Jazz Piano 101

An Introduction to Basic Jazz Piano Concepts

Ann Collins Presentation at the 2004 MTNA Conference

LISTEN TO JAZZ

LISTEN TO LIVE JAZZ: as much as you possibly can.

1. Find out where the nearest jazz clubs and jazz concert venues are located.
2. Check area high schools, colleges and universities for jazz concert dates.
3. Ask permission to observe jazz band rehearsals.
4. Audition to play in the school or community jazz band.

LISTEN TO RECORDED JAZZ: starting with combos playing straight ahead jazz.

1. Learn to distinguish instruments.
2. Learn to follow the form: the original tune (head) and subsequent improvisations.
3. Learn to listen from the bottom-up to hear the chord changes.
4. Play along with and imitate what you hear on the recordings.

SOME EASY-TO-LISTEN-TO-AND-HEAR-WHAT'S-HAPPENING CD's

• Herbie Hancock: "The Best of Herbie Hancock" Blue Note Records
• Oscar Peterson Trio: "Night Train" Verve Records
• Ellis Marsalis: "Heart of Gold" Columbia Records
• Bill Evans Trio: "Portrait in Jazz" Riverside, and "The Tony Bennet/Bill Evans Album"
• Duke Ellington and his Orchestra: "Sophisticated Lady" Victor Jazz
• Bill Charlap Trio: "Stardust" and "Written in the Stars" Blue Note Records
• Wynton Marsalis: "Marsalis Standard Time" Columbia

SOME EASY-TO-UNDERSTAND-AND-USE BOOKS TO HELP YOU WITH LISTENING

Jerry Coker: "How to Listen to Jazz", Jamey Aebersold Jazz www.jazzbooks.com

FEEL THE RHYTHM

Straight 8ths: Latin, Jazz-Rock Fusion, and some ballads.

Uneven 8ths: Everything else. Think/say/feel: Doo-BAH, Doo-BAH, Doo-BAH

Sing along with records using jazz syllables to internalize the feel.

Some generalizations:

1. The second and fourth beats (the back beats) are stressed.
2. A note followed by a rest is usually short.
3. Notes that are tied get an accent.
4. The piano touch is generally legato without pedal. (except for ballads)
5. To feel swing, put on a Court Basie or Oscar Peterson recording and move with it.

SOME USEFUL RESOURCES

LEARN TO PLAY SEVENTH CHORDS

SEVENTH CHORDS: Major, Dominant, Minor (plus half-diminished and diminished)

1. Root Position; Left-hand chords (Maj: 1-3-5-7, Dom: 1-3-5-b7, Min 1-b3-5-b7)
2. Root Position: Right-hand chords with chord root in left hand (1---3-5-7) or (3-7)
3. Position 1: Right-hand chords with chord root in left hand (1---3-5-7) or (3-7)
4. Position 2: Right-hand chords with chord root in left hand (1---7-3-5) or (7-3)
5. Rootless Voicings: Left-hand chords (3-5-7 or 7-3-5) with melody in R.H.
6. Quartal Voicings: Chords built in 4ths rather than 3rds (See Frank Mantooth's "Voicings for Jazz Keyboard" Pub: Hal Leonard)

SEVENTH CHORDS CYCLES: C-F-Bb-Eb-Ab-Db-Gb/F#-B-E-A-D-G-C (See "Jazz Works" Pub: Alfred for chord cycle examples)

• Practice major seventh chords in positions 1.-5. shown above
• Practice dominant seventh chords in all positions
• Practice minor seventh chords in position 1.-5. shown above

SEVENTH CHORD PROGRESSIONS

1. IM7-IVM7-V7-IM7
2. ii7-V7-IM7

SOME EASY-TO-UNDERSTAND-AND-USE BOOKS TO HELP YOU WITH CHORDS

LEARN TO IMPROVISE

1. Call and response patterns: parallel and contrasting questions and answers
2. Matching scale tones to chords:
   1. Major Seventh Chords: Major or Lydian scales
   2. Dominant Seventh Chords: Mixolydian and Blues scales
   3. Minor Seventh Chords: Dorian and minor scales
3. Practicing jazz-style patterns in ALL KEYS

SOME EASY-TO-UNDERSTAND-AND-USE BOOKS TO HELP YOU IMPROVISE

LEARN SOME STANDARDS

Like: "Summertime" - "C Jam Blues" - "Blues by Five" - "Bag's Groove" - "Take the A Train" - "Freedie Freeloader" - "Sonnymoon For Two" - "Bye, Bye Blackbird" - "Watermelon Man" - "Doxy" - "Now's The Time" - "Sentimental Journey"

• Play the melody: learn to play the melody by ear if you have a good recorded example
• Learn the chords: practice moving smoothly from one chord to the next in time
• Analyze the form: 12-bar blues, 32-bar song form (AABA), other
• Memorize: the melody, the chords, and the form

SOME EASY-TO-UNDERSTAND-AND-USE BOOKS TO HELP YOU LEARN STANDARDS