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#1217705 - 06/15/09 04:05 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Fred Hersch- interesting, doesn't sound like jazz to me. More - impressionist? Is that even the right word? I don't know.

Everyone has different tastes in music. Me - I like a melody. It ain't worth a thing if it ain't got a tune. smile If I listen, and I can't hear anything melodic, or anything rhythmic that I can grasp onto, I can't get excited about it. There's some music like that I can enjoy by switching off to, just nice and relaxing and I let it wash over me. Keith Jarrett is there definitely. I don't actually aspire to being able to play like that.

Louis Armstrong I can get excited about. I get a tune in my head, and I can't get it out. Autumn Leaves, I get in my head, and I can't get it out. The harmonic progression of Autumn Leaves is also satisfying, and in itself, pleasant to play. Random notes on top of the chord progression - no, that's just a step too far for me. For now, at least.

Funny, I can improvise on guitar, and I've only been playing that since Christmas.
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#1217748 - 06/15/09 06:07 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
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Good. I'm at least getting a sense of what type of jazz you go for (as there is a wide variety).

On the other side of the spectrum, check out Monty Alexander, and Kenny Barron.

Another set to check out is Hoagy Carmichael, Dave McKenna.
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#1219051 - 06/18/09 09:23 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Thought I would check back here with a progress report before I go too badly off the rails. smile

What I've done is to apply how I learned guitar to piano. This may or may not work - I'm just experimenting.

So first, I took a backing track (12 bar blues in E) and improvised RH over that in E min pentatonic or E blues scales. That went fine. As soon as I tried to add LH chords it went pretty wonky. Nevermind.

Then I recorded a backing track for Autumn Leaves (drum machine on, LH 7ths, RH the 3rd, or the full chord, or a bit of tune), stuck that in my ear while doing something with the RH. The only thing that worked was E min pent (G maj pent). G major, E minor and E blues didn't work.

I just played - I wasn't trying to colour-co-ordinate with the chord I was over.

So I'm thinking this is probably something to stick with for a while?

The other thing I've noticed is, in my LH, if I'm not concentrating, sometimes I find I'm playing on beats '1' and '3 and' (that is, the 'and' of beat 3). Is this something I should avoid? Don't want to mix my genres too much.
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#1219625 - 06/19/09 12:26 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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TLT, Regarding the scale selection, in a circle of fifths progression like AL, I wouldn't think that a single pentatonic based on the root will work.

Typically in guitar playing, we're talking about rock/blues tunes that have a I-IV-V progression. That's where that scale works.

In general, chord tones work the best. There's no easy way out here.

On the LH, when improvising, it is often best to just play whole notes. Even when I play with a Charleston pattern, I don't always play the LH. And no, don't get used to a '3 and'. That will sound like you're off the beat.
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#1221640 - 06/23/09 03:01 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
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Apart from bumping this thread back to the first page, where it belongs, I just wanted to say, I got what jazzwee said there, and I've been making some, rather slow progress. Not ready to share yet! smile

It's really a little bizarre doing this kinda by myself here, with jazzwee and some lurkers adding words of encouragement. Can I enquire, of those that were active in this thread in 'real time' - what was the learning curve like?
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#1221888 - 06/24/09 12:30 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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TLT, the major participants in this thread achieved significant improvement by about 3 months when they went through the process. Some parts of what is taught here is more intellectual (like voicings). The hardest of course to do is improvisation and swing. It's a long term process. I've been studying jazz for 4.5 years now and am just starting to like what I sound like on occasion (but not consistently).

There are many lurkers who are participating in this thread on their own, but improvement comes mainly when the participant gets critiqued. Many people don't have access to a jazz teacher. And so there is no one to listen to one's performance. Since jazz involves "copying" it is this feedback that is important, much more so than just the words being said here. I still actively go to a teacher and it is the criticism at each lesson that moves me forward.

As with anything in piano, improvement sometimes comes in spurts, with lots of frustrating waiting in between for the idea to sink in.

