| LearnJazzPiano.com archives: The Basics | |
| earle -- 09/20/2004, 17:04:27 -- #7302 | |
| Who Can I turn to - Bill Evans | |
| This is an incredible web site. I love Bill Evans and I want to really start studying his beautiful tunes. Is it possible to find the chord sheet here? I have the best of... of verve. If I have the chords it will simplify my task by ear, in that I can focus on what he's playing. Thanks! | |
| The World's Greatest Fake Book (hard to find songs by McCoy and others) | |
| Scot -- 09/23/2004, 12:15:15 -- #7389 | |
| There are a LOT of good Bill Evans transcription and music books out there. I think you'll have to buy one. Click on the "search books" link at the top right part of the screen and see what you can find. | |
| keyboardist -- 09/27/2004, 02:30:56 -- #7471 | |
| G7 chord | |
| first of all: greate site - the one and only (please excuse my english - hope i'll manage to post this message) i just started to learn how to play the piano. i began with the basics on this site until i crashed into the G7 chord. my problem is: i don`t understand why it's a G7 : especially the E confuses me. i would have played the chord that way: h d f a don't understand where the E is coming from. please help me to understand - thanks | |
| Whacky -- 09/27/2004, 07:58:08 -- #7478 | |
| in jazz we often extend 7th chords to 9ths, 11ths, 13ths...in this case the E is the 13th... | |
| clobaton -- 09/28/2004, 08:55:31 -- #7520 | |
| evans who can i turn to | |
| Earle, I found what you wanted: http://www-user.tu-chemnitz.de/~adams/download.php?toGet=RB2 | |
| Scot -- 09/28/2004, 12:13:10 -- #7528 | |
| Keyboardist: You didn't even read the whole lesson. This is an often asked question and the answer is in the lesson. "Now, those of you with some previous study in jazz or classical harmony will say, "But, those chords have extra notes in them!"" The answer is- you're right, the E is not part of a classical G7. But who cares? We're playing jazz and we use the 7th chord as a road map to play anything we want as long as it sounds good. So most of hte time we add the 13th to the chord, or the E in the G7- because it sounds good and is based off the 7th chord. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| clobaton -- 09/29/2004, 16:30:36 -- #7567 | |
| hey scott! | |
| I love your answer: the important thing is the sound. That is my discovery this week !! . | |
| The World's Greatest Fake Book (hard to find songs by McCoy and others) | |
| IgorP -- 09/30/2004, 05:08:21 -- #7590 | |
| Jazz lessons for beginners | |
| I wish I could learn from you the system of the cords in jazz music, so that I could express myself using piano | |
| albetan -- 09/30/2004, 06:04:57 -- #7591 | |
| Welcome Igor to LJP. Go to Search engine (upwards) and write " beginning" selecting "files" Read "Beginning scales and chords" "Beginning modal scales" | |
| mindful -- 10/08/2004, 10:31:07 -- #7874 | |
| Scot ... i need your help man.... or whoever else. | |
| I've said before, that i havn't been playing long, so mostly what i've been doing is learning theory. If my knowlege is correct, a minor chord is a major chord w/ a flattened 3. so in other words for example. DM (or D major) = should be D, F#, A - right? ok... then.. Dm7 (or Dminor Seventh) = should be D, F, A, C - ok? ... i'm getting confused b/c on your "All Mighty 2-5-1" section says that Dm7 = E, F, A, C - but WHERE DID THE "E" come from!? why has it changed from D to E? - its been killen me. plz respond. | |
| clobaton -- 10/08/2004, 16:15:41 -- #7882 | |
| Extra notes for mindful | |
| Hi mindful. Do not worry about the formulas for the cords so much. the basics is major, minor, and from there you add the 7th, 9th, 11th,13th, or whatever you liked, flattened or sharped. What scott writes there is a dm7 (no root cause bass plays it, you see f, a,c) and he adds the 9 (because it sounds NICE, but the catch is that when you are a beginner you just play the dm7.. do the exercise compare the sound, that is the real challenge beyond the "formulas" in the books. Also, I advise you to read ALL in the albetans forums, they are just great.. and download the files relates to chord theory, as they are very clear. go to albetan`s area, or techniques and exercises. Have fun! | |
| Whacky -- 10/08/2004, 21:01:10 -- #7885 | |
| hey mindful, chords are built in thirds (1,3,5,7,9,11,13) so Dm7 is as you say DFAC. (1,3,5,7) Jazz musicans often add some or all of the extensions: 9,11,13 (EGB) When playing with a bass player, pianists will sometimes avoid playing the root (name) of the chord because the bass player will be playing it. This is what we call a "rootless" voicing So to answer your question about the D changing to E, it really didn't...it's just that it is a rootless minor 9 chord voicing... | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Scot -- 10/11/2004, 10:21:07 -- #7922 | |
| Like the other guys said :) A true Dm7 is: D-F-A-C However, in jazz we often play "rootless voicings". That is, chords without the root. in the Dm7 chord, the root is D. So, since we, as jazz pianists, are going to drop the root. But by doing that, we only have a three note chord, and another thing we, as jazz pianists like, is to play four note chords. So I add the 9th, which is the E. A Dm9 chord has different notes than a Dm7, but they basically sound the same. So to keep things looking simple, we just put down Dm7 and leave it up to the piano player to determine how they want to play it. In your case, you want to keep things simple for now. But as time goes on, you'll start expanding your ears and fingers and then when you see a Dm7, you have a whole bag of tricks to pull out to get the sound you want. | |
| The World's Greatest Fake Book (hard to find songs by McCoy and others) | |
| Barry -- 10/12/2004, 01:40:09 -- #7950 | |
| Scot, this question seems to come up a hell of a lot from this lesson. Do you think it would be worth putting some kind of explanation of the rootless voicing in the main body of the lesson as it seems to be causing problems for a lot of beginners.... | |
| harmony -- 10/12/2004, 07:26:44 -- #7956 | |
| How about G7 ? | |
| Hello, Jazz pianist I understand Dm7(F,A,C,E) but why do you choose B,E,F,A as G7 instead of B,D,F,A. Thank you. | |
| 7 -- 10/12/2004, 09:05:55 -- #7959 | |
| A Jazz G13 consists of: G B D F A E 1 3 5 b7 9 13 Due to the physics of a 5th being an even multiple of the fundamental frequency makes it a "take it or leave it" case. The 5th does not add color (unless it's altered) and so it is commonly left out. The 13th is a "colorful" tone and when juxtaposed against the b7 adds a charm that has now become a staple in voicing dominant chords. Try the two voicings you describe above and you will quickly see which has more personality. | |
| mindful -- 10/12/2004, 09:20:15 -- #7960 | |
| Anything on here for learning... | |
| Fast Scale runs?... Just giving you a heads up, I already know my major scale in every key. But are their any practice excersises here for learning fast (jazzy or blue) scale runs? And with that, will it also have the correct fingering that i should use? If that is here, that would be so awesome. | |
| Scot -- 10/15/2004, 15:23:18 -- #8073 | |
| Barry, you're right. Feel like coming up with something that I can add to that lesson to help clear things up? A paragraph about rootless voicings? | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Barry -- 10/17/2004, 20:20:14 -- #8127 | |
| Yeah sure Scot, give me a couple of days and I'll see what I can do... | |
| The World's Greatest Fake Book (hard to find songs by McCoy and others) | |
| poopelepay -- 11/01/2004, 14:14:19 -- #8523 | |
| Pentatonic help | |
| I am self taught - played professionally for years without ever being able to play a scale. I have decided to learn real music now, and am wondering how to finger the pentatonics? Oh - ALSO: I'm good on the arpeggios (M7,7,m7,1/2dim,dim7)as long as it begins on WHITE KEYS! Can I be clued into the fingerings for these arpeggios beginning with black keys? Thank you for responding. | |
| albetan -- 11/01/2004, 16:07:41 -- #8530 | |
| You may find a help in files: Beginning pentatonics (Albetan's area) Mastering pentatonics (Technique and exercises) Beginning modes and arpeggios (Albetan's) Mastering basic arpeggios (Technique) | |
| poopelepay -- 11/01/2004, 21:54:11 -- #8538 | |
| Pentatonic help | |
| Yes yes - And those things are great. In fact, it is because of your stuff on arpeggios that I'm doing the white key stuff pretty well -And the modes are finding nice places when I attempt to improvise. However, in regard to fingering the arpeggios that begin on black keys, I don't understand what you're saying: "FINGERING FOR ARPEGGIOS: 1 2 3 4_1 2 3 4 5 4 3 2 1_4 3 2 1 Use same fingering for all arpeggios. In flat tonalities put fourth finger on wide section of whitekey,overcrossing thumb." Can you give me an example - say AbMaj7 arpeggio - Which finger do I begin with - THank you for your patience and willingness to help the slower ones! Thank you Alberto - You're a blessing. | |
| albetan -- 11/02/2004, 07:29:41 -- #8545 | |
| Hi Poopelepay: In traditional fingering for Abmaj7 you begin with finger 2 and put thumb in the next white key: Ab C Eb G Ab C Eb G Ab 2 1 2 3 4 1 2 3 4 In practical fingering you do same fingering for all arpeggios: Ab C Eb G Ab C Eb G Ab 1 2 3 4 1 2 3 4 5 *__* Here you will find some difficult from G to Ab: Then put finger 4 in the wide part of the white key and over cross your thumb. In traditional fingering you must learn different fingerings for each arpeggio. In practical fingering you use the same way for all arpeggios. | |
