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	<title>My Piano Riffs</title>
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	<link>http://www.mypianoriffs.com</link>
	<description>tips &#38; tricks for the rhythmically &#38; harmonically-challenged</description>
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		<title>Thanking My Mother for Piano Lessons &#8211; A Poem by Diane Wakoski</title>
		<link>http://www.mypianoriffs.com/1530/thanking-my-mother-for-piano-lessons-a-poem-by-diane-wakoski/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=thanking-my-mother-for-piano-lessons-a-poem-by-diane-wakoski</link>
		<comments>http://www.mypianoriffs.com/1530/thanking-my-mother-for-piano-lessons-a-poem-by-diane-wakoski/#comments</comments>
		<pubDate>Sun, 16 May 2010 12:49:30 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Piano Potpourri]]></category>
		<category><![CDATA[Diane Wakoski]]></category>
		<category><![CDATA[Piano lessons]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1530</guid>
		<description><![CDATA[I&#8217;m sure you know by now poems relating to the piano intrigue me. So it&#8217;s no wonder that when I chanced upon this one by a Michigan State University English professor during the period of Mother&#8217;s Day, I had to blog about it. Personally, I thank both my parents especially my late father for piano lessons &#8212; and also a favorite aunt, I definitely can relate to parts of the message of the poem. Thanking My Mother for Piano Lessons by Diane Wakoski The relief of putting your fingers on the keyboard, as if you were walking on the beach and found a diamond as big as a shoe; as if you had just built a wooden table and the smell of sawdust was in the air, your hands dry and woody; as if you had eluded the man in the dark hat who had been following you all week; the relief<a href="http://www.mypianoriffs.com/1530/thanking-my-mother-for-piano-lessons-a-poem-by-diane-wakoski/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<item>
		<title>The Legendary Lewis: Jazz pianist writes what he knows</title>
		<link>http://www.mypianoriffs.com/1569/the-legendary-lewis-jazz-pianist-writes-what-he-knows/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-legendary-lewis-jazz-pianist-writes-what-he-knows</link>
		<comments>http://www.mypianoriffs.com/1569/the-legendary-lewis-jazz-pianist-writes-what-he-knows/#comments</comments>
		<pubDate>Sat, 19 Jun 2010 17:00:09 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Piano Potpourri]]></category>
		<category><![CDATA[Ramsey Lewis]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1569</guid>
		<description><![CDATA[Ramsey Lewis is exactly where you expect him to be &#8211; at his grand piano, tinkering with his latest composition. &#8220;Composing makes me feel like I&#8217;m 12 again,&#8221; said the celebrated jazz pianist, who turned 75 on May 27. &#8220;When I get up in the morning, I feel giddy and I&#8217;m so happy to get to the piano and start working.&#8221; Lewis will pull himself away from composing to celebrate his more than seven decades at the piano with a special concert tonight at 7 at the Ravinia Festival. He estimates he has composed between 500 and 600 songs so far and shows no signs of slowing down. His latest work, &#8220;Colors: The Ecology of Oneness,&#8221; is a seven-movement opus that will premiere later this year in Tokyo. &#8220;I&#8217;m still in the beginning stages here,&#8221; he said. &#8220;I&#8217;m trying to get my mind out of the way and just compose<a href="http://www.mypianoriffs.com/1569/the-legendary-lewis-jazz-pianist-writes-what-he-knows/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<title>Jazz Up Your Rhythms &#8211; Rhythmically Rephrasing Melody Lines</title>
		<link>http://www.mypianoriffs.com/1542/jazz-up-your-rhythms-rhythmically-rephrasing-melody-lines/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=jazz-up-your-rhythms-rhythmically-rephrasing-melody-lines</link>
		<comments>http://www.mypianoriffs.com/1542/jazz-up-your-rhythms-rhythmically-rephrasing-melody-lines/#comments</comments>
		<pubDate>Fri, 11 Jun 2010 13:36:58 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[I Got Rhythm!]]></category>
		<category><![CDATA[anticipation]]></category>
		<category><![CDATA[Autumn Leaves]]></category>
		<category><![CDATA[delayed attack]]></category>
		<category><![CDATA[rhythmically rephrasing a melody]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1542</guid>
