Learning Standards in all keys?
i'm having a few problems. i know the chords in 'the lady is a tramp' really well without the sheet music. i also have a decent enough understanding of the chord progressions but can't quite see how i could now play this is in any key.
i think playing songs in multiple keys is extremely beneficial and would like to figure it out.
another dilema that i am having some trouble with is that - i play 'the lady is a tramp' as it should be played before trying to play around with it, but i've played it that many times that i can't quite brake the cycle of playing it almost identical of how it should be played and i don't really know what i'm doing in terms of if i am playing 3rd's 7th's 9th's etc etc
advice? guidance?
i think playing songs in multiple keys is extremely beneficial and would like to figure it out.
another dilema that i am having some trouble with is that - i play 'the lady is a tramp' as it should be played before trying to play around with it, but i've played it that many times that i can't quite brake the cycle of playing it almost identical of how it should be played and i don't really know what i'm doing in terms of if i am playing 3rd's 7th's 9th's etc etc
advice? guidance?
There are 16 comments, leave a comment.
i think you will have to get comfortable using a number system. for example if you're playing a tune in c that starts with a c chord and the melody note c, then you can say that it starts on the i chord with the melody being the tonic (i).
let's say you are going to transpose it to g. in g, g is the i chord and the note g is the tonic.
try analyzing lady is a tramp using numbers for your chords, then use that info to try it in other keys
let's say you are going to transpose it to g. in g, g is the i chord and the note g is the tonic.
try analyzing lady is a tramp using numbers for your chords, then use that info to try it in other keys
excellent advice, dr. whack.
when learning new tunes sometimes i do a chord analysis with roman numerals. so if i'm playing "the girl from ipanema" i think of the first chords as:
i iidom7 iimin7 ....
this system helps me memorize, understand, and transpose easier than just thinking " f to g to g mi..."
i iidom7 iimin7 ....
this system helps me memorize, understand, and transpose easier than just thinking " f to g to g mi..."
what about modulation? take 'all the things you are' for instance. what's a good technique for memorizing the various key changes?
thank you jazz+
i agree, knotty, "all the chords you know" can be a tricky one.
i have tried to approach it by knowing what "roman numeral" key it modulates to, in relationship to the basic key of the tune. like "ii-v-i of iv", or whatever it might be.
i have tried to approach it by knowing what "roman numeral" key it modulates to, in relationship to the basic key of the tune. like "ii-v-i of iv", or whatever it might be.
see, what you need to do right now is take maybe 15 standards around the entire key circle.
first, let's pick the tunes. i'll give you seven ideas right now.
i would select tunes based on how many modulations they have.
start with tunes with no modulations: autumn leaves, for example, get comfortable around the keys with that.
then, go to body and soul, or on the trail, where the modulations are sectional (bridge modulates up a half step).
then go to a tune with many more modulations: cole porter's ev'rything i love, or all the things you are
finally, work with tunes that are basically constantly modulating, like i remember you or dolphin dance.
now: to do this...you're going to have to be comfortable playing ii-v-is in all the keys instantaneously. why? because almost all standards are just ii-v-is modulating around! think of it like this: ff you learn ii-v and ii-v-i in all keys, you've learned half of the american popular songbook in 12 keys already! just look at "i love you"...it's 95% ii-v-is! you just have to remember where they go, which is, admittedly, an arduous task.
begin by thinking...this section is in i... this modulates to iv at the bridge..here's a ii-v-i to iii...etc. it's also okay to think, "okay, the first dominant chord goes down a half step from where i am now, then...."
what you ultimately want to do is realize where material is duplicated. for example, playing i'll remember april around the key circle came easily to me once i realized that all the things you are's bridge was in there! it's the last half of the bridge in april, as a- d7 gmaj f#- b7 emaj
once you can do that, learning tunes becomes a snap because you've already memorized the chord progressions. like..."this tune has honeysuckle roses' bridge" (learn this! it's very common!), or "this tune has the a section as misty." it becomes a lot easier. a great book for this is david baker's "how to learn tunes." he breaks down hundreds and hundreds of standards based on popular formulae that they incorporate.
once you do this, by about the time you reach tune 10 out of 15, you'll be doing it almost completely by ear.
after learning primarily this way, i feel comfortable that i could play most standards in all 12 keys without worrying about numerals, just knowing the relationships between the key centers in my ears. however, this took a lot of practicing, and a lot of practice on gigs with singers calling tunes like "my foolish heart" in b major, where i fell all over the place.
remember, if you do this on the bandstand, it's really easy to feel intimidated and nervous. just relax and trust your ears. if you've done your homework, you'll be able to transpose fine.