| poopelepay -- 11/02/2004, 15:31:36 -- #8561 | |
| arpeggios | |
| One more question then I'll leave you alone- Which do you use - traditional or practical? Thank you Albetan- You are my friend! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| albetan -- 11/02/2004, 19:17:27 -- #8572 | |
| I learned traditional at Conservatory of music, but i use practical fingering. | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| poopelepay -- 11/05/2004, 12:12:01 -- #8655 | |
| practical fingering | |
| I've been trying "practical" for a couple of days and the I tried it with my toes - and it was much easier! On the way down the arpeggio does the 4 finger cross over or under the thumb? Or should I just stick to trombone? Please help! | |
| 7 -- 11/05/2004, 15:01:24 -- #8656 | |
| The entire hand moves to the next position without crossing. | |
| poopelepay -- 11/05/2004, 19:18:09 -- #8668 | |
| crossing | |
| HA!! THAT makes sense! Otherwise, I play with my knuckles. Thank you! | |
| fremiot -- 11/06/2004, 02:49:03 -- #8674 | |
| discover | |
| i'm a poor lonesome french beginner in piano blues i've just discover your lessons and i'm sure it will boost me Thanks for your lessons Thierry | |
| gohtm -- 11/10/2004, 22:10:51 -- #8832 | |
| rootless voicing | |
| re: scot, barry-rootless voicing Hi, just a suggestion that the confusion with the lesson isn't just to do with the rootless voing (although that does add to the problem) but is actually due to the added 9th and 13th notes (for the Dominant 7th chord). Pesonally, I had trouble understanding it because there wasnt a paragraph on to explain the added 13th note and the missing 5th note. And so naturally my mind went haywire trying to figure it out. It was only after reading all your answers to everyones' questionthat I was able to well... get the drift. So maybe a section on the missing 5th note and the added 13th note just to explain the almighty 2-5-1 lesson might help instead? Thanks heaps for this awesome site. ps- I found there was sufficient explanation on rootless voicing | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Lorraine -- 11/11/2004, 04:48:37 -- #8838 | |
| Syncopation | |
| I am a classical pianist having trouble with syncopation and looking for an easy way to break it down. | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| emdf -- 11/12/2004, 14:46:58 -- #8895 | |
| wonderful world | |
| just wonderin if anyone has chords and d melody line for what a wonderful world for trumpet and piano wud be much appreciated! | |
| Schism -- 11/13/2004, 18:46:13 -- #8908 | |
| Hi, A question- What exactly do you want us to do with these songs? Are you expecting us to figure them out by ear or something, or do you want us to look up the sheet music and practice them because they use the cords in this lesson? Please help - Im a bit confused with this :) | |
| jackson omo ojo -- 11/18/2004, 04:10:27 -- #9049 | |
| learn somethings to urs | |
| well i will like to say that i dont really understand how the chords works. | |
| albetan -- 11/18/2004, 06:32:43 -- #9052 | |
| Hi Jackson: Please go to "Albetan's Area" and look for file "Beginning scales, chords, modes and arpeggios". | |
| camoon -- 11/21/2004, 12:45:09 -- #9144 | |
| Don't fence me in... | |
| Hi there. I have been working on the basics for a week or so now, and was feeling quite good about them until i went to learn them in all the keys. Then came frustration, almost to the point of tears!, at the idea this is all just too difficult after all. A couple of years ago I would have thrown the towell in, but if its one thing learning to play the piano has taught me, it's keep pluggin' away! So i perused throught the message threads here and discovered alot of others had had the same experience. I feel so much better now, as if having passed some sort of innitiation or rite of passage, lol, how many have fallen by the wayside? I have started going through Albertons room and just love this site and all its contributors. Many thanks! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Barry -- 11/21/2004, 16:04:26 -- #9154 | |
| Hey camoon. Welcome to LJP. Everyone that visits this site has either gone through or is currently going through what you are now. It can seem horrendously difficult at first but if you keep plugging away then, not only will you master these things, but new things will be easier to learn. I have found that the better I get, the quicker I can pick up new things. If you master the basics on this page then you will be well underway on your journey to becoming a good player. The payoff after the hard work is being able to use your new skills in a jazz tune and hearing how good it sounds. Stick with it and don't be afraid of asking if you have any questions as there are plenty of people here who are willing to help you. | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| adacho -- 11/24/2004, 06:27:45 -- #9203 | |
| Scales- playing it correctly | |
| Hi, I'm from Poland. I've been playing piano for 4 years. I'm learning it by myself because I'm too old to go to school so sometimes i have problems with it :) Can you give me some examples how to change fingers playing scales up and down? I'm not sure that I do it in a correct way sometimes. Can you show me it? For example Cmajor, Cminor, Dmajor, Dminor for left and rigth hand. I think it's enaugh to understand the way to do it well in other keys. Please! I don't want too learn my mistakes! Adam | |
| albetan -- 11/24/2004, 07:04:28 -- #9204 | |
| See file "Beginning scales, chords, modes, arpeggios" at Albetan's Area. | |
| adacho -- 11/24/2004, 07:43:29 -- #9206 | |
| hmmm | |
| Thanks for quick answer. I found this area but I didn't found anything about it?? I dont know this site well... :( | |
| adacho -- 11/24/2004, 07:47:00 -- #9207 | |
| ok. Sorry :P I have it, hehe, at leat. Thnks! | |
| albetan -- 11/24/2004, 08:10:37 -- #9208 | |
| Hi Adacho: Study also in Technique and exercises: Mastering basic arpeggios and scales Mastering modal scales. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| adacho -- 11/24/2004, 09:40:43 -- #9211 | |
| Ok. I found something what may be helpful not only for me ;) http://www.music.indiana.edu/som/sec_piano/scales.html | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| adacho -- 11/27/2004, 03:07:50 -- #9258 | |
| Hehe. I'm still thinking about fingering :) Cmaj is shown in this way. RH 1 231234 LH (1)432132 Why? Can I play it RH 1231234 LH 4321321? In my opinion it is more comfortable. Maybe Im not right... :/ | |
| clobaton -- 11/27/2004, 20:14:51 -- #9278 | |
| adacho : go subconcious | |
| Dear adacho: I have been playing piano by ear for almost 14 years, but I never learned to read music because I was too concerned about learning my mistakes in fingering.. I thought there were rules for fingering. So, Now after all this time I finally found a mentor, Alberto (albetan) and the first thing he taught me was not to worry about my fingering!!! I felt I had lost years because of worring too much.. Dont do the same!!! trust the subconcious, the confortability. I was taught that Bach was the first to challenge the clasic believes about fingering!! be Bach! look what he did, just so beautiful ain't it??? ps: I am also a little old for learning.. jejeje | |
| adacho -- 11/28/2004, 03:02:31 -- #9281 | |
| Hehe, It's optimistic :) I have exactly the same problem. I have been playing for 4 years. I'm trying to learn reading music( it's not so hard as i thought :))and now I see my technique lacks... AGRHH! Horrible, hehe... Thanks! I'm more self confident now! | |
| blancoc -- 11/29/2004, 15:06:40 -- #9334 | |
| Request for a copy of "All The Things You Are" | |
| Hi! I am new here and would like to learn more on playing jazz. Could you send me the chord sheet for "All The Things You Are"? Thanks. | |
| Whacky -- 11/29/2004, 19:20:02 -- #9342 | |
| click on "Lead Sheets" at the top of this page...you'll find a drop-down menu - it's in there | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| lolligo -- 12/03/2004, 05:25:01 -- #9430 | |
| a bit of an odd question.. | |
| Hey, I recently discovered this site and a whole new world just seemed to open up to me...I have only just started playing the piano this past year...jazz has become my life. People have told me that I am talented and that I could go far with this, but only if I learn to play from my soul.....is there anything that I can do or does that feeling and connection with what you're playing only come with time as you familiarise yourself and identify with the music more? | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| Peteboypete -- 12/03/2004, 05:29:01 -- #9431 | |
| Try reading Kenny Werner's book Effortless Mastery. He talks a lot about just letting the music flow from you and not analyzing it as you play. It involves a deep awareness of yourself that he tries to help you find through a guided meditation CD that accompanies the book. I think it is at least worth a try. Peter | |
| lolligo -- 12/03/2004, 06:31:23 -- #9432 | |
| Thank you, Peter. I will try and get my hands on that book as soon as possible. Chris | |
| anu adekoya -- 12/06/2004, 04:22:46 -- #9500 | |
| jazz lesson 2 | |
| something | |
