I progressions in the tune.
If the playalong tempo is too fast for you (110 bpm), download the playalong source files so that you can slow it down.
If you are struggling to play the voicings at tempo, download the playalong source files in MIDI or Band-in-a-Box format to slow down the tempo to help you learn the voicings. Parallel Minor Modal Interchange ChordsModal interchange is the borrowing of chords from another key center. Extended EndingEndings often involve the addition of chords prior to the final cadence to the I chord. Gospel VampKeith Jarrett has composed more than a few tunes made up of little more than a two bar gospel vamp.
Ubiquitous Bebop LickUbiquitous means "everywhere" and that is exactly where you will find this lick. He adjusts the lick slightly with a Db instead of a D natural on the third note and plays it over a Dbmaj7 chord. Red Garland: A Little Bit Swing, A Little Bit BebopComing of age in the mid 1940s, Red Garland had one foot in the Swing camp (pre 1945 Big Band jazz) and one in the sharply contrasting modern Bebop movement (post 1945 small group jazz). Embellish a Melody with Approach PatternsA great way to get started using approach patterns is to experiment with them on a familiar melody. Negotiating Tricky Progressions with PatternsThe chord changes to Lady Bird are not too difficult to improvise over. Chord Tone SoloingChord tones on strong beats are the backbone of a harmonically strong melodic line. Freshen Up A Progression with Functional SubstitutesCompare the spelling of the three chords, Cmaj7, E-7 and A-7.
Motivic DevelopmentThere is perhaps no more striking use of motivic development than in Beethoven's Symphony No. Special Function Dominant ChordsDominant chords in a blues progression function differently than do "regular" dominant chords. Custom Play-alongs from your Sibelius Notation FilesJamey Aebersold practically invented the play-along and his collection can't be beat. Visualizing ChromaticismOnce you are able to improvise harmonically specific lines the next challenge is to incorporate chromaticism into your solos. Tensions, Ice Cream, Sprinkles and Fudge SauceOther than improvisation, tensions are what make jazz sound the way it does. As you read each chord symbol of the tune in the notation gallery below, play through the drill to find each chord. When you have played the whole tune while using the drill go back and play the tune again three more times. If you played all the chords correctly and in time with no mistakes, move on to the next practice session.
If you played most of the chords correctly and in time with a few mistakes, try it again at a slower tempo, say 60 bpm.


If you played few of the chords correctly and with several mistakes try it again at a slower tempo, say 60 bpm and write out the notes of the chords that you had trouble playing on the lead sheet. Continue to read through tunes from the Real Book by playing the chords with your left hand and using the drill to figure them out. As you read through the Real Book you will encounter chords that weren’t covered in the lesson. When you begin reading through the Real Book it will be slow and difficult and it will be a lot of work.
Imitate my playing by emulating the elements of the recorded performance that you noted from listening to his solo. Letting time pass between recording the solo and listening to it can give you perspective on your playing that is more objective than when you are in the midst of making the recording. I then relate this to jazz improvisation and show you how to employ this technique in your solos. I recommend that you first revisit this tune by listening to track 3 of the Miles Davis album: Kind Of Blue. The left hand usually takes a back seat and is left with the supporting role of marking out chords, usually on beat 1 of every bar. Unfortunately, most solos consist of a line of single notes in the right hand, supported by chords in the left.
Next to a 12-bar blues, this is the most important chord sequence in jazz, and  is one that every jazz musician needs to be familiar with.
Subsequently, jazz composers took to retaining the chord changes but replacing Gershwin’s tune with their own.
I used All The Things You Are and Take The A Train to demonstrate how to interpret a song structure and then reharmonise it. The most common way to reharmonise a chord is by substituting a dominant 7 with its tritone. Look for the progression in 2 or 4 measure phrases with root motion in descending perfect 5ths or ascending perfect 4ths. Play the chords in any way that you can, either in root position (as notated on page 2 of the notation gallery), with or without voice leading, using rootless voicings or two handed voicings. Alternatively, you can use the playalong source files to speed up the playalong if the included playalong is too slow and you want to challenge yourself with a faster tempo.
