Scot Ranney's LearnJazzPiano.com archive: Solo Performances

LearnJazzPiano.com archives: Solo Performances
Scot -- 01/27/2004, 11:53:18 -- #1075233198
Midi files only
Please upload midi files here- not mp3, rmi, or anything else. I had to delete one, and it sounded nice, but it was not a midi file.
Scot -- 02/09/2004, 08:31:27 -- #1076344287
Amazing midi files
Hi folks, I just ran across a site by a guy named John Farrell who has spent years doing transcriptions of classic piano music (boogy, blues, ragtime, etc). He turns these into piano rolls, but the midi files of what is on those rolls are all available. I was blown away! http://homepages.tesco.net/~stridepiano/midifiles.htm
The Ultimate >Jazz Fake Book: extremely useful!
7 -- 02/09/2004, 09:38:03 -- #1076348283

Actually John Farrell's site has been in the links section here since the dawn of time. Some great historical pieces in there. 7
Scot -- 02/09/2004, 11:37:38 -- #1076355458

So it has :)
samrow -- 09/22/2004, 11:21:51 -- #7356
solo secrets
Hi I will like to know secrets on how to solo.
Scot -- 09/23/2004, 12:13:21 -- #7387

There are no secrets- you listen to recordings that you enjoy, and practice by trying to play exactly what your favorite players are playing. That's it. The secret: Dedication, focus, and a strict practice schedule.
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
albetan -- 09/24/2004, 06:24:00 -- #7406

See files "Melodic voicings". Good tips for playing solo piano.
Amos -- 10/08/2004, 08:02:55 -- #7865

I want to know more on how to improvise.
Chick Corea: 150 pages of Transcriptions
israel -- 10/20/2004, 09:46:22 -- #8206
i want to learn how to solo
i want to know how to solo,pls help me
albetan -- 10/20/2004, 15:23:39 -- #8212

Please go to search engine (upwards), select "files", and write: "melodic voicings". A good help for solo perfomance.
Amos -- 10/23/2004, 12:13:03 -- #8286
I want to know
I want to know i can use a poly chord of a sixth chord with a root of a flat five.
7 -- 10/23/2004, 20:31:06 -- #8295

Amos, Could you give a little more detail please?
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
alhaynes -- 11/03/2004, 08:31:52 -- #8582
Lush Life
This file represents the sounds that are bouncing around in my inner brain. I'm not going to quit my day job ! After listening to dougmck's version, I decided not to post this, but my mouse finger slipped ... Al
Scot -- 11/03/2004, 15:08:16 -- #8597

I think you've got a lot of good things going on in your playing, don't fret too much. One thing I would immediately do, and this will help your sound out immensely, is to cut out about 1/3 of the notes! You don't allow the tune to breathe hardly at all. Lots of repition in your notes as well. Other than that, you have nice voicings, your time is pretty solid, and you obviously have played the piano quite a bit. Give it a shot and try uploading another midi file next week or something.
Chick Corea: 150 pages of Transcriptions
Scot -- 11/03/2004, 15:24:03 -- #8598
Some midis
I had to throw some demo material together last week and as I was recording I also made midi files. So, I uploaded them here- enjoy!
Scot -- 11/03/2004, 15:31:23 -- #8599

Well, after listening to the two I uploaded, I'm not going to upload the others. I think the level on the keyboard was too high for a good midi recording so I'm missing my dynamics- everything is accented, choppy, etc... not at all like the wav files. I'll do "take 2's" on those tunes sometime and upload them. For now I'll leave the "take 1's" for the heck of it.
alhaynes -- 11/05/2004, 07:02:07 -- #8647
lush life
Scot, thanks for the comments. I do tend to grab a lot of notes, sometimes all at once ! I had the same problem with dynamics that you described. The old Korg seems to record a fairly high note velocity even when I'm trying to play softly. My other keyboard (Yamaha) has a better action - more like the real thing. I'll update the file in a week or two, though I'm not sure yet what to do with all the extra notes ! Al
Scot -- 11/05/2004, 09:53:08 -- #8652