| jazzmanpiano08 -- 12/07/2004, 11:50:23 -- #9538 | |
| please i am dying for this | |
| A copy of traces that has chord progressions will be greatly appreciated if sent to music.man08@gmail.com | |
| jazzmanpiano08 -- 12/07/2004, 11:54:13 -- #9539 | |
| I HAVE WHAT YOU ARE LOOKING FOR EMDF | |
| I have (know the chord prgression for a piano on what a wonderful world i love that song and i know it by heart! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| RSteveB -- 12/08/2004, 12:28:41 -- #9550 | |
| Learning Scales | |
| An recommendations for learning scales? Obviously it's important to know both major and minor scales, and the Circle of Fifths. Several of the books of scales I have (including Classical Hanon and Jazz Hanon) contain pages of exercises, and a person could spend HOURS just on the C-scale. Is this the best way to learn scales? Or is it the ONLY way...??? | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| Neighbor -- 12/29/2004, 01:12:32 -- #9956 | |
| To Scot and all the Jazz Organist hiding in this site ( From Neighbor) | |
| Well Scot, I think there should be some special rooms and sites for all of us who are Jazz organist also. I must know that there a lot of Jimmy Smith fans on this website and also B3 Hammond Gospel Organist-Keyboardist. Please Scot or anybody reply to this message! Neighbor | |
| 7 -- 12/29/2004, 12:38:44 -- #9969 | |
| If you want to create a room: Go to "Personal Rooms" section click on the "create a room" link on the left margin of the screen. Follow the instructions. | |
| Neighbor -- 12/29/2004, 23:30:54 -- #9985 | |
| Thank Again 7 P | |
| I appreciate all the help and I'm really learning a whole lot on these forums. Neighbor | |
| cher57 -- 12/30/2004, 06:55:51 -- #9990 | |
| Learning a tune | |
| ..and where do I found these songs you mention above ? | |
| rocky -- 01/03/2005, 13:02:32 -- #10087 | |
| guitar player ( wanna be jazz piano player) | |
| Hello yall, im a guitar player wanting to learn jazz piano any advice or help that i can get would be very nice , im just learning to read and i am doing fine just slow , can anyone offer some advice? | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| albetan -- 01/03/2005, 16:12:43 -- #10091 | |
| Please go to search engine (upwards), write: "sight" selecting "files" and you will find "How to play piano at sight". | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| mco246 -- 01/13/2005, 08:39:18 -- #10338 | |
| chord notes | |
| Hi, In a Cm10 chord, is the 10th position (which is really a 3rd in the next octave), played based on the major scale, or natural minor scale? And does the chord quality (major or minor) determine it? So for example:1 3 5 7 9 10 C Eb G Bb D Eb and a CM10 for example, 1 3 5 7 9 10 C E G B D E And what about a Cm13 for example? Would the 13th note be a “Ab” (based on the natural minor) or an “A” based on the major scale? I would appreciate any feedback, Thanks a lot! Mike. | |
| albetan -- 01/13/2005, 10:26:46 -- #10342 | |
| Hi Mike: You are right in your explanation about chords with 10th. You may find chords with major 3 and minor 10 like: C7#9 C7#9 = C E G Bb D# = C E G Bb Eb This is a very used chord in jazz, and a practical tip is to play : 3 b7 b3 and bass performs 1. For your second question about 13th note, please see file "Extended chords" at Albetan's Area. | |
| mco246 -- 01/13/2005, 12:02:31 -- #10352 | |
| Thank you for your response! | |
| Albetan, Thanks for the tip | |
| bestremera -- 01/23/2005, 18:22:33 -- #10649 | |
| Blues scale fingering | |
| Blues scale fingering: You must get this one alot. I'm working with some remote instruction materials. I'm practicing the finger for the blues scale from one source and notice it is different from the fingering of another. Predictably, the differences involve the occurance of 'crossing' over with the thumbs. Any guidance you can offer? I'm afraid of learning bad habits without an actual teacher. Thanks, Bob | |
| 7 -- 01/25/2005, 01:55:12 -- #10680 | |
| I use mostly 3-finger positions and twiddle around in one for awhile then hop to another and twiddle in it for awhile up and down the keyboard. The following fingerings are valid for all twelve keys (notes in parens are crushes) Minors 1st position (4 fingers) 1 b3 4 (#4/b5) 5 t i m m or r r 4th position (3 fingers) 4 (#4/b5) 5 b7 t i i r 5th position (3 fingers) 5 b7 1 t i m b7th position (3 fingers) b7 (nat7) 1 b3 t i i r Majors 1st position (3 fingers) 1 2 (#2/b3) 3 t i m m 2nd position (3 fingers) 2 (#2/b3) 3 5 t i i r 5th position (3 fingers) 5 (#5/b6) 6 1 t i i r That's all there is to it! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Scot -- 02/01/2005, 02:18:44 -- #10868 | |
| It never ceases to amaze me how much effort the visitors of this site put into helping people out who are new here. You guys all rock! | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| clobaton -- 02/01/2005, 13:11:39 -- #10886 | |
| Rememder Matrix?? | |
| Hey Scot, remember Matrix the movie??? you are "The architect" and LJP is the Matrix! | |
| michaelnostra -- 02/03/2005, 13:25:04 -- #10950 | |
| many thanks | |
| thanks am short of words.God bless you.my e-mail add is michaeldenostra@37.com,please get me posted.I'm working towards being the best jazz pianist in my state I know with you it is possible.you know what?its so funny that i just stumbled into this site just when i needed it,never knew there was anything like this.I pray you can finanacial partners ,hope to be one some day.thanks | |
| luthierone -- 02/18/2005, 20:26:29 -- #11325 | |
| Help with chords | |
| Hello, I am a beginner, and I have a question about a chord that I see in my lead sheet. How would you play a "F/A"? And is there a formula for figuring these types of chords? Thank you for putting up with my stupidity. | |
| Whacky -- 02/19/2005, 00:28:59 -- #11331 | |
| It's kinda backwards but it means to play an "F" chord and the bass note "A". So if you're playing solo piano, your lowest note should be "A". If you're playing with a bass player, he/she will play "A" while you play the F chord... | |
| luthierone -- 02/21/2005, 14:18:54 -- #11410 | |
| thanks much | |
| Dr. Whack, Thanks so much. I think its awesome that musicians like the contributors of this site take time to answer our(beginner's) questions. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Whacky -- 02/21/2005, 23:51:36 -- #11437 | |
| You're very welcome! It's nice to know that some of the things I've learned over the years mean something to somebody:) | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| mostarda -- 02/28/2005, 10:48:41 -- #11634 | |
| need the tunes ! | |
| humm... I need the tunes... any of them ... thanks ! | |
| fusion -- 03/07/2005, 17:50:19 -- #11738 | |
| Just have fun | |
| When ever you play just feel free to play around with the keys and just have fun with the piano.Keep it simple! | |
| Bluestar -- 03/13/2005, 17:32:45 -- #11901 | |
| 2-5-1 chord progressions in all keys. | |
| i learnt to play the 2-5-1 chord progressions from the sample of the chords on sheet music, in keys: C, F, D, Bb, and i'm suppose to learn the chord progressions in all the keys. Even though their seems to be a definite pattern of finger positions and changes in the keys that i learnt, i can't figure out how to play them in any other keys even though i'm using the same pattern. How Come?? it might make it much easier for me if i was provided with a complete chart of the 2-5-1 chord progressions in all the keys in normal sheet music form. Where could i download it for free? | |
| albetan -- 03/13/2005, 21:28:42 -- #11904 | |
| Hi Bluestar: Please go to search engine (upwards, and write "mastering A & B", selecting "files". | |
| mrborisguy -- 03/15/2005, 15:32:29 -- #11960 | |
| chord name reference? | |
| is there a good reference where i can find what all of the chord symbols mean? i'm looking at "Green Dolphin Street", which i got from here, and i'm seeing stuff like: Cmaj7, C-7, C7, D7/C, etc... now, I know some of them, like Xmaj7 means 1, 3, 5, 7, and X7 means 1, 3, 5, flat 7, and X/Y means X with a Y root, but what about X-7? or X triangle (which looks to me like... Xmaj9?). i guess i'm asking, where can i find a reference to what all of the chord symbols mean? thanks! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| albetan -- 03/15/2005, 17:38:16 -- #11964 | |
| mrborisguy: Please go to search engine (upwards) and write "Beginning scales, chords", selecting "files". | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| mrborisguy -- 03/15/2005, 18:17:08 -- #11966 | |
| albetan: another good reference, thanks. but i'm wondering... where can i find out what - means in C- and C-7. i know how to build chords, but if i don't know what the chord is supposed to be, i can't build it. [example, i can't build a C- chord because i don't know what it is, so where can i go to find out that a C- Chord = { root, 3rd, 5th, 7th, flat 9th } or whatever it is, but i can easily build a Cmaj7 because i know what "maj7" is indicating, that i need a major triad and a major 7] i guess it would suffice right now to just fill me in on what a C- chord is (from "Green Dolphin Street"), but if i ever run across other chord symbols that i'm not familiar with, i'd also like to know what those chord symbols mean. does that make sense? | |
| albetan -- 03/15/2005, 21:17:21 -- #11968 | |
| Good question; mrborisguy. That symbol – appears in illegal Real book meaning MINOR. C- = Cm C-7 = Cm7 | |