Continue to play this exercise until you can play the voicings fluently by reading both the notated voicings and the chord symbols alone. It offers all of the possible alterations to the dominant seventh chord: b9, #9, #11, b5 and b13.
The saxes respond with a 1357 arpeggio with a chromatic approach from below in response to the vibes call. Or I should say he had one hand in each style.Red Garland's right-hand lines are clearly modern.
Your predilection for melodic ideas is what makes you, "you." Your "sound" is the manifestation of your musical personality that is borne out by your harmonic and melodic preferences. And to improvise fluently over these chords you need to know how to recognize these progressions.
In fact, a simple line of chord tones on strong beats played with interesting rhythms can yield a spare but effective improvised line. 5.Watch Improvising with Motivic Development to learn how to integrate this technique into your solos.
Instead of sounding unstable and in need of resolution, dominant chords in a blues setting are at rest. Tensions are the upper structures of a chord, 9, 11, 13 and their alterations (b9, #9, #11, b13) that, when added to a chord (especially dominant sevenths), enrich the chord's sound.
If the playalong is too fast you can download the playalong source files and change the tempo using band-in-a-box or a sequencer of your choice. Once you can play it with no mistakes at 60 bpm, increase it until you can play it with no mistakes at 80 bpm, then move on to the next practice session. If you get stuck, confused, frustrated or need help for any reason contact me and I will get you through it.
This is just one approach and should not be the default sound of ‘jazz piano.’ If the right hand is taking most of the load, then the left at least needs to be integrated, serving a musical function.
Rhythm Changes is based on the chord sequence of the song  I Got Rhythm by George Gershwin. But in this upcoming lesson we’ll be taking things further by replacing the simple chords with a sequence more appropriate to jazz. Listen for the sound of the major ii-V-I progressions: the chord qualities, the root motion and the harmonic rhythm of two or four measure phrases. Continue to develop your skill with this concept by reading through tunes of your choice from the Real Book and identifying and playing major ii-V-I progressions. This standard is easily the highlight of the disc which also includes three other tunes, each one written by one of the band members. Even though you may be tired of hearing your ideas day after day, they are new to your listeners. One critical element of ii-V-I progressions is that the chords move in perfect 5ths.Therefore, in order to be able to identify these ubiquitous chords you need to know what a perfect 5th is both in notation and in sound. You've got a lot of time to linger on each chord and the keys are not too difficult to manage.But take it at a good clip (at bpm=170 like Hank Jones does on his 2008 release Our Delight) and the turnaround can sneak up and bite you. Take Hank Mobley's opening line of his solo over the tune Remember from his 1960 Blue Note release Soul Station. They posess a dominant structure (a tritone) but don't have dominant function (need to resolve) and are said to be special function dominant chords.See if you can hear the difference.


But what if you've just written a tune in Sibelius and want to hear how it will sound with a jazz trio- NOW?3 clicks gets you an instant play-along file that you can jam with in seconds.Your masterpiece has been created.
Chromatic literally means "color" and using chromaticism is the technique of incorporating notes from outside the key of the moment into your improvised lines. There is a an analogy I like to use to demonstrate the use and effect of tensions: ice cream.
Follow the steps of the drill as described below to find the chord:With your left hand, play the major scale that is the same as the root of the chord.
Try it again at a slower tempo, say 60 bpm and write out the notes of the chords that you had trouble playing on the lead sheet. When you reach the end of the book you will have all 60 chords memorized and will be ready to watch the Rootless Voicings with Added Tensions series of lessons. Jazz composers have substituted Gershwin’s  tune with their own, but have kept the chord sequence. More importantly, players were drawn to the chord changes, finding them to be an ideal vehicle for improvisation. From here he just repeats the pair for two more octaves.He plays a similar lick in the A section of his solo to the tune. Check out this completely chromatic line from the B section of the first chorus of his solo over the tune It Could Happen to You from Miles Davis' 1956 release Relaxin' with the Miles Davis Quintet.