So TLT, I would guess that you're not alone since many people are still downloading the materials. But you're the one with guts smile Keep at it.
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#1221998 - 06/24/09 05:54 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Okey-doke jazzwee, I'm still at it.

Would just like to apologise if I go for some time without posting. I have a very erratic work-schedule which takes priority over playing the piano. Even over going on the internet! Sob.
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#1222536 - 06/25/09 09:56 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
ten left thumbs Offline
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Here goes:

http://www.box.net/shared/ophtrh1gey

Not sure the musical output does justice to the time it took, but nevermind. There are some step-wise movements.

Also, while doodling I came across something I once did as a drill, involving the cycle of 5ths and falling 3rds and 7ths in the RH. Here's the progression:

http://www.box.net/shared/r06agbjmnp

I was wondering if this would be useful in improvising, and if so, how. It has the potential to be really cheesy and predictable, I think. But I thought I'd ask, anyway!
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#1222650 - 06/25/09 02:25 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
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TLT, I'm seeing the improvement that I was looking for! Great job . Legato eighths were present and you're coming up with melodic snippets that sounded great.

Here's a tip to make you flex a bit. In Jazz, avoid starting your lines at Beat 1 and then ending at Beat 4.

IMPORTANT PRACTICE NOTE

1. As practice start your melodic lines at '4 and' (4+). This is called a pickup note. End your lines when the melody requires and not necessarily at the end of the bar.

2. Insert very short melodic lines to add to the asymmetry. As an exercise, do a repeat of an eighth note, either the first note of the line or the last note.

What I expect will happen here is the new approaches above will trigger new ideas and will introduce variation in the solo.



Symmetry is not characteristic of jazz. Asymmetry is better. Different lengths of melody snippets. Varying rests. Varying note sizes. Too many things to think about at the moment but eventually it's just like singing to yourself. The goal is to have your brain decide what it wants to sound like and the fingers execute. Unfortunately, that connection between brain-fingers takes a long time to develop so in the meantime we have to be conscious of the natural rules of normal singing.

I'm very happy with what you're accomplishing. For one thing, you already know how to play piano well so it's just changing how you look at music mentally.

I haven't listened to the pattern yet. I will later but in general, that's good technical practice. I'm not a big pattern guy although I'm sure I do it unconconsciouslly. Some teachers spend a lot of time memorizing 10 zillion patterns in 12 keys. So it's a valid approach particularly in Blues.

It's not my style however (meaning it is also not my current teacher's style). But as a technical practice I will do it.

BTW in Blues, there is a common pattern in the interval of a 6th. Many blues patterns are cliches that are almost essential to that style. If I find the time, it would be fun to start a blues thread like this thread. It's a lot simpler but some of the lessons are the same.
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#1222724 - 06/25/09 04:52 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Originally Posted By: jazzwee
TLT, I'm seeing the improvement that I was looking for! Great job . Legato eighths were present and you're coming up with melodic snippets that sounded great.


Oh, I am so relieved. Braving the notes outside the chord was definitely a step outside my comfort zone. I think you've probably already worked that out...

Quote:


1. As practice start your melodic lines at '4 and' (4+). This is called a pickup note. End your lines when the melody requires and not necessarily at the end of the bar.

2. Insert very short melodic lines to add to the asymmetry. As an exercise, do a repeat of an eighth note, either the first note of the line or the last note.


Those are things I think I'll be able to incorporate relatively easily. If I have something concrete to aim for, I find that much easier than the endless infinity of notes and rhythms. I take it the note on 4 and should fit the next chord?

Quote:
...Too many things to think about at the moment but eventually it's just like singing to yourself. The goal is to have your brain decide what it wants to sound like and the fingers execute. Unfortunately, that connection between brain-fingers takes a long time to develop so in the meantime we have to be conscious of the natural rules of normal singing.


Yes I'm very aware of that. That's just how it feels.

Meanwhile I got another book (and CD) on jazz the other day, with a slightly different approach to improvising, which I also find helpful. So with this I have written music in front of me. You remember that thing with the 5 horizontal lines and the dots? laugh I'm hoping it will all come together at some point.