| Whacky -- 03/16/2005, 00:19:22 -- #11971 | |
| ...which can be easily confused with chords like C7-9, which is another way to indicate C7b9 - oy...who thought of this stuff? :) | |
| brent1 -- 03/16/2005, 06:40:34 -- #11974 | |
| fingering | |
| in doing a scale, middle c to high c or anywhere else, if you start with the thumb and play five notes c,d,e,f,g, with which finger does the next key be played (a) etc. same with the base when you start with the little finger? trailors varnerbrent2001@yahoo.com or post a message for me. thanks | |
| Whacky -- 03/16/2005, 11:46:34 -- #11980 | |
| Check around this site for a list of major scales and fingerings (I think they are in "Ryan's Room") To answer your question...for a C major scale the RH hand should play: 12312345 If you are going to play more than one octave you substitute the 1 for the 5 and continue playing the scale as before: 1231234,1231234, etc.. Left Hand is the opposite: 54321321,4321321,etc... Try to remember which note the 4th finger plays in each scale and you should have no problem learning the fingerings. For example, in C major RH4 plays B, LH4 plays D | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| gil_blas -- 03/16/2005, 20:52:56 -- #11994 | |
| chord sheet | |
| hello- this is a very cool site, where can i ge the chord sheets for green dolphin street? | |
| Thinking in Jazz: The Infinite Art of Improvisation (changed how I look at jazz) | |
| albetan -- 03/16/2005, 21:34:51 -- #11995 | |
| gil_blas: Click on "Lead sheets" (upwards) and select your tune. | |
| strk -- 03/18/2005, 17:11:06 -- #12047 | |
| help: over the rainbow | |
| I'm trying playing "Over The Rainbow" I might have a different version (dunno who sings, sorry), but it seems chords don't match. Maybe I'm just missing the meaning of the 1.______ and 2.____ lines: where do they start ?(I'm new - thank you Scott for your great job!) | |
| Whacky -- 03/19/2005, 00:35:47 -- #12051 | |
| Often times arrangers will use different chords from those indicated in sheet music and such. Other than that, I'm not sure what you are asking. (like 1.______ and 2.____ lines:)?? | |
| strk -- 03/19/2005, 03:54:33 -- #12053 | |
| following Lead Sheets and selecting "Over the Rainmbow" you see the 1.________ and 2.__________ lines. As far as I know they mean that when repeating you first play the 1.____ part and then the 2.____ one. But in this case I'm not sure where their start belong (1. and 2. are not aligned and I can't understand if they belong to the chords above of below them) | |
| Whacky -- 03/19/2005, 10:50:21 -- #12055 | |
| I see...yeah that does look weird! I would ignore the second ending as it is a repeat of the first ending. Just play to the repeat dots twice then on to the bridge which is the Eb right after the written 2.________ | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| strk -- 03/20/2005, 02:03:55 -- #12067 | |
| Yeah, I came to same conclusion. Thanks ! Another thing... what does the / / mean in Gm 7 / / Eb7 ? And what's the || line before last (same of first) section ? (it's line 5 before Eb). | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| 7 -- 03/20/2005, 02:20:15 -- #12069 | |
| I you're reading Nashville style lead sheets, the double slash means that there are two beats of Gm7 in that measure. Example 1: | Gm7 // Eb7 // | This indicates that there are two beats of Gm7 in that measure (beats 1 & 2 in 4/4) followed by two beats of Eb7 (beats 3 & 4). Example 2: | Gm7 /// Eb7 / | This indicates that there are three beats of Gm7 in that measure (beats 1 & 2 & 3 in 4/4) followed by one beats of Eb7 (beat 4). | |
| strk -- 03/20/2005, 03:19:01 -- #12070 | |
| Isn't // normal then ? I mean Isn't first Eb Cm7 two beats each ? If so, why the explicit sign on Gm7 // Eb7 ? (I'm assuming the // after Eb7 is implicit) | |
| Whacky -- 03/20/2005, 10:24:47 -- #12072 | |
| Often times a double bar is used to mark the end of a section. And yes, there probably is no need for the //. Some guys write em and some don't. Like you said, common sense would tell you that they are two beats a piece. They are helpful though in cases where perhaps the second chord should be played on beat four instead of three. And of course, some charts are more detailed and would indicate complicated rhythms by using standard rhythmic notation. | |
| edmilson -- 03/20/2005, 16:15:51 -- #12080 | |
| chord sheet | |
| Hi! I´d like to get a chord sheet, it´s possible? edmilson | |
| 7 -- 03/20/2005, 16:17:14 -- #12081 | |
| Could you post the chart here, so that we could see it in context? It's often very difficult to ascertain the true meaning without all the pieces in place. Also don't forget to check the "force message formatting" box so that the chart all lines up. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| strk -- 03/20/2005, 16:36:57 -- #12082 | |
| OVER THE RAINBOW Key of Eb 4/4 [: Eb Cm7 | Gm7 / / Eb7 | Ab | Eb | 1._________________________ | Ab Abm | Eb Cm7 | F7 Bb7 | Eb :] 2.__________________________ | F7 Bb7 | Eb | Eb | Fm7 Bb7 | | Eb | Fm7 Bb7 | Eb | Gbdim | | F7 | Fm7 Bb7 || Eb Cm7 | Gm7 / / Eb7 | | Ab | Eb | Ab Abm | Eb C7 | | F7 Bb7 | Eb | | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| 7 -- 03/22/2005, 01:44:30 -- #12118 | |
| In this case, | Gm7 // Eb | means 3 beats of Gm7 followed by 1 beat of Eb. The Gm7 symbol represents the first beat of the chord (beat One), and the two slashes afterward mean Gm7 continued through beats 2 & 3. This type of shorthand occurs from time to time, but I prefer the system that I described earlier in this thread. For verification, please click on the following link: http://guitar-primer.com/Charts/Chart-470.html | |
| Stewart -- 03/27/2005, 23:28:24 -- #12250 | |
| Back on the keys | |
| Hey there getting back on the keys after about a 10 year lull, studied only classical music for about 8 years, but am now wanting to play some jazz/soul music. Forming a band with drums double bass, dj with decks and myself on keys. Jimmy smith style!! anyone got some good suggestions for where to start learning jazz. this is a huge site, thought someone out there may have some suggestions. Cheers | |
| supernick -- 03/28/2005, 23:48:21 -- #12275 | |
| gee! | |
| the best and easiest tutorial i've ever seen! | |
| faurelive -- 03/30/2005, 01:48:08 -- #12311 | |
| faurelive | |
| great site, well done i found it very informative thanks. | |
| eben -- 04/08/2005, 14:05:42 -- #12606 | |
| hola Scot | |
| i love your attitude and everything about your work. bravo, gracias! | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| eben -- 04/08/2005, 14:25:16 -- #12609 | |
| heeelp!!! | |
| please may i get access to a chord sheet? | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| Scot -- 04/08/2005, 20:08:45 -- #12628 | |
| Thanks for the kind words! If you need a chart, you can get chord sheets from the "lead sheets" link above. There are also other sites that provide them. I can't provide them here because of legal reasons, but that may change one of these days... | |
| michelebee -- 04/12/2005, 17:42:20 -- #12758 | |
| classically trained HELP | |
| hullo. i really really want to learn jazz. i've been playing classical piano for so many years, chopin, bach, beethoven, mozart, etc.. but i don't know where to start. i really don't know where to start. it is so confusing for me. i feel like i am retarded in this aspect of music. it's funny. where should i start? i can read chord charts, but i can't make the music come alive, my hands don't know what to do. thank you so much | |
| mapleleafD91 -- 04/12/2005, 18:52:10 -- #12763 | |
| downloading songs | |
| One great resource I depend on when learning a song is LimeWire. LimeWire allows you to download almost any song in almost any arrangment. This program is available at www.limewire.com and costs $40. There are no "per song" download fees; everything is free after the $40. This is a great investment. | |
| Scot -- 04/12/2005, 19:04:31 -- #12766 | |
| Classical is more like reading the script for a play, while jazz is like comedy improvisation, so they are very much two different things. From a classical standpoint, a good thing to do is get a book or two of jazz arrangements for the piano. These books, such as the ones by Monty Alexander, along with listening to lots of jazz (you listen to a lot of jazz, right?) will give you the sounds that you are shooting for. Do you know theory? Theory is important as it lets you analyze scientifically what's going on in the music and lets you reproduce certain sounds simply from knowing the forumla to get them. Also, memorize the chord charts for the tunes you are working on. Don't look at the music any more, and if possible, learn it from recordings. It's a very steep, but very short learning curve going from classical to jazz PROVIDING you have a very good handle on theory. Also, the Mark Levine "Jazz Piano" book is great for classical players going into jazz. | |
| albetan -- 04/12/2005, 19:21:38 -- #12769 | |
| Hi Michelebee: Welcome to LJP. This is a great school of Jazz. See file "Solo Piano: Performance of Jazz lead sheets" at Albetan's Area. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| michelebee -- 04/13/2005, 12:15:31 -- #12792 | |
| left hand | |