Well, one of the easiest things to do is not play the same rhythm in both hands. I noticed that both hands were playing fast rhythms sometimes. It's almost more effective to let the left hand chord ring while playing a more sparse right hand. Not all the time, of course, but it would definitely help the performance of this tune. Hmmm.. maybe I'll see what I can do about uploading a Lush Life rendition of my own. I don't play it on a regular basis, so maybe this will be good for me too.
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
dougmck -- 11/18/2004, 01:22:47 -- #9047
Lush Life
Nice playing Al. I am glad that you posted this - lots of nice ideas, good control over time, especially in the rubato bits, tasty voicings, nice arpeggiated bass figures. Lets hear more! Doug
alhaynes -- 11/18/2004, 10:13:26 -- #9061
Lush Life
I'm afraid that I haven't addressed some of the points raised by Scot - this is just an improved version of the same arrangement. I'm glad you enjoyed it ! I've learned a lot from listening to all of the midi files on this great site. Al
Chick Corea: 150 pages of Transcriptions
Scot -- 11/19/2004, 17:46:43 -- #9108

I was reading the comments on Cinema Paradiso by Auralgiant- "You jsut play the tune" One of the things Marc Seales always was big on is that sometimes you don't even need to solo over the changes, just play the tune and make your mark that way. Sometimes I do that- just play the tune a few times, in slightly different ways, some changes to melody thrown in ehre and there, but mostly it's just the tune three times. Any thoughts on not "taking a solo" when playing a tune solo piano style?
alhaynes -- 11/22/2004, 07:04:34 -- #9164

Skoobledee and shabadoobam would have interfered with the mood of Cinema Paradiso. The variations played here reinforce the feel of the piece. Theme and Variations is a classic form. Isn't that what we do when we improvise ? Al
johnq -- 11/30/2004, 05:08:57 -- #9350

I'd agree that sometimes the tune is all you need. A lot of Jazz tunes are just a vehicle for improvisation but then again a lot of tunes say it all without the need for loads of choruses of improvisation. Cinema Paradiso is an interesting choice. I heard a band playing the theme music from Schindler's List once. They improvised on it too. Not sure that Schindler's really works as a jazz tune because I associate it just so much with the film. But then again perhaps that was the idea.
Zizou -- 12/01/2004, 04:23:03 -- #9367
SOS
Looking desesperly for a free version of Band In A Box - Thank you
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
Zizou -- 12/01/2004, 04:23:49 -- #9369

