Q. I play alto in my school's Jazz Band, and I wanted to replace the senior piano player at my school. I've played classical piano on and off since I was 6, but never was to serious with it. My teacher is clueless about jazz, but i have previous chord knowledge from improving on sax. What could I do to help improve my transition into the jazz piano world, reading more complicated jazz rhythms, and comping chords?
A. PRACTICE! is the short answer. As with anything musical, and especially improvisatory and spontaneous music like jazz, developing to the point of sounding competent will take time and dedication and perseverance.
Transcription and listening is important. That's something you should be doing already for the saxophone. Pay attention to pianists on your favorite records, particularly how they comp behind others, since that will be your biggest job in a large jazz ensemble. Transcribe comping rhythms that are attractive to you as well as ones you hear often; even if you don't transcribe the exact voicing, you can still practice using the same rhythms over the changes to standards.
Practice comping in time with a metronome. If you can consistently and accurately play on a steady pulse, you can decidedly play around it. Set the metronome slower and slower while increasing the beats; for example, start with 120 bpm and play one chord every two metronome beats, then decrease it to around 85 and play on every beat, then set it around 50 bpm and treat each pulse as a full bar, playing four even notes between beats. Practice playing in this way to get your time rock solid.
If you are able to get together and play with the rest of the rhythm section from the band, I'd recommend doing so. Get together and play through standards. Work together on building a communication while playing behind (supporting) a horn soloist. Aebersold play alongs are also good for practicing comping "with a band" at home.
Another vital thing for jazz pianists is effective chord voicings. Check out Dan Haerle's book on voicings and work through his exercises. Phil DeGreg also has a really nice progressive (step-by-step) book that's great for getting good-sounding voicings under your fingers. I've studied both.
The only way to get better at reading rhythms is to do it. Sight-read through a hymnal, old songbook, whatever. If you can find piano charts for big band that only have rhythmic notation with chord symbols, those are great for practicing reading rhythm and chord progressions. Start slow and methodical; remember you are striving for accuracy, not speed. Eventually, you'll recognize rhythms from having read them so many times before, and it will come easier to you.
Above all, technique is king. If you don't know how to touch the instrument and can't get around it, all the internal theory and knowledge and tasty licks won't do you much good on the bandstand. Classical lessons aren't necessary, but they challenged me in ways that I wasn't challenged in jazz lessons. Consider taking lessons regularly (either classical or jazz or both, if you have the time).
Good luck!
How does a guitarist play sheet music designed for Piano/Voice/ and Guitar (chord charts)?
Q. I'm looking at piece of sheet music designed for Piano/Voice and guitar, more specifically this piece-
http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0040094
Anyways, it has the piano and voice written out but it only has chord charts for the guitar, how do I know what rhythm to play, do I only play the chord once for eacho chord chart or do I follow the piano rhythm exactly? I do know how to read music and rhythm notation but have never learned using this type or sheet music. Thanks for your help.
A. I follow the melody line, observing the chord names to play, but not necessarily the exact chords shown in diagram. Mindful of the time meter I will ad lib to what I feel is correct until I can listen to the artist's rendition.
Even after hearing the recorded version I will usually play it in my style. If there are certain bass notes in the F clef that captures my attention I will insert those if the song demands it.
How do I make a song into a jazz song?
Q. Hey im having trouble on deciding on choosing a jazz song for music so I decided to change a song that I already know into a jazz song. I play piano and I'm going to sing to it but I dont know how to go about changing it as I've never played a jazz song before :O
Could someone point me in the direction of some jazz scales or how to go about creating the style?
Thanks heaps!
A. The cliche piano/voice duet sound usually revolves around adding extensions to chords, and adding subs, and extra leading chords into the progression.
Lets say for example you have a chord progression C Am Em G, which isn't an extremely uncommon chord progression in Pop tunes.
I would start by choosing some more interesting chords.
I would start by adding extensions to the chords: I would likely choose at first glance, Cmaj7#11, (C,E,G,B,F#), Am9 (A,C,E,G,B), Em7, (E,G,B,D), G7add13, (G,B,D,F,E). These are a little more colourful chords. Further still, lets say this progression repeats, so the G, goes back to C. Another colourful, and hip thing to do is to sub the dominant chord, (in this case G), with the Dominant chord, a tritone away from the fifth, G, so in C, this is a Db. It creates chromatic movement back to C, So I would like play G7, and then push a Db7 back to C.
Harmonizing the notes of the major scale introduces some more colourful chords, as well as an interesting harmonic idea, the functions of these chords. I find this chart helps me organize the function of chords in relation to tonic (T), sub dominant(SD), and dominant chords(D), in the key of C major,
Cmaj7 = T
Em7= T
Fmaj7 = SD
G7 = D
Am7 = SD
Bm7b5 = D
You now have potentially a whole tonne of possible harmonic substitutions to try:
Instead of Em7, you could try a Cmaj7 type chord with an E in the bass, (Cmaj7/E). Or instead of Am, you could try and squeeze in a Fmaj7 type chord. The possibilities are endless. With all this in mind, you must also consider voice leading.
A good arrangement might include a 'secondary dominant, (when functioning, leads to a chord other than the tonic' approach.
A good example would be to push a E7 sound (the fifth of Am) near the end of the measure in C, into the Am.
If you use some of these tricks, you might be able to get something good out of it, I find that if you are making a solo arrangement it is important to not be too 'floaty' with the changes, you can be more liberal in the sense that there is no rhythm section to contend with, but you still want people to hear the movement, and contrary to what some may think, sometimes it is better to play simple things right in the pocket, than to go nuts and try making something sound hip.
A good arrangement will also take into consideration the melody line. When you write it out, make sure that none of you chords clash with the melody notes.
The only real rule in jazz harmony I can think of is to 'avoid' the interval of a minor 9. Its not that you can't do it, it's just generally better if you don't. Exceptions to the m9 rule obviously include the use of chords like G7b9. But it is still considered the the most dissonant of all intervals.
You may also want to learn the Charleston Rhythm, depending on if you are arranging a ballad or a swing tune.
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