| oh man my left hand does not know what to do. Does the root of the chord always have to be in the left hand? what about octaves? or maybe the root and the 7th? oh man oh man oh man thank you for helping me you are so nice | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| michelebee -- 04/13/2005, 12:16:59 -- #12793 | |
| comping | |
| hello i have a question. what do they mean when they say comp freely on the score? what does that mean? what do you do? thank you so much for your help i really appreciate this site | |
| dustywaynn -- 05/11/2005, 16:49:10 -- #13728 | |
| All the things you are, Autumn leaves | |
| can i have the chord sheet for these pieces | |
| Whacky -- 05/11/2005, 18:37:50 -- #13732 | |
| Click on "Lead Sheets" at the top of this page | |
| mr.music -- 05/12/2005, 18:54:39 -- #13770 | |
| i need help | |
| i'm looking for someone who can help me i'm an organist and i play by ear and i'm looking for someone who would share chord progressions with me please!!!!!!!!!!!! | |
| Whacky -- 05/13/2005, 01:39:37 -- #13775 | |
| C Am F G7 | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| albetan -- 05/20/2005, 14:50:50 -- #14005 | |
| Please see "Chord Progressions" at Albetan's Area. | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| bb -- 06/01/2005, 15:59:40 -- #14394 | |
| Help Can anyone explain what 2 5 1 means. It's not clear to me Thanks BB | |
| Whacky -- 06/01/2005, 16:24:46 -- #14395 | |
| Those are the chords built on the 2nd, 5th and 1st notes of the scale - for example in C major the 2 (ii) is Dm the 5(V)is G major and the 1(I)is C major notice we use Roman numerals for these -(ii, V, I) Caps for major, lower case for minor | |
| Scot -- 06/01/2005, 23:56:43 -- #14415 | |
| To expand on that, in classical theory the most commonly used chord progression is the V7 (dominant fifth) to the I. In jazz we like to, uh, "jazz things up" as it were and one of the ways to do that is by reharmonization. The most simple of all reharmonizations if adding the relative 5th of the V chord so that you kind of have a V to a V to a I, or in the key of C, we have a Dm7 to G7 (which is a five to one, although Dm7 is a minor 7th instead of a dominant 7th), and then the G7 moves to the C. That's what the circle of fifths is all about and is mentioned in one of the other lessons. | |
| albetan -- 06/02/2005, 10:29:40 -- #14430 | |
| 2 5 1 Look for file "Chord progressions" in search engine (upwards). | |
| vanriker -- 06/03/2005, 23:34:43 -- #14513 | |
| Scale fingerings | |
| So I know all the standard scale fingerings for natural major scales, but that's about it, and charts explaining standard scale fingerings for anything other than natural scales are hard to come by. Well charts in general, a friend explained them natural fingerings to me. I'm a pretty basic beginner on piano. I've been playing guitar for about 7 years and understand all the theory, but the physical part is the challenge. I only know like a dozen Beatles songs and one John Cale song, and it's pretty much all chords, no hand independence. If anyone could direct me to some good exercises for hand independence, that'd be great too. | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Scot -- 06/04/2005, 09:36:07 -- #14536 | |
| Look at some classical music. Get some Bach inventions and learn them- your hand independance will develop rather quickly if you practice that music. | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| Lunga -- 06/07/2005, 04:37:56 -- #14708 | |
| Lunga | |
| this is all but too amazing for me. (in a good way!!) the thing is, that i learnt classical piano way back in the day (about 5 years ago) and i sort of forgot how to read the music. I went up to passing grade 6 and i can play all the movements in Beethoven's "Moonlight Sonanta". I just forgot how to read!! The piece is just stuck in some chamber in my brain and i could probably play it with my eyes closed but i still cant read. I can't explain it! As bad as it sounds, it's not. It will take a whole lot more to discourage my endevour to learn the art of this music, most importantly the piano. I just printed your lessons and i going to put them into practise (dunno if i spelled that right). My goal is to be a be-bop maestro... think its a long shot? Watch me!!! Lunga Xhamela Pretoria, South Africa | |
| Scot -- 06/07/2005, 12:49:57 -- #14723 | |
| It's never a long shot to become a great musician. Practice your instrument, listen all the time to the music you want to play, and you will be on the way to becomming a great musician. | |
| SolArt -- 06/11/2005, 08:49:06 -- #14919 | |
| Rich sounding TIP for Dm7 to G7 | |
| Where the Dm7 (Actually a Dm9) is played F A C E (Did your mirror explode today?) you can simply raise or lower the A and C(simultaneously, both that is) by a half-step in ANY COMBINATION, to yield a cool dominant alteration of a G7. (Although the one with both a B and a Bb is the loser!) | |
| 7 -- 06/11/2005, 13:15:55 -- #14931 | |
| Actually the B Bb/A# combination is known as a 7#9. It is an extremely common chord especially in Funk. The voicing F A# B D# is a common form of G7alt (rootless form of its tritone substitute Db679 [F Bb Cb Eb]). In context it works like gangbusters. | |
| SolArt -- 06/16/2005, 09:57:31 -- #15190 | |
| It usually doesn't sound so cool on a 7+9 when the 3rd & +9th are only half steps apart, now ain't that so? I really like the following voicing of a +5+9 chord: (from bottom) 3 +5 7 1 +9. Also it's very easy to remember: just play your common 3 7 +9 voicing & to the 7 add a whole step in both directions. Got it? I like your web site & can see by your own useful "hieroglyhics" you are indeed very creative & unique! Maybe I'll learn them someday... Here's a cool LITTLE way to voice a 9th chord: simply add a whole step to the root in both directions. EASY & sounds effective, nes'par? | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| SolArt -- 06/16/2005, 10:18:44 -- #15191 | |
| The commom 13th voicing | |
| Gee, that reminds me, especially for all you new to jazz, a very simple way to remember the popular 13 voicing of 7 3 13(6) is: Just play your major chord in root position (or mentally) and expand the root & 5th a whole step, play. VOILA! Now if that was in the L.H. as is often the case in jazz just add in a higher range the major chord in root position with it's octave on top (1 3 5 1). Play both hands synched together in a jazzy rhythm, now chu doin' i' mah! | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| Scot -- 06/17/2005, 12:56:52 -- #15237 | |
| That is a really great tip! Do you approach chord building in a more intervalic way? A guy named Jerome Gray who used to teach jazz used intervals to explain everything on the piano. | |
| SolArt -- 06/17/2005, 14:41:20 -- #15239 | |
| Which tip did you like?! Danke, it is so nice to be appreciated & to be able to talk with others (like those who abound here) who truly understand music theory. I don't understand why many shy away from it. I'm so glad I found your great site! Anyway I base especially more complex voicings (& you know how different they look & feel on the keys, so I kind of envy guitar players where they can just slide it where they want it, but he-he they CAN'T slip off the black notes!) on chords & intervals I already know very well, i.e. "oh it's a stack of fourths with the middle note altered," so that way you have to think less. I haven't heard of Jerome Gray, unfortunately. I`ve gathered throughout the years, stuff I wrote down on realizations & insights about chords, etc that live in my piano bench, & that's why I'm writing a book BEFORE I turn into a little old wrinkled man with regrets about what I should've done. Also I have this thing about W-I-D-E chord voicings, I simply find them very nice & full sounding. | |
| Scot -- 06/17/2005, 16:58:12 -- #15245 | |
| Yeah, I like that idea about consciously basing things on simple chords. We all do that on some level, I think, but making a point of it would definitely be a great way to quickly learn new chord voicings in all keys and things like that. | |
| eyessound -- 06/29/2005, 19:57:11 -- #15881 | |
| correct fingering on keybord | |
| I am a guiterest trying to lern piano. And improve my jazz playing. Is fingering very important for scales and chords? ED | |
| Whacky -- 06/29/2005, 20:44:51 -- #15886 | |
| yes | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| Scot -- 06/29/2005, 21:11:22 -- #15890 | |
| Expound please :) | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| barleng -- 07/04/2005, 07:08:37 -- #16113 | |
| hip chords | |
| I have just started (couple of years) to play keyboards and I have been using Fake books as you call them. However I have been a jazz fan for many years, and I would like to see some of the HIP chords you refer to. I can work out chords from their discription but am often at a loss to know which chords to use instead of the Fakes I currently use, so any help would be appreciated. | |
| albetan -- 07/05/2005, 07:19:05 -- #16147 | |
| See files: Extended Chords A & B Forms Performing jazz lead sheets at Albetan's Area. | |
| jaymusiq -- 07/08/2005, 13:29:56 -- #16297 | |
| Lesson 1 | |
| The basics | |
| jaymusiq -- 07/08/2005, 13:44:48 -- #16298 | |
| Lesson 1 | |
| The basics | |
| bdtrainee -- 07/10/2005, 14:52:40 -- #16355 | |
| Technique and Scales | |
| I was wondering if someone could give me a chart with all the scales that I need to know i know all my major and minor scales but i would like to learn all the other that I will need to know for plaing jazz piano | |
