tips & tricks for the rhythmically & harmonically-challenged 

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nicole @ My Piano Riffs.com
Home Archive for category "Jazz For You" (Page 2)
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Jazz Improvisation – Why is it So Hard and How to Overcome the Initial Difficulty?

Published on December 4, 2009 by in Jazz For You

By Nicole H. E. Lee Thanks to Norah Jones, Jamie Cullum, Michael Buble and many other young jazz and jazz-influenced artists, interest in jazz music has been making a strong comeback. And with singer/piano players like Norah and Jamie, it’s not hard to see why jazz piano-playing has taken on with many piano enthusiasts as well. However, because many of us started off learning the piano by playing classical music which deeply grounds us in music-reading and interpretation of the works of the masters, i.e. Bach, Chopin, Mozart, etc., the jazz style and its element of improvisation become, to many, extremely difficult to learn, or a skill which “you either have it, or you don’t.” It really doesn’t have to be that way. Learning how to play jazz – no matter how brilliant a pianist you are – is going to be difficult in the beginning because you are learning

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7 Ways to Become a Better Pop or Jazz Pianist

Published on November 21, 2009 by in Jazz For You

By Nicole H. E. Lee “Practice!” That’s what piano teachers always tell their students, or “Practice makes perfect,” spout many. But practice what? Practice how? If practice makes perfect, then it is also true that imperfect practice makes imperfection! And we don’t want that. To become really good at our craft, i.e. piano-playing, it is important to know what and how to practice. Hence, to me, the saying should really be knowledgeable practice makes perfect. Here are the seven important areas to cover and to diligently practice in order to become a better pop and/or jazz pianist. Scales – All contemporary piano players know that scales are the basic building blocks in music. The notes of a melody come from a scale, as are improvisational lines in jazz solos. Essential scales to master are: major (ionian mode), melodic and harmonic minor, modes (dorian, phrygian, lydian, mixolydian, aeolian [natural minor], locrian),

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Top 5 Pieces For a Beginner Jazz Pianist

Published on November 12, 2009 by in Jazz For You

By Nicole H. E. Lee Learning how to play jazz piano for the first time is exciting yet very intimidating if one starts with the wrong songs. Selecting pieces that are melodically pleasing, rhythmically simple, harmonically easy (as in the chord changes) and all structured within a straightforward form is very important if a beginner jazz pianist is to gain any significant performance result. Hence, the following pieces all comprise the elements just mentioned above and, in my opinion, are very suitable for any novice jazz player. Interestingly, these pieces will eventually have to be among the standard tunes in any true jazzer’s repertoire. The five songs are: (listed in alphabetical order) 1. Autumn Leaves: Beautiful melody in simple rhythms; II-V-I chord changes in the key of G major and its relative E minor; 32-bar AABC form. This is a “must know” jazz standard, often played in ballad and/or medium

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Thelonious Monk: In His Own Style

Published on October 29, 2009 by in Jazz For You

Thelonious Monk Quartet’s 1963 album on Columbia Records. Playing and Performance Style Thelonious Monk is always mentioned with Charlie Parker and Dizzy Gillespie as a founder of modern jazz, but Monk’s style is not at all like the other musicians of his time. Unusual approaches to harmony, melody, and rhythm give Monk a particular asymmetry that continues to be a heavy influence on the music scene. Many of Monk’s harmonic ideas were influenced by Art Tatum, whose chords were strengthened by the use of varied voicings, added notes, passing chords and substitutions. While Parker and Gillespie liked to hear these types of chord sequences as background for their solos, Monk seems to have taken Tatum’s approach to another level. By using uncommon substitutions and displacing the harmonic rhythm, Monk’s chords have a sense of deliberate conflict. Some people speculate that a reason for his sour harmonies are a result of

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