![]() Thank you for being a JazzPianoSkills listener. If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account. Visit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support. (detailed graphics of the jazz piano skill) The Podcast Packets are invaluable educational tools to have at your fingertips while you discover, learn, and play jazz piano. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. How to construct Improvisation Lines that stylistically reflect Keith Jarrett’s approach to improvisingįourteen Improvisation Lines/Ideas that strategically explore an entire sound from the Root through the 13th, like Keith Jarrettįor maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. In this Jazz Piano Lesson you will:įourteen Improvisation Lines/Ideas that embody the improvisational approaches of Keith Jarrett Today you will discover, learn, play Eleven Keith Jarrett Exercises designed and developed to introduce you to the world of improvisation. Each Podcast episode explores a specific Jazz Piano Skill in depth. What style do you want to play in? Choose an appropriate left hand technique, and you’ll be that much closer to playing jazz piano the way you want to play.Welcome to JazzPianoSkills it's time to discover, learn, and play Jazz Piano!Įvery JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Then you can apply what you learn to your own playing. Listen to the left hands parts that are played by a wide variety of jazz pianists. Much more than the melodies or harmonies that a given pianist uses. And by extension, the left hand is really helping to define the overall feel or style in a huge way. ![]() In other words, the left hand rhythms influence the right hand solos much more than we might realize. This greatly influences both what they play with their right hands and how we as listeners hear those right hand parts. ![]() Neither Jarrett nor Corea will play repetitive or predictable rhythms with their left hand, as even the greatest beboppers will do. Jarrett in particular will often play nothing at all with his LH in trio settings, leaving his RH free to play asymmetrical phrases in a way reminiscent of saxophonist Sonny Rollins’ pianoless trio recordings. This may be true, but if you play a transcription of a Jarrett solo in your RH while playing traditional bebop rhythms with your left, the phrasing will still sound traditional and less “free.” A close listen to Jarrett’s and Corea’s left hand parts reveals why this is so: they play free rhythms in the LH too. On the other hand, pianists like Keith Jarrett and Chick Corea are often looked to as examples of pianists who phrase in a freer way than traditional beboppers. But some, like the great Tommy Flanagan and Hank Jones, play traditional comping rhythms underneath their RH solos. Many pianists even use the identical chord voicings as each other. We know that many “modern” jazz pianists use rootless chord voicings in their left hands. The LH rhythms even influence their RH phrasing much more than previously suspected. For instance, you’ll find that the left hand parts, particularly in respect to rhythm, define a jazz pianist’s “style” more than anything else does. Lately I’ve been listening to jazz pianists in a slightly different way than I usually do: I’ve been focusing much more on what they play (or don’t) with their left hands.
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