| Connecting Chords With Linear Harmony, by Bert Ligon | |
| albetan -- 07/10/2005, 19:02:48 -- #16362 | |
Hi bdtrainee: In "Technique and exercises" you will find good stuff. | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| musiciansam4 -- 07/11/2005, 17:48:01 -- #16401 | |
| 7? | |
| What is all this stuff about 7? I get c major/ c minor etc. but when we get to Cmajor 7 or C7 im totally confused...could someone PLEASE help me! thanks | |
| Whacky -- 07/11/2005, 17:57:37 -- #16402 | |
| C Major 7 is the I chord in the key of C (CEGB) C7 is the V chord (dominant) in the key of F (CEGBb) | |
| albetan -- 07/11/2005, 18:08:32 -- #16403 | |
| Hi musiciansam: See file "Beginning scales, chords, modes, arpeggios" at Albetan's Area. | |
| SolArt -- 07/12/2005, 04:03:12 -- #16416 | |
| Don't think, just add a major 3rd to your major chord in root position for a maj7, or a minor third to your major or minor chord in root position for a 7. {From root postion} Alternatively, just drop the root 1/2 step to result in a maj7, or drop it a whole step for a 7 (can leave root in). See it? Now learn the other two inversions. | |
| realsmile -- 07/31/2005, 05:59:04 -- #17100 | |
| can you send me the following | |
| cords sheet | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| Whacky -- 07/31/2005, 10:55:38 -- #17103 | |
| At the bottom of this page, click on "lead sheets" | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| Jazzboy21 -- 08/06/2005, 11:07:26 -- #17349 | |
| Exercise | |
| Hello, A few days ago I red this jazz-site, I practise a lot on the piano. But I wonder if somebody has some chords/songs so I can practise more. | |
| cjconnor24 -- 08/09/2005, 18:22:56 -- #17446 | |
| some help required | |
| (sory if im posting on the wrong bit, im quite new to this!) my name is chris connor, im a young piano player from scotland. I love jazz piano its amazing, but the thing is....i dont really know much about it if you know what i mean, i just what i'm playing rather than thinking about what chords or techniques im using, i was just wondering if u guys could help me out. How do i know what chords im hitting and how do i work out how to play a chord. For example, C13 i know its C Bb D E A. but i got that from a book, any chance someone could give a brief insight, Its got me stumped!! Thanks CHris | |
| 7 -- 08/09/2005, 19:21:36 -- #17451 | |
| C13 is a dominant quality chord. As such it's built off the fifth degree of the F scale. If we start the F scale at C and count the degrees of the scale from that point we have: C D E F G A Bb C D E F G A 1 2 3 4 5 6 b7 8 9 10 11 12 13 In tertain harmony the chords are built using every other note: 1 3 5 b7 9 11 13 C E G Bb D F A That's the definition of a C13 chord. Usually the 11th is left out, so a typical C13 chord is: 1 3 5 b7 9 13 C E G Bb D A | |
| thefiddlefarm -- 08/14/2005, 18:45:24 -- #17601 | |
| Chord Progressions | |
| Where can I find chord progression sheets to print? | |
| thefiddlefarm -- 08/14/2005, 18:46:49 -- #17602 | |
| Lead Sheets | |
| It says at the top of your scene "If you need chord sheets, click on the Lead Sheets link near the top of the page." I must be blind I can't see them? | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| 7 -- 08/14/2005, 19:34:36 -- #17603 | |
| Actually the link is at the bottom of every page. lead sheets http://www.learnjazzpiano.com/citadel/scotcit.mvc?screen=vrb | |
| Czerny: The Art of Finger Dexterity - Complete (this is for those who want monster technique) | |
| BlueMooN -- 09/02/2005, 23:59:15 -- #18468 | |
| Just wanna learn some Blues | |
| Greetings! This is my first time here, and I'm looking forward to learning some blues scales and blues licks! I know my major scales,and how 7th's augmented and diminished chords work, but I still need alot of practice. I've been listening to alot of BB King and Eric Claypton lately. Nice to meet you, and we'll see you soon. BlueMooN | |
| luciernaga -- 09/04/2005, 00:03:28 -- #18502 | |
| I love this page!!!!!!!!!!!!! | |
| ngatiah -- 09/05/2005, 09:44:47 -- #18558 | |
| good work keep it up | |
| cakinbro -- 09/09/2005, 13:43:32 -- #18814 | |
| beginning jazz piano... | |
| I have been playing gospel piano for 12 years. I want to learn jazz piano. Where do I start? | |
| 7 -- 09/09/2005, 14:50:26 -- #18817 | |
| Right here with "The Basics". | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| lobotomia -- 09/12/2005, 05:17:10 -- #18917 | |
| Piano and voice | |
| Hi. I have been playing blues guitar for a few years now, however my main profile is singing. I would like to accompany myself on the piano. Emphasis would be laid on vocals. Is there any special resource for these needs? Thanks | |
| In The Course of Performance: Studies in the World of Musical Improvisation | |
| louisa -- 09/19/2005, 02:20:18 -- #19205 | |
| need sheet music | |
| does anyone have the sheet music to autumn leaves. what are hip chords as oppose to the common fake book chords? | |
| beyrut -- 09/23/2005, 19:15:54 -- #19306 | |
| question | |
| In the example for the 2-5-1, the progression is shown dm7 G7 and Cmaj7, but the progression I see has Dm9 G13 Cmaj9, correct me if I am wrong because I am trying so hard to learn....am I supposed to 2-5-1 always with a 9th - 13th 9th, or what....also I was wondering if anybody would like to share any cool jazz runs and riffs with me | |
| beyrut -- 09/23/2005, 19:16:44 -- #19307 | |
| question | |
| In the example for the 2-5-1, the progression is shown dm7 G7 and Cmaj7, but the progression I see has Dm9 G13 Cmaj9, correct me if I am wrong because I am trying so hard to learn....am I supposed to play 2-5-1 always with a 9th - 13th 9th, or what....also I was wondering if anybody would like to share any cool jazz runs and riffs with me | |
| Scot -- 09/25/2005, 12:56:07 -- #19336 | |
| Hi Beyrut- read the whole lesson! It says right there that the reason there are those extra notes in it is because they sound good. | |
| aurelio -- 10/21/2005, 14:05:28 -- #20125 | |
| Yes! Here it is | |
| Hi all: It is amazing what I found here. I typed "jazz piano" in the web search engine, just for curiosity, and what I got... a complete community of people talking about it, eager to play (or learn to play like my case) jazz. Yes, classical western scales heared for years, are hard to leave. Yes, hard to find local jazz instructors. And now, a source of new ideas and sounds, dam!!! Well, I'm gonna try to find the way to contribute to this posting interesting material, as I will start to get involved. Thanks a lot from Guadalajara, Mexico! | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| Torvi4 -- 11/12/2005, 05:21:11 -- #20913 | |
| Am interested in It | |
| Please I will need a copy of your chord sheet so as to improve my learning. Thanks for your cooperation. Emma. | |
| In The Course of Performance: Studies in the World of Musical Improvisation | |
| pookiecatblue -- 12/03/2005, 15:17:56 -- #21728 | |
| chord sheet | |
| So how do we let someone know that we need a chord sheet? I do not see how to contact anyone anywhere on the website. I would like the chord sheet with the hip chords for Autumn Leaves. | |
| Barry -- 12/04/2005, 10:56:54 -- #21743 | |
| Click on the link at the bottom of the page that says 'lead sheets' and you will be able to find the charts for hundreds of tunes. As to 'hip' chords, that's a matter of opinion. Visit the 'Rehamonization 101' lesson room to learn about chord substitutions. | |
| AnotherSchmoe -- 12/08/2005, 10:56:29 -- #21958 | |
| 2-5-1? | |
| Hello all, I have been browsing the website and I am really enjoying it and hope to hang around here for awhile! Just signed up and this is my first post, and I have a question, forgive me if it sounds dumb: Why is it called the 2-5-1 progression? | |
| 7 -- 12/08/2005, 11:41:14 -- #21960 | |
| In the key of C the ii-V-I progression would be Dm-G7-C. D is the second degree of the C scale, G is the fifth degree and obviously C is the first degree of the C scale. | |
| AnotherSchmoe -- 12/11/2005, 09:09:59 -- #22075 | |
| Thank you 7! I'm not very knowledgeable about music yet as I'm sort of a beginner. =P Appreciate the help, I understand now. =) | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| clobaton -- 12/21/2005, 08:26:40 -- #22386 | |
| LJP MAP | |
| Hi everyone: I invite you all to take a picture and post it in the LJP map, if you have not already done it (link up to the right). Do not be lazzy, let us see your ugly face ;) CL | |
| In The Course of Performance: Studies in the World of Musical Improvisation | |
| ebuni -- 12/22/2005, 09:50:45 -- #22427 | |
| Request for chord sheet | |
| Hi there, thanks for the provision that you make available on your site. I have just started on the Jazz basic and I've become and avid player. I use to play piano classics upto level 3 and I 'd like to try on something different and interesting. So, if it won't be too much trouble, I would like to ask that you pls email me the chord sheet that comes with this lesson. Thanks. With Regards, Ebuni | |
| clobaton -- 12/22/2005, 11:12:33 -- #22430 | |
| chord sheet | |
| Email? , to which address? You can also go to the room "albetan´s area", click on files. You will find all the necessary chord theory to play this lesson in this room. Also try to get a realbook, they usually have a page with the notes for each chord. Carlos. | |
| marsienuku -- 01/07/2006, 16:27:38 -- #22882 | |
| i am lost | |