Quote:
BTW in Blues, there is a common pattern in the interval of a 6th. Many blues patterns are cliches that are almost essential to that style. If I find the time, it would be fun to start a blues thread like this thread. It's a lot simpler but some of the lessons are the same.


I'd be up for that. You know I'm learning blues as well. It's been lots of fun. Not sure how it would work as a thread though - it might be easier if a group all bought the same book and worked through it (like the Alfred threads).
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#1222768 - 06/25/09 07:19 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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TLT, as far as what notes to play on the pickup, the pickup note is from the prior bar so it could be a prior chord at that bar. You only have 1 note to practice here.

But the easier to approach this is to think of which note you are going to use on the new bar and then then figure an approach note to it (half step above or below) which will serve as the pickup.

Remember that this is just for practice. I'm just trying to break you away from a typical pattern that every beginner follows (including me when I started).

In real life playing, it is a good idea to always start a pickup note on any offbeat (1+,2+,3+,4+). For this exercise, just use 4+ as it will avoid having to think of multiple chords. As time goes by this becomes natural and you forget about this rule.

BTW - please note that I try to always limit what I tell you to the specific thing I want you to improve on, like a teacher would. I'm not overwhelming you with so much information. Some other person may tell you something new.

I would really advice that you practice this with live drums playing in the background. For this purpose, consider downloading a live drummer recording from

www.PaulCarmanMusic.com

This is much better than practicing with a keyboard drum sample. Drums are important in this exercise because you need to time those pickups and recognize where you are in the bar based on the hi hat sound. (Hi hat is heard on beats 2 and 4).
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#1222967 - 06/26/09 08:09 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
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Tlt,

Listen to these 3 versions.
The first very close to the original, sung by Montand who first sang that song, as you probably know.
Listen to the feel and the time signature:
http://www.youtube.com/watch?v=JWfsp8kwJto

The same guy singing it 40 years later. He sings the verse here too, so you can skip to 1:20 or so for the chorus:
http://www.youtube.com/watch?v=kLlBOmDpn1s
Interesting difference, huh ?

And now one of the best versions of all time, imho:
http://www.youtube.com/watch?v=nA3xkwcSJQ4

You should start by polishing the melody if you're going to play it.
So he you want to play it as a waltz that people can dance to, that's ok, go with version 1 and play in 3/4

Here I'm hearing you play right on 2-3-4, just like version one plays it on 1-2-3. I don't think that really works.

If you want to play it jazz, go with version 2 or 3, and swing those notes.
The very first 3 notes is what I'm talking about.

The best way to do this, again, is to sing along with either Montand (just sing the pitches), or sing it with Miles. Can you take that youtube video, record the melody on top of him, and stick as close as possible to the exact time, duration and velocity he plays those notes? If you want to do it on your cornet, that's cool. Piano is cool too, voice is cool. The instrument doesn't matter.

take care.

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#1222994 - 06/26/09 09:22 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: knotty]
ten left thumbs Offline
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Jazzwee - the drummer CD is very interesting - also pricey. I have a number of things ahead of it on my shopping list (including an H2 so I can make decent recordings). Interesting.

Knotty - I had no idea where the song came from, I was only introduced to it on this thread. This is the first time I hear it in 3/4 - very interesting! smile Not quite sure what to do with it, though. I noticed Miles Davis also plays on beats 2, 3 and 4. I really have no idea how to 'polish' the melody because I don't have anything authoritative to try to copy. I've never seen it written down. I've just heard it lots of times lots of different ways. All I really try to do is play it different from how I played it last time.

As for swinging those 3 notes, I really have no idea what you mean by that. (I know which notes.) I'm just not sure I can bear another discussion on swing...
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#1223063 - 06/26/09 11:26 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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TLT, as an alternative to buying the drummer CD, play with the metronome clicking on 2 and 4 (instead of 1,2,3,4). You could tap your foot on 1 and 3 if you wish.

