Threads
Accompanying instrumentalists and vocalists can be a lot of fun and get you a lot of work if you do it well. All good compers have one thing in common: they enjoy accompanying.
  Message number: 23864

This is? http://www.learnjazzpiano.com/forum.mv?screen=msg&mid=1743&query=A+AND+B+FORMS&srchopt=all&srchfld=message...

02/04/2006, by 0 replies
  Message number: 23861

Ben, I was able to find your old post. Not sure why you had trouble but I had a heck of a time searching for it. I'll see if I can find it again and post...

02/04/2006, by 0 replies
  Message number: 23856

I agree with 7 Ben, it would be great to have this kind of stuff in an article so it doesn't get lost.

02/04/2006, by 0 replies
  Message number: 23848

Alert Scot to that fact in the room called "Scot's Studio". He doesn't always read every single post.

02/04/2006, by 0 replies
  Message number: 23845

I just tried to access the old forums to retrieve my old write-up. Unfortunately, it looks like the old forums are no longer up for public access. Scot o...

02/04/2006, by 0 replies
  Message number: 23835

Ben, Stuff gets lost in threads and posts. Please write up a formal article and upload it as a PDF file to the appropriate room. That way it won't g...

02/04/2006, by 0 replies
  Message number: 23829

Thanks guys. I was pretty sure that was right but your explanation tells me exactly why. Love this place!...

02/03/2006, by 0 replies
  Message number: 23828

7: Yes, you're right. I cite this relationship in the original post I wrote on the subject a few years back. Maybe I'll find it, and paste the text fr...

02/03/2006, by 0 replies
  Message number: 23827

Scott - The Am7 upper structure should be interpreted literally. If you were to play the G-B-C-E rootless B-form structure over it, it would premature...

02/03/2006, by 0 replies
  Message number: 23797

Good as always, 7. Ben, I was asking about your previous post: Dm7 = left hand A-form ii, with an upper structure Am7 chord, in any inversion, in the rig...

02/03/2006, by 0 replies
  Message number: 23793

[sf]It should also be noted that the "type C" voicings above are exactly the same as the "A" and "B" rootless voicings for th...

02/03/2006, by 0 replies
  Message number: 23792

The voicings I gave for altered dominants are rootless. For example, if your left hand plays the pitches of Fdim7 (F-Ab-Cb-D) and your right hand ...

02/03/2006, by 0 replies
  Message number: 23788

This is really good stuff Ben. I worked with the extensions you gave yesterday a bit. Would you clarify one thing for some of us literal-minded types: wh...

02/03/2006, by 0 replies
  What I find difficult

What I find the most difficult is comping ballads for vocalists. It's very challenging to keep it interesting, while staying out of the way. I've always ...

02/03/2006, by 0 replies
  Message number: 23782

Here's a great way to approach altered dominant voicings: First, identify the related diminished 7th chord, which corresponds to the original dominant.

02/03/2006, by 0 replies
  Message number: 23746

Hi Ben i've always had problems with right hand [RH] tension voicings to couple with the LH A/B types as the ones i'm able to figure out don't sound tense ...

02/02/2006, by 0 replies
  Oops

There's a mistake in my post above. Over the Am7 B-form ii voicing, play an Em7 chord, not Dm7. Sorry, Ben Blau...

02/02/2006, by 0 replies
  Message number: 23741

As far as voicings are concerned, I've always been a proponent of the left hand "A&B Form" system that has sparked so much controversy here i...

02/02/2006, by 0 replies
  Message number: 23384

Hehehe I did introduce some appropriate available tensions into one of our practice sessions just to see what would happen. The guitarist asked me after...

01/23/2006, by 0 replies
  Message number: 23241

Add in some available tensions - Maj 6, Maj 9 to make the major texture more interesting.. Don't think that because the symbol says "Major" you ...

01/19/2006, by 0 replies
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