| Janvierfriendly -- 01/18/2006, 12:26:54 -- #23201 | |
| very happy | |
| I am very happy for the lessons. I am a newer in Jazz music | |
| john_seth -- 03/08/2006, 01:08:46 -- #25005 | |
| Cool site! | |
| Hi! ive been reading several jazz books. i wonder if anyone can explain what tritone is...not the triad. i'll apreciate it. thanks! | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| 7 -- 03/08/2006, 01:35:28 -- #25006 | |
| A half-step (Br. half-tone) is the smallest interval in occidental musics. There are 12 half-steps to the octave. A whole-step (Br. whole-tone) is equal to two half-steps. A tritone is the interval described by three ("tri") whole steps (whole "tones"). As such the interval is equal to three whole steps which is also equal to six half-steps. Examples: C to F#/Gb ( or F#/Gb to C ) C#/Db to G ( or G to C#/Db ) D to G#/Ab ( or G#/Ab to D ) D#/Eb to A ( or A to D#/Eb ) E to A#/Bb ( or A#/Bb to E ) F to B ( or B to F ) | |
| ozzybaby -- 03/11/2006, 19:12:52 -- #25127 | |
| Please help me with my solo | |
| Hi, I'm new to this site and found it while I was looking for lessons on the web. I'm a high school student who has wanted to play the piano in our school's jazz band for a while. The problem is, there is a lot of competition for the spot and it's opening up at the end of this year. If anyone has some really great exercises and advice for a good solo piece, I'd really appreciate it. | |
| Mecobio -- 03/14/2006, 10:25:11 -- #25183 | |
| What is the definition of Jazz? | |
| Hi Just a question, assuming someone here can know the answer. There have been some argue about how to define JAZZ. In the Mark's "Jazz theory book" nothing is said about it and even in amazon some critize the author becuase of that. Saying that "improvisation is jazz" is an insult to the human kind because of improvisation has always been in music since the evolution of homo-sapiens (or the creation of Gud, depending on the believe). By the way, isn't so that any creation involves improvisation? The jazz literature starts with the Blues. The later is well defined as I(1) IV(5) I(7) V(9) I(11). Important to notice that Rhythm & Blues (R&B) which can be seen as a Blues with slightly variation, was later re-named as Rock & Roll due to commercial and racist motive packaging it as a "white creation" to a more rich white consumers. Then, the jazz books move to be-bop. Many says that the term "jass" was rude sexual slang used in New Orleans brothels. So, Is jazz a commercial name similar to Rock and Roll where both mean sex? Any serious definition of it out there? The reason of looking for a definition is that, the more you know about a subject, the better you can explore it, transformed, play around with it, etc. So, if jazz = blues + be-bop, then, jazz itself is not a music but a package. Then, as every package, it is heavily commercialized and simplified, with a lot of lies around it and therefore "too flat" compare to the original blues. Any comments? Please, I'm not looking for "personal opinions from the heart" but rather from the brain, so we can get rid of the sentimental issues for a while around it, and try to differentiate between music and commercial crap. Interesting that in the Mark's "Jazz theory book" he says that many afro-Americans are opposed to the misuse of the term jazz as it is used today. I really want to know the point of views of those afro-Americans? What are their arguments? It is not the first time a music genre is re-named in USA for marketing reasons spreading simplified mediocre "stuff". The term salsa is just another, which it is in fact Cuban son (please, read the definition of the Cuban SON included in the Latin Corner forum files). It is also said that Tito Puente said that there were good jazz musicians (wonder the definition now) in USA but bad jazz musicians playing "Latin jazz". The term "Latin jazz" is obviously even critized as well, e.g. what it is Latin? What has a latin Italian to do with the Cuban son or any Cuban or Brazilian music? An afro-Cuban musicologist says took this issue far beyond questioning what has a white Spanish speaking argentine to do with afro-cuban drums? The term "descarga" or "descarga cubana" (descarga means download) has been used in Cuba for any kind of improvisation around the Cuban music. Then, any descarga cubana is in fact Cuban music where you add as more as you want in terms of experimental instrumental songs. That is, first you should know the Cuban music very good before to start to do "descarga cubana". Not strange that Chucho Valdes and Gonzalito Rubalcaba are very good in this music as their parents were popular musicians allow them to grow in the "right environment". Please, don't confuse the issue that many Cuban musicians call themselves as "latin jazz" since this is a way they have to make money and establish contact outside. That is, a commercial name already established in USA due to commercial reasons. Please, observe from the definition of the Cuban SON written by Raul in the Latin forum files there are plenty of room for any kind of insertion of scales, chord progressions, etc and those experiments have been done by Irakere, Van Van, NG La Banda, etc. Again, the definition of jazz remains to be given, if it is a music genre at all or just another package for commercial issues. Any body knows the point of views of those afro-Americans questioning the misuse of the word jazz nowadays? What are their arguments? | |
| Mecobio -- 03/14/2006, 10:25:24 -- #25184 | |
| What is the definition of Jazz? | |
| Hi Just a question, assuming someone here can know the answer. There have been some argue about how to define JAZZ. In the Mark's "Jazz theory book" nothing is said about it and even in amazon some critize the author becuase of that. Saying that "improvisation is jazz" is an insult to the human kind because of improvisation has always been in music since the evolution of homo-sapiens (or the creation of Gud, depending on the believe). By the way, isn't so that any creation involves improvisation? The jazz literature starts with the Blues. The later is well defined as I(1) IV(5) I(7) V(9) I(11). Important to notice that Rhythm & Blues (R&B) which can be seen as a Blues with slightly variation, was later re-named as Rock & Roll due to commercial and racist motive packaging it as a "white creation" to a more rich white consumers. Then, the jazz books move to be-bop. Many says that the term "jass" was rude sexual slang used in New Orleans brothels. So, Is jazz a commercial name similar to Rock and Roll where both mean sex? Any serious definition of it out there? The reason of looking for a definition is that, the more you know about a subject, the better you can explore it, transformed, play around with it, etc. So, if jazz = blues + be-bop, then, jazz itself is not a music but a package. Then, as every package, it is heavily commercialized and simplified, with a lot of lies around it and therefore "too flat" compare to the original blues. Any comments? Please, I'm not looking for "personal opinions from the heart" but rather from the brain, so we can get rid of the sentimental issues for a while around it, and try to differentiate between music and commercial crap. Interesting that in the Mark's "Jazz theory book" he says that many afro-Americans are opposed to the misuse of the term jazz as it is used today. I really want to know the point of views of those afro-Americans? What are their arguments? It is not the first time a music genre is re-named in USA for marketing reasons spreading simplified mediocre "stuff". The term salsa is just another, which it is in fact Cuban son (please, read the definition of the Cuban SON included in the Latin Corner forum files). It is also said that Tito Puente said that there were good jazz musicians (wonder the definition now) in USA but bad jazz musicians playing "Latin jazz". The term "Latin jazz" is obviously even critized as well, e.g. what it is Latin? What has a latin Italian to do with the Cuban son or any Cuban or Brazilian music? An afro-Cuban musicologist says took this issue far beyond questioning what has a white Spanish speaking argentine to do with afro-cuban drums? The term "descarga" or "descarga cubana" (descarga means download) has been used in Cuba for any kind of improvisation around the Cuban music. Then, any descarga cubana is in fact Cuban music where you add as more as you want in terms of experimental instrumental songs. That is, first you should know the Cuban music very good before to start to do "descarga cubana". Not strange that Chucho Valdes and Gonzalito Rubalcaba are very good in this music as their parents were popular musicians allow them to grow in the "right environment". Please, don't confuse the issue that many Cuban musicians call themselves as "latin jazz" since this is a way they have to make money and establish contact outside. That is, a commercial name already established in USA due to commercial reasons. Please, observe from the definition of the Cuban SON written by Raul in the Latin forum files there are plenty of room for any kind of insertion of scales, chord progressions, etc and those experiments have been done by Irakere, Van Van, NG La Banda, etc. Again, the definition of jazz remains to be given, if it is a music genre at all or just another package for commercial issues. Any body knows the point of views of those afro-Americans questioning the misuse of the word jazz nowadays? What are their arguments? | |