Is there anybody here?
Scot -- 12/01/2004, 10:04:27 -- #9382

Hi Zizou- there are a lot of people out there :) This isn't a chat room, though, so people will respond to your posts. I don't think there are any free versions of band-in-a-box unless you were to steal one off a warez site or something like that, which is illegal and not very nice to pg-music. I think there are very affordable pg-music bundles on Ebay, though.
Chick Corea: 150 pages of Transcriptions
dougmck -- 12/17/2004, 18:25:25 -- #9760
3 Three jazz piano versions of ‘What Child is This’ (‘Greensleeves’)
Three jazz piano versions of ‘What Child is This’ (‘Greensleeves’) As one of the best known melodies in Western music, Greensleeves has been treated in many different ways by jazz improvisers. These are three quite distinctly different approaches, changed all to the same key so that so that mixing and matching is possible. They are not exact transcriptions - rather, I have just transcribed the head, adjusted so that it is more or less a playable arrangement. Teachers might find these transcriptions useful for teaching – all are basically in ‘white note’ keys (A minor /C major) for beginning improvisers. For each I have posted the transcription as a PDF file, a midi file that more or less is the transcription played in real time, and a commentary on the main features of each version of the song.
dougmck -- 12/17/2004, 18:37:03 -- #9762
Notes on Brubeck's G'sleeves - click 'List Files' to see transcription and midi
1. The Polytonal Greensleeves Dave Brubeck’s solo version of ‘What Child is This’ (adapted from Dave Brubeck - A Dave Brubeck Christmas – 1996 - Telarc Jazz - cat. 83410) This is a solo piano version played very slowly. I have only transcribed the parts of the ‘head’ where the style is distinctively Brubeck and have combined and edited them to make a playable arrangement. I did not transcribe the improvised sections The most interesting aspect of this solo performance is its rather original approach to harmony. Brubeck is often credited with being influenced by modern classical composers –especially Darius Milhaud – who is most often remembered as an exponent of polytonality. In Brubeck’s solo there are several sections of the performance that have elements of polytonality (especially bitonality). Greensleeves, even as it is traditionally played, is often ambiguous in its tonality – is it major or minor? – or perhaps a bit of both. Usually, the first section is minor (Am) while the ‘chorus’ begins in the relative Major key (C major), and then (perhaps/sometimes) finishes on an A Major chord. Jazz players are very familiar with the idea of minor and major occurring simultaneously as it does in the blues. Brubeck carries the melody in his right hand in Am and for the first 24 bars the melody is harmonized using the natural minor. At the same time, in the left hand, a series of chords voiced as 10ths - F#, E, D, C# - descend down in another key – the key of A Major or perhaps F# minor. It is difficult to assign chord descriptions to this sort of bitonality, but one way is to view them as a series of #9 chords. These #9 chords, which contain both the major and minor third exploit this minor/major ambiguity. Other parts of the song use other devices that are interestingly polytonal. In Bars 15 and 16 that lead to the chorus of the song, simple triads first descend chromatically from C Major to Am, then climb up in steps of minor 3rds in a series of chords without their 3rds (A C Eb) to Gb7#9. And from Bar 25, a similar series of left hand arpeggios climb in similar fashion. After the final 4 bars, the way Brubeck finishes, is to add yet another tonality – he repeats the final 4 bar phrase modulating down a further minor third from Am to F# major. You’ll need big hands to reach some of the big stretches in the left hand, but these can be rolled or played as an arpeggio as shown. Another minor challenge, is the change in time signature and feel at Bar 17 – overlaying the quarter note triplets against the eighth note triplets in the left hand. This is again typical Brubeck - he is also remembered as the leader that introduced ‘odd’ approaches to time in jazz – using unusual (for jazz) time signatures, and overlaying and mixing different time signatures within the one song. For those who are not good readers however, it may be comforting to note that ‘….. In college Brubeck was nearly expelled when one of his professors discovered that he could not read sheet music. Several of his professors came forward arguing for his ability with counterpoint and harmony, but the school was still afraid that it would cause a scandal, and only agreed to let Brubeck graduate once Brubeck promised never to teach piano!’
dougmck -- 12/17/2004, 18:41:23 -- #9763
Notes on Oscar Peterson’s version of Greensleeves
2. The ‘Bluesy’ Greensleeves Oscar Peterson’s version (based on ‘Greensleeves’ on the Oscar Peterson Trio album ‘Another Day’ - 1970 - MPS/BAP. (on vinyl only) While this version was not played as a piano solo as the others were, I was looking for a fairly typical jazz piano approach to the song. Oscar is in many ways the archetypal jazz pianist. In his playing can be heard many of the elements of style of the pianists that preceded him, and also his influence on many of the pianists that followed him. I have not attempted to do much more than indicate the way he harmonizes the head, and to add some other examples of his style that may be of interest One very typical element is his adoption of the blues within his style and the effortless execution of those great blues licks adapted to fit the peculiarities of the piano as an instrument, that are his stock in trade. They often verge on what most would call ‘gospel’ licks. His introduction is interesting – not wildly original – but effective, and adaptable to other songs that begin on a minor chord. In the first section of the song (usually in a minor key), Oscar basically uses chords the roots of which follow the cycle of fifths within one key signature, familiar to most of us in ‘Autumn Leaves’. As probably the most ‘covered’ song in the jazz, this opens up a number of alternative approaches to harmonizing ‘Greensleeves’. · Lots of versions of ‘Autumn Leaves’, like Oscar’s ‘Greensleeves’, have bluesy flavors. This way of