-hm
first, let's pick the tunes. i'll give you seven ideas right now.
i would select tunes based on how many modulations they have.
start with tunes with no modulations: autumn leaves, for example, get comfortable around the keys with that.
then, go to body and soul, or on the trail, where the modulations are sectional (bridge modulates up a half step).
then go to a tune with many more modulations: cole porter's ev'rything i love, or all the things you are
finally, work with tunes that are basically constantly modulating, like i remember you or dolphin dance.
now: to do this...you're going to have to be comfortable playing ii-v-is in all the keys instantaneously. why? because almost all standards are just ii-v-is modulating around! think of it like this: ff you learn ii-v and ii-v-i in all keys, you've learned half of the american popular songbook in 12 keys already! just look at "i love you"...it's 95% ii-v-is! you just have to remember where they go, which is, admittedly, an arduous task.
begin by thinking...this section is in i... this modulates to iv at the bridge..here's a ii-v-i to iii...etc. it's also okay to think, "okay, the first dominant chord goes down a half step from where i am now, then...."
what you ultimately want to do is realize where material is duplicated. for example, playing i'll remember april around the key circle came easily to me once i realized that all the things you are's bridge was in there! it's the last half of the bridge in april, as a- d7 gmaj f#- b7 emaj
once you can do that, learning tunes becomes a snap because you've already memorized the chord progressions. like..."this tune has honeysuckle roses' bridge" (learn this! it's very common!), or "this tune has the a section as misty." it becomes a lot easier. a great book for this is david baker's "how to learn tunes." he breaks down hundreds and hundreds of standards based on popular formulae that they incorporate.
once you do this, by about the time you reach tune 10 out of 15, you'll be doing it almost completely by ear.
after learning primarily this way, i feel comfortable that i could play most standards in all 12 keys without worrying about numerals, just knowing the relationships between the key centers in my ears. however, this took a lot of practicing, and a lot of practice on gigs with singers calling tunes like "my foolish heart" in b major, where i fell all over the place.
remember, if you do this on the bandstand, it's really easy to feel intimidated and nervous. just relax and trust your ears. if you've done your homework, you'll be able to transpose fine.
-hm
"once you can do that, learning tunes becomes a snap because you've already memorized the chord progressions. like..."this tune has honeysuckle roses' bridge" (learn this! it's very common!), or "this tune has the a section as misty." it becomes a lot easier."
i feel another oop comparison coming on............. :o)
i feel another oop comparison coming on............. :o)
whew! i better get busy hepcat. a mind is a terrible thing to lose.
dalty - oop as in object oriented programming?
-hm
-hm
please
i'm trying to quit it. do you know of a 12-step program?
i'm trying to quit it. do you know of a 12-step program?
i only know of a one step - out a 12 story high window :)
wow - as i re-read that i realize that could be taken in a negative way - i surely didn't mean it that way...trying to be funny is like trying to play jazz - sometimes it just doesn't come out right :)
i am still internalizing scales and trying to play a given standard in all 12 keys is an exercise in frustration as far as learning scales. the reverse process has been productive, however. i play every tune that i know from memory in the same key, say eb. i stick with this until i am so familiar with the eb scale i start to get sick of it. then it's time for new key with the same tunes. if you take a key a month, in a year you should know the tunes in all 12 keys. somehow this approach is working much better than the one tune in 12 keys approach. if anyone else has had a similar experience, i would be interested in hearing about it. -- ken
ok dr. whack
i just now read that
lol
i think i will start a 12-step program for it'ers. one that's not quite so violent.
i just now read that
lol
i think i will start a 12-step program for it'ers. one that's not quite so violent.
Please sign in to post.
Jazz Piano Notebook Series
Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
"Latinesque"
Volume 2 has 14 jazz piano exercises and tricks of the trade, and quite a bit of it is Calypso jazz piano related material, including some Monty Alexander and Michel Camilo style grooves. Jazz piano education is through the ears, but books like this can help.
Volume 3 contains 12 jazz piano exercises and explorations by the acclaimed jazz piano educator, pianist, author, and recording artist Tim Richards.
Tim wrote the well known "Exploring Jazz Piano" and "Improvising Blues Piano" books and has several others to his name.
Volume 4 is by Jeff Brent, a jazz pianist, composer, teacher, and author of "Modalogy" and other acclaimed jazz theory and education books. In this book Jeff shares detailed analysis of transcriptions of live performances. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the ideas behind his lush chord voicings.
Most Recent Discussions
Articles
Piano for Adoption Scam
Aprender Jazz en Piano
BEWARE: FREE BABY GRAND PIANO SCAM
Oh Tannenbaum for Jazz Piano
Volume 5 of the "Jazz Piano Notebook Series" is Available!
LearnJazzPiano.com File Downloads News
more...
Top Sheetmusic Picks
Jazzy Christmas Arrangements
Cocktail Piano
Best Songs Ever, 6th Edition
Christmas Medley
Moana Songbook
Late Night Jazz Piano
Jazz piano education is cool.
Rock on. Follow your passion.
Sign In
privacy policy •
terms of service •
about
•
50,655 messages
63,069 accounts
57,173 logins
LearnJazzPiano.com Copyright © 1995-2024 by Scot Ranney • website software and design by scot's scripts
LearnJazzPiano.com is For Sale - Serious Inquiries Only
LearnJazzPiano.com Copyright © 1995-2024 by Scot Ranney • website software and design by scot's scripts
LearnJazzPiano.com is For Sale - Serious Inquiries Only