| SolArt -- 03/14/2006, 18:01:03 -- #25207 | |
| I have heard Jazz referred to as "organized noise!" | |
| girlygirlNOoo -- 04/10/2006, 21:39:42 -- #26292 | |
| Beginner needing help | |
| I am ten years old and trying to teach myself music. I would love to play the Lambada it is my favourite song. But your sheet music is very confusing. Can you make it easy for me. | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| girlygirlNOoo -- 04/10/2006, 21:41:35 -- #26293 | |
| Saw the beginners cords. | |
| Sorry made no sense to me. Don't call me stupid. Just call me trying to learn. After all Ireland does not have a history of Jazz. | |
| musman -- 04/13/2006, 15:31:24 -- #26433 | |
| ineed the sheet too. | |
| tariq -- 04/15/2006, 16:33:40 -- #26476 | |
| Exercise for a beginner for finger practise | |
| I have a new jaz lover and a beginner I need some exercise for finger practise.Looking forward for help | |
| clobaton -- 04/18/2006, 17:24:24 -- #26542 | |
| 10 years old trying to learn | |
| dear girlygirlNOoo: I started teaching myself music when I was your age, and I lost a LOT of time trying to teach myself, because i , just like you, could not understand the chords and the music itself.. please try to find a teacher in your school that teaches you the basics of rhythm (the value of the notes, whole, quarter, eigth, silences ...) and the notes on the keyboard. after this he can teach you the mayor and minor cords.. It took about 4 hours in my case, but I learned it at 27 years old!! believe me, ask for some help from a good music teacher (tell your parents) and right after this you will be ready to read the documents hear and in albetan's room (definitely, visit albetan's room from now!!) But please, do not loose the will to learn, if you keep practicing, you will be a monster when you are our age :) | |
| Maartj -- 05/11/2006, 13:35:29 -- #27141 | |
| Thats not dm7! | |
| haixin0528 -- 05/18/2006, 00:57:54 -- #27274 | |
| Good,I like it.I love music. | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| korg -- 07/03/2006, 04:14:01 -- #28500 | |
| what to study first | |
| Hi I started to play the piano one year ago with a private classical teacher who teachs me a lot of classical pieces from Bach, Bürgmuller, Bartók, Schumann, Clementi and so on and a lot of things about fingerrings, major scales, pedal and so on. Here where I live there is no jazz teacher and what I want is to play Jazz so many times I read jazz lesson stuff by myself. I have read a lot about intervals, scales, modes, progressions ii-V-I, not playing roots on righthand ;) and so on and I also play scores from the hanon as a warmup exercises and also the major scales. But my question is, Is there any guideline for beginners to know what to study first? For example: major triads and inversions in all keys, then major scales, modes, seventh's... I can make the question in another way, If you were a jazz piano teacher, what will you teach first to your students? What I want to know is where should I focus my efforts. Sorry by my english faults and thanks in advance. Jordi (from Canary Islands, Spain) | |
| albetan -- 07/10/2006, 16:19:50 -- #28670 | |
| Jazz en Español | |
| Hi Jordi: I invite You to room "Jazz en Español". Click on Rooms: show list Personal rooms. | |
| JG123 -- 08/03/2006, 23:23:43 -- #29066 | |
| they use this is that maroon 5 song. i dont like maroon 5, its not jazz, and no one probably cares. but i just thought i'd point it out, i dont know... | |
| dalehardeman -- 08/09/2006, 01:05:59 -- #29201 | |
| Jazz Piano Teacher | |
| Does anyone know of a jazz piano teacher in the south Orange County area. | |
| 7 -- 08/11/2006, 18:53:33 -- #29267 | |
| A useful site is http://musicstaff.com There you can input you zipcode, instrument, style and find teachers within a 5 mile, 10 mile, 20 mile, up to 50 mile radius. Another way to easily find the teacher you're looking for is to simply google in the search terms "piano lessons" "jazz" & "..your city..". Good luck. | |
| bastible -- 08/21/2006, 15:17:42 -- #29419 | |
| Chord Charts | |
| Where are the chord charts you mentioned? I'm looking for Autumn Leaves in particular. | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| abzs2k -- 08/23/2006, 07:36:45 -- #29452 | |
| Lead Sheets | |
| The lead sheets link is actually right at the bottom of the page contrary to what is said about it being at the top of the page. Perhaps someone should ammend that. | |
| BQua -- 10/24/2006, 14:11:33 -- #30666 | |
| Help me be a master | |
| Can you please mail me some simple and challenging practice lessons for blues? [jinxbq@yahoo.com] I'd be very grateful and in fact, I really love the jazz family and would like to be active. To all of you out there, you are not in the wrong place. This has to be the best, or at least one of the best, families in the world. .......BQua | |
| annde -- 10/30/2006, 01:51:35 -- #30810 | |
| This is how it is.... | |
| Greetings to all in this family!! I'm American living in rural France and your site is the only help I have to start (plus a 1950's published Belwin Mills book about popular chord construction ...) Hard to find a harmony teacher less than an hour away from home...I am persevering however and I will succeed!! Plus my best friend is learning alto sax so we have decided to be in it together as a beginner's duo... Please wish us luck and hours of practice. (with 2 kids each and full time jobs we need all we can get!) | |
| annde -- 11/11/2006, 05:45:47 -- #31076 | |
| still working | |
| I think I am on the right track and am more in the jazz framework. I have put away my pre-arranged sheet music (at first it was like jumping off a cliff) and my scales and chords are moving along faster and faster. I consulted a Mark Levine book for all the scale fingerings, otherwise I would have been making mistakes, or at least doing things in a difficult way. And I spend time at every practice session trying to play something by ear/ by memory. If I fall to fast and don't have a parachute, I will call for HELP!!! I'm not really sure I understand the lead sheets on this site. Is there an explanation somewhere? | |
| bluesbro -- 11/11/2006, 08:11:47 -- #31082 | |
| Lost beginner, another classical turned jazz! | |
| Firstly, hello to everybody! i'm sure everyone is going to be a great help to me from now on. I'm a 17 year old pianist from Scotland and i've been playing since i was 7. Although classically trained i have a good aptitude for playing by ear and a good general understanding of simple improv. In the past few years i've tried to move myself in the direction of jazz and blues style piano. So here's my situation...i can do a basic 12 bar blues style progression with a lot of right hand improvisation but only really on the c major blues scale. Although i understand a fair bit of theory i am still entirely an amateur when it comes to naming intervals, playing "jazzy" chords, lead sheets and really anything to do with jazz piano that you all make sound so simple. So i ca't even explain well enough what i can do. I recently got some cds to start me off, fats, duke, bird etc. But id really just like someone to start me off in the right drection and get me out of my rut. You'll all know what its like to hit a wall in your playing, and ive been at this one for a while! Some help please!! | |
| Scot -- 11/11/2006, 10:02:14 -- #31086 | |
| Getting out of the rut is about is easy at it comes. You find something that is hard for you to play, and then spend days, weeks, however long it takes, to learn how to play it. If you can play blues in C but not in the other 11 keys, then your next project should be to learn all your C blues chord voicings in all the other keys and practice until you can jam the blues in any key a well as you can C. See, simple? All it takes is a lot of practice and focus. | |
| Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes | |
| wdennissorrell -- 11/11/2006, 12:31:08 -- #31090 | |
| If you fall you do not need a parachute, land on your feet and start playing again. Don't ever quit. As far as the lead sheets, can you explain what it is that you don't quite understand. As for Bluesbro, you cannot get better advice than what Scot says. Not only is this his site but he is one of the best jazz people in the world. Not only is he a super player with great chops, he is also concerned with sharing his ability with others. All for little to no reward. I don't say thanks enough to Scot for all his help, advice, and encouragement! Thanks!!! Peace out! | |
| annde -- 11/13/2006, 14:07:08 -- #31164 | |
| no problem | |
| Thank you for your encouragement, I'm doing all right and I figured out the lead sheets, that is to say that the lines are measures, etc. I just took a better look at it all | |
| bluesbro -- 11/13/2006, 14:46:51 -- #31166 | |
| How do i send midi files so you can hear my level. When i say i can jam blues in C its probably still very limited. Should i be working on ii-v-I progressions? I need to learn a lot about scales and modes too, any recommended jazz theory books? Also, would you recommend any starter tunes? Scot, cheers for the advice, thats something i need to work on tonnes is my ability to play in all keys, i need to open my mind, but should i be trying to learn tunes too by listening and emulating? Hope thats all clear enough... Cheers, Finn | |
| Scot -- 11/13/2006, 15:44:45 | |