playing the harmony in ‘Greensleeves’ allows blues licks to be judiciously played as part of the improvisation. · Try changing some of the minor chords to altered dominants or their tritone partners. This immediately begins to sound ‘bluesy’ · I have noticed that one element of Oscar’s style that is evident here is his use of triads melodically in his Right hand. Many of us are familiar with Mark Levine’s idea of triads forming ‘upper structures’ within a two handed chord voicing. I think that, next to scales, many pianists have become reasonably fluent playing triads – inverting them, arpeggiating them, playing them as broken chords, and so on. In Oscar’s version of ‘Greensleeves’, there are many examples of triads being used in this way when he begins the improvised choruses. Several opportunities occur over the first time ending, for instance, with the triads in the right hand. Try making melodic patterns using the three triad notes, over the third and seventh in the left hand. · On the head, Oscar plays his big 2 handed chords often ‘rolled’ down from top to bottom – done very quickly – almost imperceptibly. Rolling big chords from bottom note to top (the usual direction) is common as a way of dealing with big stretches, and often is done quite slowly, and often marks the pianist as an amateur trying to sound ‘rhapsodic’. But this rolling chords in reverse, I have noticed, has been done by lots of jazz pianists from Bill Evans on, yet it is hardly ever mentioned as a typical element of modern piano style.
dougmck -- 12/17/2004, 18:53:36 -- #9764
Chick Corea's Version of 'Greensleeves'
3. The Modal Greensleeves Chick Corea’s solo version of ‘What Child is This’ (adapted from his track on the compilation CD ‘Jazz to the World’ – Various Artists – 1995 – Blue Note) This track uses many of the techniques that are typical of Chick Corea’s approach to solo piano. As with the transcription of Brubeck’s solo of the same song, the whole solo has not been transcribed. Rather, some of the main sections have been selected, and strung together to make a playable arrangement. Typical of this style is the use of an ostinato bass figure. This one bar repeating phrase is used as an introduction, and also is returned to, from time to time, as an interlude, as a bass figure over which to lay either a chordal vamp or an improvised line in the right hand. The good thing about these repeating bass figures is that, once learned, it is fairly easy to put your left hand on ‘auto-pilot’ and give your full concentration to your right hand improvisation. The rhythm used in this bass figure is also used in the bass figure when the melody begins in the first 16 bars. Here a pedal tone (A) starts each bar, and the remaining notes are a pair of fourths that are played to complete the bar using the same rhythm used in the introduction. The chord symbols are a bit irrelevant here – even misleading. When playing ‘modally’, the two things that are most important are the fundamental tone emphasized in the bass (a low ‘A’ in this case on the downbeat of each bar) and the scale choice over this tone. Looking at the key signature (no sharps or flats) and melody, with no accidentals, the obvious choice would be C major (A aeolian) The ‘B’ (chorus?) section in C major takes a more conventional approach to harmony, with chords changing regularly. The chords though, are perhaps a little unusual – certainly different from the simple traditional ‘folksy’ chords. I have noticed that Chick often uses a sound over a tonic chord that is slightly unusual. I think of it as a major triad built on the 3rd degree of the scale over the tonic. For C this would be an E triad over a C bass note (usually written E/C). He usually doesn’t resolve this. (examples are Bars 22, 25 and 31) There are several good opportunities to solo in a ‘modal’ fashion. Either can be inserted between choruses or sections. Over the intro/outro section with the ostinato bass figure, and over the ‘A’ section, Chick seems to use the Aeolian mode (parent scale C Major) fairly exclusively . This has that mediaeval sound that fits this melody so well.– it is amazing how hip a simple major scale can sound when played by a master improviser – lots of 4th and 5th intervals – careful note choice – pentatonic patterns (mainly using the C Major pentatonic - C,D,E,G,A) – lots of ornaments on notes – one of his favorites being diatonic grace notes rather than the chromatic notes that most choose. A fair slab of this track has Chick improvising over the dominant chord in Am - an E7susb9 chord. Over this section, the flavor is distinctly Spanish – like many of his other well known songs. Here the scales are more varied – but the main characteristics of this Spanish sound are the b9 against the root (F is the b9 against the root, E) and the inclusion of the Major third (G#) as a note option. The scale choices then become E,F,G#,A,B,C,D (5th mode of A harmonic minor scale). I like to think of this as an E7 chord and an F triad. Lots of interesting patterns can be made by alternating these in a melodic phrase. Another possibility is to use this set of notes – E,F,G#,A,B,C,D#E. This scale can be divided into 2 halves. The first is the top 4 notes of an A ascending melodic minor – E,F,G#,A. The second part of the scale is the top 4 notes of the E ascending melodic minor – B,C,D#,E. This scale has some interesting intervals – you can think of it as an F Major 7 chord with leading tones under each note E,F - G#,A -B,C - D#,E. Introducing a D# (Eb) also adds that b5 that is a (the!) note in the Am blues scale. So another flavor can be added to the mix. One other way to look at a scale in a modal way, is to limit the note choice, omitting several of the notes – using pentatonics is the way that most of us do this, but 4 note scales are also good to use. Over this section try the notes E,F,A,B either as a left hand chord (played in the octave below middle C) or use these notes melodically! Footnote Among other versions that are interesting are the Coltrane version with McCoy Tyner on piano – a modal version using ‘so-what’ type chords to improvise over. Unfortunately I have not got a recording of this – I remember hearing it once on radio.
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
sebos -- 12/18/2004, 03:08:58 -- #9768