But for the long term, keep the CD in mind. Since you have many years of classical education, changing your rhythmic feel takes time (classical focuses on beats 1 and 3).
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#1223091 - 06/26/09 12:05 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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That I can do easily enough.
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#1223191 - 06/26/09 03:28 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
Tavares Offline
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Well, you're doing Autumn Leaves by now, I'd like to join this study group and start to share my experiences with you. I was in a mini crisis about my playing but now I'm ready to move on.

Am I too late for discussing Autumn Leaves?
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#1223209 - 06/26/09 04:22 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: Tavares]
Swingin' Barb Offline
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Hi Tavares,

Jump right in. There is no such thing as being "too late". This is an ongoing thread ... 56 pages of thread. Don't let that scare you though. Just take it easy and post your play for feedback.

Barb
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#1223222 - 06/26/09 04:45 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: Swingin' Barb]
ten left thumbs Offline
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Hi Tavares, it's wonderful to have you onboard!

Do you know Autumn Leaves already? I was about a week into this before I realised there was a tune to go along with the chords...
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#1223323 - 06/26/09 08:22 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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Tavares, this thread might go on forever...:) But feel free to discuss anything instructional and we will help where we can.

Just so you know that we are not professionals here. I've been studying Jazz with a teacher for 4.5 years who's well known in jazz circles. So hopefully, the information will be helpful.

We are all in the jazz learning journey in various phases. I'm in a little more advanced phase but still continuing to learn. And I get quite frustrated too with limitations as I try to conquer something new. So join the party!

As a sort of blog, I've been working on Jazz Waltzes lately, and these have been terribly difficult for me as the goal is to make them really swing. I'm working on 'Windows' (Chick Corea) and 'Very Early' (Bill Evans).

I haven't really focused on Waltzes before and I do them rather poorly. And my teacher's expectations aren't for any amateurish sound. So that's my challenge for now.
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#1223471 - 06/27/09 07:42 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
knotty Offline
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Welcome to the gang. There's a lot of info hidden in this thread, lessons, examples, exercises.

Probably your best best is to pick an exercise, record and share.

take care

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#1223673 - 06/27/09 04:55 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: knotty]
ten left thumbs Offline
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Right, I've ventured into lesson 3. Here's a reminder what it says:

Quote:
LESSON #3

Progressing from LH 1/7's[/b]

BTW, we haven't really formally discussed 1/7's and 1/3's on the LH. But those doing this would actually do the following fingering on Am7 - D7:

Style A[/b]

Am7 (LH fingers 51 playing 1/7), D7 (LH fingers 32 or 21 playing 1/3)

Edit: (Note that 21 works better in Am7 and 32 works better in F#m7b5.)

And you could do this:

Style B[/b]

Am7 (LH fingers 521 playing 1/5/7), D7 (LH fingers 531 playing 1/3/7). This is the fuller LH sound and is an easy natural next step from the LH 1/7.

Style A is in preparation for two handed chords. Style B is good for chords on LH only which leaves the RH free to do only the melody or solo.

I would learn both ways. Now notice that the Am7 has a 5 in the middle while the the D7 has a 3 in the middle. This is because lower chords (Like root at A2) get muddy with a 3rd. The 5th is high enough. On the other hand, the D7 does not sound muddy with a 3rd (D3).

So basically in this style of playing add a middle note to the chord, a 5th or 3rd depending on which is less muddy.

BTW - those wanting to play cocktail style could arpeggiate the 3 notes slowly on the LH. (Those more advanced could arpeggiate 1, 7, 10 or 1, 5, 10).


Now, I can't honestly say I understood that, so I've done some recordings anyway (without too much practice) so if I've not got it right, you can direct me further.

For Style A I alternated 1/7's with 1/3's, except where it somehow didn't make sense, so I just stuck with 1/7's. RH simple melody. Recorded to 'nome on 2 and 4, but it's so quiet you can't hear it:
http://www.box.net/shared/s5qze8g12s

Style B I alternated 1/5/7 with 1/3/7, again, except where it didn't make sense:
http://www.box.net/shared/0y60c38rmm

For the arpeggio option, are you thinking simple beats 1, 2, 3 and 4? Can anything be that simple in jazz?