Embrace your "same old licks" as your unique musical fingerprint.For instance, take Tommy Flanagan. In the first measure the G and the Bb are approached chromatically from below (F#-G; A-Bb). It is two measures of two increasingly tricky dominant chords per bar: C7 - Eb7 - Ab7 - Db7. Here is a perfectly fine lick that isn't chromatic- it is totally diatonic- meaning "from within the key." All of the notes belong to the same key, in this case C, which is arbitrarily defined as the color brown. To turn the page, swipe (on touchscreen devices) or press the navigation arrows on PCs (hover over the notation to reveal the arrows). Once you can play it with no mistakes and without reading the notes of the chords at 60 bpm, increase it until you can play it with no mistakes at 80 bpm, then move on to the next practice session. Eventually you will find that playing the chords will get easier and faster and you will rely less and less on the drill. Actually, there are a few variations of this sequence you need to know, and I take you through the options in this 30-minute video lesson. To learn more about that lick as well as other improvisational techniques that he uses watch Improvising Over Just in Time.
But don't count out 11 just because it gets a bad rap for ruining the sound of the major third in these chords. Once you are aware of this lick you will notice it all over the place.I was watching Live at the Village Vanguard Volume 1, an excellent DVD which chronicles a 1989 Freddie Hubbard Quartet gig at the Village Vanguard, when I noticed Cedar Walton quoting the infamous Ubiquitous Bebop Lick during his second chorus on Ron Carter's tune Little Waltz. You could coast over them and hit it hard on the next chorus but there is an easy solution to sound good over this or any thorny progression: use patterns to overcome problem chord changes. With the exception of two approach notes (the Eb on the and of 2 in measure 1 and the Db on the and of 2 in measure 2) he improvised a lyrical first statement to his solo with nothing more than chord tones. Here is a line which incorporates chromaticism, one with a lot of color, that uses notes foreign to the key that require the use of accidentals, as demonstrated here by the multi-colored notes. Play the scale in the mid-range of the piano where chords sound best.Play 1, 3, 5 and 7 of the scale together to form a chord. As it gets easier for you to play the chords, add the melody to the tunes in your right hand. In the key of C the Cmaj7, E-7 and A-7 are all tonic sounding and the D-7 and Fmaj7 are both subdominant sounding chords.Since the chords in each group are related and sound similar they can substitute for one another in a progression. By the time you reach the end of the book you will be enjoying learning the tunes and will be unaware that when you started the book you couldn’t play any of these chords. Listen to Charlie Christian comp over the tune Air Mail Special (Good Enough to Keep) with the Benny Goodman Sextet and the instrumental background riffs of Count Basie's band during Lester Young's solo over the tune Honeysuckle Rose on Count Basie's Complete Decca Recordings.
This property is the basis of the reharmonization technique called functional substitution. Chromaticism can be accomplished by using approach patterns, 1-4 note chromatic cells that smooth the transition from one chord to the next. Red Garland's transitional style demonstrates performance aspects of both the Swing Era as well as the Bebop style.
You can also incorporate chromaticism with the use of various chorscales- lydian, wholetone and the whole-half scales are just two choices of many.
As you play through tunes, substitute like-sounding chords for one another to revitalize the harmony.
It has a tritone (dominant structure) but not dominant function (need to resolve) so it is at rest. The Bb7 in measure 4 is a secondary dominant and has typical dominant function- the need to resolve. So go ahead and release the tension- play the Eb7!Reharmonizing the blues progression with secondary dominants is common to the jazz blues progression. Tensions are covered in the Rootless Voicings with Added Tensions lessons.Triads are chords without a 7th. 135 for major, 1b35 for minor, 1b3b5 for diminished, 13#5 for augmented and 145 for suspended (sus).



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