Hey doug, you are a real Santa Claus, thanks a lot for posting this stuff :))
paddyallen -- 01/13/2005, 05:19:49 -- #10331
Rely to drgoldfish/misty
Hi! Just found your post.Misty was written by Erroll Garner.About 1945 which was his first recording of it. It was written for the movie with Clint Eastwood. I only play by ear and it starts on B,flat (though Erroll has played it in more than that key in other recodings) whatever key that is.My wife tells me it is probably E,flat minor or major as that was the note I finished on. As Erroll could not read a note of music he had any scores written by someone else. It is a common enough piece of music so you should have no trouble finding a recording. Glad I don't have to get into all this theory stuff. My brain tells my fingers which notes have what sounds and likewise chords, I just memorize the variations on the chords to add whatever harmonics I want. I do look at the keyboard a fair bit in case I miss-play a note. But not Erroll Garner, he hardly ever looked at the keyboard. Fantansic! was there ever a more talented self taught pianist? sorry this is timewise a very late response. Alan
Chick Corea: 150 pages of Transcriptions
sid -- 01/14/2005, 08:46:50 -- #10379

Alan I'm pretty sure it wasn't written for Clint Eastwood. You're probably thinking of "Play Misty for me", directed by Eastwood decades after Garner wrote the tune. It's about a psychopathic stalker, as I recall. If you start on Bb then yes, you're playing Misty in the conventional key of Eb. I'm interested to learn that you consider knowing what key a song is in to be "theory stuff". I'd have thought that, on the contrary, it's a practical thing, particularly if you play with other people. Can't argue with your enthusiasm for the great Garner, though. Not so much a pianist, more a force of nature. sid
paddyallen -- 01/22/2005, 02:16:06 -- #10592
Reply to Sid p
Sid, thanks for the reply. Of course you are perfectly correct.I knew that really but had a 'senior moment' as they say now. I get very confused over these long threads and will have to concentrate more on 'site navigation'. Alan
cmpan -- 02/02/2005, 22:54:26 -- #10939
'A House Is Not A Home' - REHARM HELP
Greetings Group I heard a Bill Evans rendition of 'A House Is Not A Home' and loved what he did in the first couple of bars. I have created a reharm similar to that and have some questions. I could never explain or demonstrate these questions in a text format so I uploaded a PDF file (A House Is Not A Home) showing the original 4 bars off some sheet music and then my reharms and questions below. My ear tells me I like what I've done and I believe that's the bottom line but... I need to be clear of the theory behind what I heard. This is really not about the 'chord quality' as much as the 'bass movement' in either diatonic harmony or cycle movements. I would REALLY appreciate your thoughts and suggestions & other ideas on what can be done in the given information. I hope I posted to the most correct forum for this, it was a bit confusing. Thanks so much one6two5
Scot -- 02/03/2005, 14:48:10 -- #10954

I don't see any problems with your reharm, and it sounds nice. You're hitting on the idea of "target" areas what you've done, which is a very good way of looking at reharmonization, and you've even labeled it as "target". That's a nice whole tone descending thing in the first measure and it goes right to Eb nicely, and the Ab - B - Bb is a nice little tri-tone sub for a 6-5-1. As I was playing with it, I chose a more common reharminization- Bb EbM7 Dm7 G7 \| Cm7 F7 \| Bb or sub a Db7 for the G7 in the first measure. I like what you've done. Did you say that you took this reharm from the Bill Evans recording? Anyway, nice job, and great PDF- made it very easy.
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
cmpan -- 02/03/2005, 19:45:54 -- #10963
Appreciate it Scott - just a follow up please......
You said: "That's a nice whole tone descending thing in the first measure and it goes right to Eb nicely, and the Ab - B - Bb is a nice little tri-tone sub for a 6-5-1." Question: How is the Ab - B - Bb a 6-5-1? I see the 5-1, B being the b5sub of 5 in Bb, and of course the 1 (Bb). But the Ab? Also.... You said: Did you say that you took this reharm from the Bill Evans recording? I heard him play something like that on the tune. I just liked it and created my own version. I wouldn't want people to go round saying I sounded like Bill Evans.... would I? :) LOL :You said: Anyway, nice job, and great PDF- made it very easy. I found a GREAT pdf printing utility that does a PERFECThttp://www.pdf995.com/
cmpan -- 02/03/2005, 19:46:32 -- #10964
Appreciate it Scott - just a follow up please......
You said: "That's a nice whole tone descending thing in the first measure and it goes right to Eb nicely, and the Ab - B - Bb is a nice little tri-tone sub for a 6-5-1." Question: How is the Ab - B - Bb a 6-5-1? I see the 5-1, B being the b5sub of 5 in Bb, and of course the 1 (Bb). But the Ab? Also.... You said: Did you say that you took this reharm from the Bill Evans recording? I heard him play something like that on the tune. I just liked it and created my own version. I wouldn't want people to go round saying I sounded like Bill Evans.... would I? :) LOL :You said: Anyway, nice job, and great PDF- made it very easy. I found a GREAT pdf printing utility that does a PERFECT job of creating PDF files. Here's the site: http://www.pdf995.com/
Chick Corea: 150 pages of Transcriptions
Scot -- 02/03/2005, 23:18:26 -- #10971