Funny how accustomed I've got to LH 7ths, anything else takes concentration. I couldn't hope to improvise to anything else just now.
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#1223775 - 06/27/09 11:51 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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You pass that with flying colors TLT! Sounds great to me. This is the way to rough out a new tune that you're learning in jazz. Now somewhere in the lessons, you move on to 2+2 or 2+3 voicings where the melody is the top note and you almost always include the 9th.

So in typical playing, solo piano style, we play the 2+3 voicings to play the "head" (or melody). Then when we actually improvise, the LH is doing a combination of 1/7's, 1/3's, 1/5's and rootless voicings with occasional filler extension notes using the thumb and finger of the RH. The idea here is to mix "jazzy tension chords" while balancing it with orchestration. The 1/7's allow you to fill in a good solid bass sound. That's the general principle of the lessons.

Where you play (the register) of the LH parts depends on solo piano style vs. combo. In combo, you can still use the same shell voicings but usually in the middle registers.

Regarding arpeggios, no nothing is ever simple in jazz. It's not in the lessons, but typically one should be able to play continuous eighth notes up the scale using inversions of the same chord. I don't remember quite what was in the lessons but to get a solid feel of the chords, you can do 1,2,3,4 to start with. I'll let you read up first before I discuss anything so I don't confuse.
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#1223852 - 06/28/09 04:31 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Copy that.

Edit: OK, so now I know I understood you, I'll give just a few observations.

First, the 2+3 voicings is lesson 6. Before that I've got lesson 4 (ballad) and lesson 5 (walking bass line) to go. I only mention this because the 2+3 has come up several times, but I think it's probably worth while doing it in the order you orinigally intended, and letting each lesson sink in before moving on? Unless, looking back, you would change the order?

Anyway, these new LH strategies.
1/7 alternate with 1/3 is pretty easy because the LH jumps about a lot less. I think you lose a lot when you don't hear the 7th. But what you gain is that falling line in the LH thumb - the alternating 7th and 3rd in the circle of 5ths, and it's almost melodic in its own right.

1/5/7 alternate with 1/3/7 takes a bit more thought, but you get the benefit of the harmonies. I especially like hearing the diminished 5th in the F# - that's nice.

Arpeggios. Now I just tried 1-7-10-7 (on beats 1, 2, 3 and 4). That's a stretch for me because I have small hands, but they'll get used to it. But doing that as quavers? At speed? No, I don't think so. Perhaps you mean broken chords as quavers?

The only excpetion I made was in the F# I played 1-5-7-5 because I wanted to hear the flattened 5th.


Edited by ten left thumbs (06/28/09 10:00 AM)
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#1224244 - 06/28/09 11:18 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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TLT, you can skip the Walking Bass lesson for now as it was just the timing of the thread action at the time. It is not in order.

Let's talk about LH strategies for a moment. The approach when playing is to always think in terms of orchestration (which in plainspeak is the balance of tones from multiple registers.)

Generally speaking, one could get away with a bass note only once a bar or even once every two bars in solo piano, particularly during a solo. So keeping that in mind, you have generally two categories of choices of voicings when playing a tune. (a) Rooted voicings, (b) Rootless voicings. In solo piano, mixing these up sound the best.

The rootless voicings speak for themselves and are described in the lesson. There are multiple rooted voicing strategies you are aware of now. 1/7, 1/3, 1/3/7, 1/5/7, and in some cases, 5/1 is another one commonly used. Which you use is up to you and depends on the tempo as well.

1/3/7 and 1/5/7 could actually be arpeggiated in a ballad.

Beyond that, remember that the LH does not play alone. If I will play 1/7 or 1/5/7 in my left hand, I'm obligated to play 9, and 3 in my RH. Either in the solo line or as a voicing.

If I play 1/3 in my LH, then I'm obligated to fill in with a 7 (or 13) and 9 in my RH. These give the minimal jazz sound that one hears.

Then you progress from here because in Jazz, you can substitute chords (Reharmonization) so it sounds even more tense. But realize that the voicings are still the same as I say here or additional extension notes are implied in the music. There are many rules here and I could play AL in a way that you wouldn't recognize without the melody. That's just part of the creativity of jazz. But that's for a later discussion.

