Scot Ranney's LearnJazzPiano.com archive: Dixieland Piano

LearnJazzPiano.com archives: Dixieland Piano
ziggysane66 -- 02/03/2004, 22:46:44 -- #574
Hey Guys, Another one of my random lurker questions based on what I happen to listening to/practicing at the moment. What does dixieland piano do within an ensemble (i.e. say...the Hot Five). The only time I've seen it at was during one set at preservation hall and it seemed to be fairly random other than that the pianist's right hand seemed to play octaves fairly often. (he might have thrown some runs in there, but it's been a while and my memory isn't as clear) Either way, the piano seemed to have a weaving, jaunty sound that contibuted to the polyphony rather than today's more percussive approach. It seemed like there was more to it than just basic stride (even though I know Jelly would play stride during a lot of the trio sections of his compositions), plus I know what a pianist typically does in stride is covered by the horns and the tuba. Any help from the historical stylists out there would be welcome. Thanks guys. Danny
Scot -- 02/04/2004, 11:05:57 -- #598
It depends on what the player is being asked to do. if you are supposed to play as a melodic instrument, then you can help out in the collective bargaining agreement that makes up the dixieland melody. But if you are to play chords, then a lot of times you don't play too much because the horns are doing everything. Sometimes you play rhythmic patterns, ala dixieland style. Sometimes you play arpeggiated lines that fit in with the horns. A lot of the time it depends on what the band leader wants to hear, so it's always a good idea to ask the band leader and then after that talk to the bass player to find out what they might be doing. It's always good to communicate with the bass player regardless.
7 -- 02/05/2004, 00:51:30 -- #643
Since the infancy of recording and beyond there have been problems with recording levels regards the piano in a group setting. * * * * * * * The style of piano that best typifies current conventions in the Dixieland style also goes under the moniker "Honky Tonk". A good roots place the for the Honky Tonk Style which still pervades Traditional Jazz (as well as Country) is James P. Johnson. In this type of music it's all about licks: Since a majority of Dixieland number have long chains of secondary dominants you end up using the following scale respectively over each consecutive chord. 1 - 2 - (b3) - 3 - (b5) - 5 - 6 - b7 Nonetheless you don't just noodle around with the above scale over each chord, there are a great number of historical clichés built using the above system. Too many to go into here, but when you find them you'll know what I mean. * * * * * * * The bottom line is that it doesn't matter what you play because in a "big" band Dixieland setting nobody's gonna hear the piano anyway. LOL 7
Whacky -- 02/05/2004, 07:32:18 -- #662
and NO ii chords!!
Scot -- 02/04/2004, 11:05:57 -- #598
It depends on what the player is being asked to do. if you are supposed to play as a melodic instrument, then you can help out in the collective bargaining agreement that makes up the dixieland melody. But if you are to play chords, then a lot of times you don't play too much because the horns are doing everything. Sometimes you play rhythmic patterns, ala dixieland style. Sometimes you play arpeggiated lines that fit in with the horns. A lot of the time it depends on what the band leader wants to hear, so it's always a good idea to ask the band leader and then after that talk to the bass player to find out what they might be doing. It's always good to communicate with the bass player regardless.
7 -- 02/05/2004, 00:51:30 -- #643
Since the infancy of recording and beyond there have been problems with recording levels regards the piano in a group setting. * * * * * * * The style of piano that best typifies current conventions in the Dixieland style also goes under the moniker "Honky Tonk". A good roots place the for the Honky Tonk Style which still pervades Traditional Jazz (as well as Country) is James P. Johnson. In this type of music it's all about licks: Since a majority of Dixieland number have long chains of secondary dominants you end up using the following scale respectively over each consecutive chord. 1 - 2 - (b3) - 3 - (b5) - 5 - 6 - b7 Nonetheless you don't just noodle around with the above scale over each chord, there are a great number of historical clichés built using the above system. Too many to go into here, but when you find them you'll know what I mean. * * * * * * * The bottom line is that it doesn't matter what you play because in a "big" band Dixieland setting nobody's gonna hear the piano anyway. LOL 7
Dr. Whack -- 02/05/2004, 07:32:18 -- #662
and NO ii chords!!
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