My mind was working in convoluted time there :) What I did was look at the Ab as a sub for Cm, but I took the Ab as the 6 of the Cm chord :) So basically it's a 2-5-1, but the Cm was turned into the Ab, the F into the B... It was a brain typo. 7-5-1 is what I meant. Not used much, but very effective in some places, often I used it by subbing the 5 with the b2, so in C it might be like: Bb7 - Db7 \| CMaj7
cmpan -- 02/04/2005, 03:30:36 -- #10974
REHARMING IS A GREAT PASTIME & CHALLANGE - LET ME KNOW WHAT YOU THINK?
I found a great fakebook for reharming practice. 'America's All-time favorite Songs'. No guys/gals, it's not a REALBOOK. It's jammed with old Americana tunes with just the barest of chords. If you could reharm/convert the tunes in this book to modern jazz harmony, you'll be able to glide throught the pro fakebooks. One of the tunes I worked on is 'AMERICA THE BEAUTIFUL'. I posted 3 PDF files so as to see the progression of the work. The first file, 'AMERICA - SIMPLE LEAD SHEET' is just the simple lead sheet with the barest of chords. The second file,'AMERICA #1' shows how I arrived at the bassline movement trying to use ONLY the cycle of 5ths (as an exercise). The third file, 'AMERICA #2' shows the two-handed voicings (chord qualities) that was applied to file #2. I hope it's all clear as well as being some help to those who are interested in the subject. There might be some typos here & there. (I did this in an insomniac state and was a little bleary-eyed & bleary-brained) Also, I wholeheartedly welcome and comments, criticisms, other ideas, etc. regards to this GREAT site! Cliff P.S. Scott, thanks for the feedback on my 'A HOUSE IS NOT A HOME' post.
Scot -- 02/05/2005, 13:12:08 -- #11002

Cliff- have you thought about creating your own room in the Personal Hall area? You would have your own location to upload and discuss topics such as reharmonization or anything else.
cmpan -- 02/05/2005, 14:16:26 -- #11006
personal site
Thanks for the suggestion on the persnal room Scot. Maybe I'll give it a try. You think there will be enough interest to dedicate a room to this subject? Well, I guess there's one way to find out. Thanks Cliff
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
cmpan -- 02/05/2005, 14:19:45 -- #11007
Personal room
BTW Scot, I don't quite know how it works. Do I create a room in the personal room section? or Master Class? I'd be happy to take your suggestion as to where you think the best place would be. cliff
Scot -- 02/05/2005, 23:39:58 -- #11017

If you want to do it, I think the place to make it is in the personal rooms hall. That's sort of like the classroom area of the site where more detailed discussions take place.
Chick Corea: 150 pages of Transcriptions
jazzmanpiano08 -- 02/26/2005, 23:12:29 -- #11606
Hey
I am a beginner and i really need help... i cant read music and i need to learn how to play jazz better. I can play all chords and things i just need a jazzier flavor someone help me... my email is music.man08@gmail.com Thank You all , Travis Cole
albetan -- 02/28/2005, 09:32:33 -- #11633

Hi Travis: I invite you to Albetan's area (in personal rooms). Click on List files and you will find good helps and tips. Sutdy file "How to play piano at sight". Good luck.
pianoplayer@net. -- 04/21/2005, 14:53:01 -- #13081
jhg
izg
loluoresegun -- 05/04/2005, 08:47:21 -- #13521
original solo pieces
hey y'all where can i get original solo performancs and leadsheets for download to practise with?
Jazz Theory Resources, by Bert Ligon: a jazz theory text in two volumes
DPetty -- 05/04/2005, 13:33:38 -- #13537
Jazz Piano
Ideas on Playing solo piano, scales, modes, walking bass lines.
DWIN -- 05/24/2005, 12:42:09 -- #14142
PASSION FOR MUSIC SINCE DAY OF BIRTH
THERES A FIRE INSIDE FO ME FOR MUSIC, ITS IN MY GUT, BUT NEVER FOUND A WAY TO SPIT OUT ITS FLAME. I HAVE JUST FOUND THIS WEBSITE AND SO FAR I REALLY LIKE IT. WHAT I REALLY DO IS SING CHRISTIAN SONGS BUT NEVER HAD THE CHANCE TO LEARN TO PLAY ANY INSTRUMENT. THERE IS ONE THAT REALLY INTERESTS ME AND THATS PIANO. ANY ONE WHO COULD GUIDE ME THRU THIS? SO FAR IVE LEARNED THE BASICS AS IN MAJOR AND MINOR SCALES ALL NOTES AND HOW THE CHORDS ARE FORMED AND COMBINED IN THE CIRCLE OF FIFTHS. THATS JUST ABOUT IT.
Chick Corea: 150 pages of Transcriptions
DWIN -- 05/24/2005, 12:46:23 -- #14147
STRATING A BAND
I HOPE THAT ANY ONE OUT THERE WRITES BACK AND TELL SOME ADVICE. IM A NOVICE WHO ONLY DESIRES TO PLAY MUSIC FOR THE SICK AND IN NEED FOR HEALING. MUSIC HEALS THE SOUL BECAUSE IT COMES FROM THE SOUL.
DWIN -- 05/24/2005, 12:48:18 -- #14148
NEED TO KNOW HOW TO USE EVERY SERVICE IN THIS WEBSITE
ANY GOOD INFO. YOU CAN WRITE TO MY EMAIL polita@prtc.net thanks.
sdm -- 05/24/2005, 12:57:00 -- #14149