Anyway these basic rules are the foundation and one should be able to apply them in ever changing fashion. The hardest to learn are the rootless voicings. And you can start learning that any time you want. They are all equally important so the order doesn't matter.

There are more lessons to be given on voicings and chords and reharmonizations but no one got that far so I didn't go any further. Suffice it to say, it would take years to run out of material. And these are all ingrained in me.
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#1224245 - 06/28/09 11:22 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
jazzwee Online   content
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On arpeggiating the chord, start with the pattern 3, 5, 7, 9 as the arpeggio. Very common sound popularized by Bill Evans.

BTW - a great amount of what we know about Jazz Piano came from Bill Evans (for example rootless voicings). So whether or not you like his style, he's important in history.

Be aware of the fingering in arpeggios. They are just all seventh chords so standard fingering applies which means usually no thumbs on black notes when arpeggiating. (many reasons to have thumbs on black notes but not when arpeggiating).
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#1224316 - 06/29/09 04:51 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
ten left thumbs Offline
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Registered: 05/22/09
Posts: 3328
Loc: Scotland
Right, well, that was a fair bit, so - just a couple of questions.

1. We seem (by which I mean, you seem) to be talking about 9ths a fair bit now. In the chords I wrote down, there is only 1 9th. Do I just generally start putting 9ths in?

2. Arpeggios. Does the same rule about detached crotchets apply? At one point I was almost tempted to use my sustain pedal.

I did notice, where I did 1/3 in the LH that I felt obliged to put the 7th in the RH. This threw me, so I thought I'd leave it for another day. wink
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#1224406 - 06/29/09 11:08 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: ten left thumbs]
jazzwee Online   content
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the 9th (which could also be #9 or b9 depending on the chord), is the minimum 'color' to a jazz chords. So typically is played next to the 3rd on the RH if you're doing a 1/7 LH voicing. Or it could be the highest note if you're not playing a melody note.

If you are playing the melody though, you likely will have to stick to 1/7 voicings on the LH since the melody is on top and the 9th will get in the way. Lots of melodies are based on 3rds.

I hope this is putting everything in context since this was missing in the discussion of lessons. The point of the lessons is to provide the toolbox.

In many jazz books, all that is taught is rootless voicings, which is not a good solo piano strategy.

Arpeggios - yes same rules always apply.

Now one other thing you should return to is your AL Melody. At the moment you're playing it more like the written music. If you listen to how I play the melody, I've altered the length of the notes to be more swingy. I did this by changing the 1st quarter note to an eighth. If you listen to Keith Jarrett, he changed the notes 2-4 to eighths. I recommend that you copy some masters's version of the melody. I'm sure I copied someone too. It's a test of your ears as well and a stylistic study and typical in jazz (which is based on listening and emulating).
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#1224424 - 06/29/09 11:54 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
Swingin' Barb Offline
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Registered: 01/21/06
Posts: 889
Loc: North Carolina
TLT - You are doing great here. thumb I wish I had time to join you.

Jazzwee - Jarrett is my favorite playing Autumn Leaves. Below is the link:

http://www.youtube.com/watch?v=io1o1Hwpo8Y
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#1224438 - 06/29/09 12:08 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: Swingin' Barb]
jazzwee Online   content
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Registered: 04/25/07
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Loc: So. California
Thanks Barb. My memory is wrong here. The 1st time Jarrett does it is all quarter notes. Then he changes it several ways after...
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#1224447 - 06/29/09 12:24 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc. [Re: jazzwee]
jazzwee Online   content
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Registered: 04/25/07
Posts: 6990
Loc: So. California
Barb, question for you. The Sudnow method does pretty much the same type of thing with two handed voicings right?

Do you stick to 2 handed voicings or there's also use of rootless or is that jazz specific?

BTW - One thing I never covered here is that when I play standards like AL, I may use the same voicings but use completely different chords on the fly. So it will still sound different. I never got around to explaining that.
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