Jazz Improvisation: The Shortest Path from Novice to Expert

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Discovery <—> Refinement

When I was new to jazz, I spent years in the “discovery” phase. In the beginning, that was, for the most part, learning what scales go best with what chords, and also finding the “pretty notes,” as Charlie Parker once put it.

But I was so fixated on finding the coolest harmonies and scales, I forgot to practice playing what I already knew. In other words, I was skipping the “refinement” part.

Charlie Parker again, paraphrasing, “Play CLEAN and find the pretty notes.” So playing clean, that’s the refinement part.

The refinement part also – and maybe more importantly – means sticking with what you already know when you are coming up with your improvised lines. Which means you are saving the stretching out and the trying of new stuff for the discovery part. Both are obviously necessary for continuous growth.

WHY IS THIS A CIRCLE, NOT A STRAIGHT LINE,
FROM NEWBIE TO EXPERT?

The answer may already have occurred to you: We are forever learning, then refining, then learning, then refining, in an infinite cycle of growth. (Assuming we’re serious about things.)

And each activity feeds the other!

-Kent

New! Bach’s Famous “Prelude in C” from The Well-Tempered Clavier Book One – With Lettered Notes

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I’ve added a new custom sheet, Prelude in C by Bach, from The Well-Tempered Clavier, Book OnePrelude in C is an extremely popular piece that will never lose its appeal to piano players and listeners alike.

This sheet music has each note labeled with its musical letter-name, such as E, D#, A… Some markings (dynamics, etc.) have been omitted to make room for the added letters.

You can read about the pros and cons of marking in letters on sheet music, here.

 

Chord Voicings for Jazz Piano (rootless, left-hand, Type B)

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“Type B” Rootless Chord Voicings for Piano

“Rootless voicings” on piano (especially for left-hand support) are great for handling big jazz chords that normally can’t be covered by one hand alone. This video tutorial  shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root. Continue reading “Chord Voicings for Jazz Piano (rootless, left-hand, Type B)”

Chord Voicings for Jazz Piano (rootless, left-hand, Type A)

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“Type A” Rootless Chord Voicings for Piano

“Rootless voicings” on piano (especially for left-hand support) are great for handling big jazz chords that normally can’t be covered by one hand alone. This video tutorial  shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root.

Continue reading “Chord Voicings for Jazz Piano (rootless, left-hand, Type A)”