Best advice at this point is to go through the lessons, stick with this site, pay attention and ask questions. The pros and players here are very open and helpful. A request would be that you stop shouting (UPPERCASE). Thanks
mynameis -- 06/01/2005, 17:25:23 -- #14396
download
wher do i go to download
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
rlang -- 06/02/2005, 06:49:26 -- #14422

hi, idont know if anyone here would have heard of the group build an ark? i really want to be able to play the tracks 'Japan' and 'peace with every step', does anyone know how to play these? if you could help out with a transcription i would apreciate it. thanks
mapleleafD91 -- 06/12/2005, 21:16:49 -- #15023
Need Music
Scot, I have a program for downloading music files and such and would appreciate you recommending me some songs to download and learn. Please Help!!
Chick Corea: 150 pages of Transcriptions
Scot -- 06/13/2005, 17:17:50 -- #15064

I don't recommend downloading music because it is stealing from the performers who recorded it. Jazz musicians are not rich by any means, not even some of the popular ones, so it's important to spend a few dollars. Go to the "cd review" room for some ideas as well as clicking on some of the cd recommendataions that appear from time to time at the top of the page.
sdm -- 06/13/2005, 19:52:00 -- #15076

So I download from emusic but I beleive they do in fact compensate the labels (and hopefully through them the artists). This is not a P2P sharing kind of thing. I agree that we shouldn't be doing that if we want people to stay in the business of making music for the rest of us.
Scot -- 06/15/2005, 04:22:09 -- #15124

Yeah, some of those places do pay the artists, but unfortunately there is no way to really monitor what goes on... I think the artists get the short end of the stick regardless, but it's way better than getting nothing, that's for sure.
Whacky -- 06/15/2005, 11:34:49 -- #15136

Yeah, I think the big business boys get all the loot, but nevertheless, if they didn't front the cash for these projects, we wouldn't have the pleasure of hearing any of them... I had a small record company put up the cash and even pay me to do a solo CD. I would never have been able to do that on my own. Now I won't make any money from it until they make theirs back (which will probably never happen) but I was able to benefit from that wonderful and very educational experience. I hope and pray they get at least some of their money back, and I'm happy to have some very nice coasters with my face on em:)
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
sdm -- 06/16/2005, 00:30:51 -- #15178

One of the items on the emusic site is how a label can get signed up with them. Also they have a label they work with if you're an artist without a label and they direct you to those guys. That was encouraging to me. I want to make sure you guys get your money. On the other hand, a lot of the stuff I get there is old from long gone guys. I guess then it's just the label that propers or maybe the family. Anyway, this one is legit.
sdm -- 06/16/2005, 00:31:59 -- #15179

BTW, part of the reason I download (you'll like this) is that my wife cut me off from CDs. Seemed a battle not worth fighting with a good alternative.
Chick Corea: 150 pages of Transcriptions
Scot -- 06/16/2005, 16:29:26 -- #15198

What is the website for emusic? I'm looking for some places to start posting stuff.
sdm -- 06/17/2005, 00:15:58 -- #15219

It's www.emusic.com -- take a look. It might be worthwhile, I don't know.
drewestja -- 06/20/2005, 14:24:40 -- #15336
Learn Stride Piano
Hey I'm Just askin for some assistance in learnin stride piano.Please If some one can help me send some links or any information you Have. thanks much!!!
7 -- 06/20/2005, 20:42:04 -- #15353

Visit the "Stride Room" here. And you can post any Stride related questions there too
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
albetan -- 06/20/2005, 23:13:12 -- #15356

Please go to search engine (upwards) and write "mastering stride" selecting "files".
chalumeau -- 06/30/2005, 09:45:07 -- #15922
Help!!!!!!!!!!!!!
Dear all, I want to play the impro solo part for the "In the Mood" by Glen Miller. Does anyone know any transcription rather than the one by Glenn Miller? Any free online or audio where I can learn? Thanks sooo much!!
Chick Corea: 150 pages of Transcriptions
yaw -- 07/04/2005, 08:27:46 -- #16117
Performing Standards
Guys, Kind of a basic question! Are copyright permissions required to perform standards for free in public? What if you it is a paying gig? I know for sure, they are required for publishing or recording. cheers, Yaw
Scot -- 07/04/2005, 09:53:28 -- #16122

The venue you're playing in or the situation you are playing for has to pay a yearly fee to BMI and ASCAP so you can play copyrighted tunes legally. For free in public, like on a street corner or something, I have no idea, but when the performance is free and in a public area, there is a lot more flexibility as far as that stuff goes.
neeki -- 11/17/2005, 11:18:50 -- #21139
hi
i'm interested in learning 2 play jazz so any pointers would be appreciated.
Akram Maximos -- 11/27/2005, 07:59:16 -- #21543
What Child is This (Greensleeves)
Please provides your comments. Thanks
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Scot -- 11/29/2005, 02:09:40 -- #21594

Some nice stuff! The thing that really jumps out at me is that all the notes in your chords are basically the same volume level. You might want to think about making your melody notes a bit louder than the harmony notes. The melody is getting buried sometimes. Other than that, some nice chords, a nice tempo, good feeling arangement.
Akram Maximos -- 11/30/2005, 02:15:42 -- #21615

Thanks much Scot for your comment! Sure I will work on it and try to emphasize on the melody notes. Thanks again.
The Latin Real Book
Akram Maximos -- 12/05/2005, 10:09:13 -- #21785

Scot, I have another trial in which I have implemented your comment to intensify the melody notes. Also, I have added a small intro/ending for it. I am currently working on adding an intermediate portion with some grooves and licks. I will give it a try and I hope to have something nice. I will post it, as soon as, I finish it. I tell you what; I consider this piece as my first homework to utilize what I have learned about jazz from LJP to date. Please provide your comments on the updated file. Thanks, Akram
kennop2002 -- 01/04/2006, 17:36:07 -- #22747
i like jazz very much
i always want to learn the jazz.this is ,my opotunity
shollymoore -- 07/25/2006, 14:07:50 -- #28942
hi y'all
need some midi files
7 -- 07/25/2006, 16:30:20 -- #28943

Go to Rooms: show list Click on The Best MIDIS on LJP
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
loluoresegun -- 09/04/2006, 10:38:00 -- #29621

shollymoore
bobsmith -- 11/29/2006, 13:40:24 -- #31483
Song for my father
Please comment
bobsmith -- 11/29/2006, 15:20:18 -- #31484
Blue Trane
Please let me know what you think of me playing the blues. Thank You
fcbuccino -- 03/09/2007, 09:38:39 -- #33655
Spring Can Really Hang You Up The Most
I did the tune using a Mac and Garageband. Garageband uses sample instruments. The file can be exported to an mp3 format. To make a midi file I opened the Garageband file with Logic Audio and exported it to a standard midi file. You can compare the midi file with the mp3 by going to this link: http://fcbmuzik.stvtech.com/fcbuccino/html/Musicpage4.html Frank Buccino
7 -- 03/10/2007, 01:22:59 -- #33695

Frank, I don't have the plug-in for this. Where's the midi file?
fcbuccino -- 03/10/2007, 03:30:04 -- #33697
7
The midi file is uploaded here in files. The link is to an mp3 on my website. Usually your browser should have a plug in installed. It would play in any audio plug in such as quicktime or windows media player. Probably the same plug in that your system uses to listen to midi will also play the mp3 Frank
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Ally1 -- 09/20/2007, 16:59:57 -- #37190
HAS ANYONE GOT MICHEL CAMILLO'S " FROM WITHIN"
REALLY DESPERATE FOR A CHART OR SHEET. GRACIAS
pink_liquorice -- 10/31/2007, 11:13:47 -- #38163
Saturday Night
I uploaded the MIDI but an Mp3 version is available here: http://www.virb.com/pianogirl If you are on virb.com please add me! :D
Copyright © 2005 by Scot Ranney. All rights reserved.
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