		<description><![CDATA[This time around I would like to tackle one of the more important elements in playing a jazz tune, that is, to rhythmically rephrase an existing melody. If you play from lead sheets, you will often notice that the melody line to a number of jazz standards usually consists of quarter and half notes, e.g. Autumn Leaves. This is because these lead sheets were mainly conceived for the singer, who is given the basic shape of the melody, without constraining how the singer would like to phrase the line. Likewise, other instrumentalists are free to explore the rhythms and contours of the melody. This is how Autumn Leaves sounds without any rhythmic enhancement: When we start interpreting the piece, especially in swing style, we need to &#8220;jazz up&#8221; the rhythmic aspect of the melody. The most basic approach to this would be to apply anticipations and delayed attacks. [For a<a href="http://www.mypianoriffs.com/1542/jazz-up-your-rhythms-rhythmically-rephrasing-melody-lines/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<title>Can You Spare a Chord or two or more, Please?: Borrowed Chords or Modal Interchange</title>
		<link>http://www.mypianoriffs.com/1499/can-you-spare-a-chord-or-two-or-more-please-borrowed-chords-or-modal-interchange/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=can-you-spare-a-chord-or-two-or-more-please-borrowed-chords-or-modal-interchange</link>
		<comments>http://www.mypianoriffs.com/1499/can-you-spare-a-chord-or-two-or-more-please-borrowed-chords-or-modal-interchange/#comments</comments>
		<pubDate>Sun, 18 Apr 2010 06:54:46 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Harmonic Concepts]]></category>
		<category><![CDATA[borrowed chords]]></category>
		<category><![CDATA[James Morrison]]></category>
		<category><![CDATA[modal interchange]]></category>
		<category><![CDATA[parallel minor]]></category>
		<category><![CDATA[parallel mode]]></category>
		<category><![CDATA[parallel scales]]></category>
		<category><![CDATA[Spandau Ballet]]></category>
		<category><![CDATA[True]]></category>
		<category><![CDATA[You Give Me Something]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1499</guid>
		<description><![CDATA[I&#8217;m back!  And I need to borrow something&#8230;.No worries, I&#8217;m referring to our little bag of harmonic tricks. I hope by now you have gone through the diatonic triads and 7ths of both the major and minor scales (all three variations). In this post, I&#8217;m going to show you how you can spice up your diatonic chords by applying a technique called modal interchange or borrowed chords. Check out this song by James Morrison &#8220;You Give Me Something&#8221;: Here is the sheet music: You Give Me Something &#8211; James Morrison &#38; Eg White The very first two chords of the introduction point to the prevalent use of borrowed chords in this soulful song, i.e. Ab-Fmi6-C or bVI-IVmi6-I in the key of C major. Modal interchange or borrowed chords is a harmonic device  where chords from the parallel scale of the existing scale or key is taken (or borrowed) and used<a href="http://www.mypianoriffs.com/1499/can-you-spare-a-chord-or-two-or-more-please-borrowed-chords-or-modal-interchange/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<slash:comments>3</slash:comments>
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		<title>The Piano &#8211; An Animated Short by Aidan Gibbons</title>
		<link>http://www.mypianoriffs.com/1487/the-piano-an-animated-short-by-aidan-gibbons/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-piano-an-animated-short-by-aidan-gibbons</link>
		<comments>http://www.mypianoriffs.com/1487/the-piano-an-animated-short-by-aidan-gibbons/#comments</comments>
		<pubDate>Sat, 10 Apr 2010 05:36:32 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Piano Potpourri]]></category>
		<category><![CDATA[animated short]]></category>
		<category><![CDATA[Comptine d'un autre été: l'après midi]]></category>
		<category><![CDATA[the piano]]></category>
		<category><![CDATA[Yann Tiersen]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1487</guid>
		<description><![CDATA[I&#8217;m still trying to get back to posting my original articles. So, in the meantime, enjoy this animated short of an old man playing the piano (Yann Tiersen&#8217;s evocative and reflective &#8220;Comptine d&#8217;un autre été: l&#8217;après midi&#8221;) while reminiscing about his life&#8230; Related Blogs]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Piano Lessons &#8211; A Poignant Poem by American Poet Laureate Billy Collins</title>
		<link>http://www.mypianoriffs.com/1443/piano-lessons-a-poignant-poem-by-american-poet-laureate-billy-collins/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=piano-lessons-a-poignant-poem-by-american-poet-laureate-billy-collins</link>
		<comments>http://www.mypianoriffs.com/1443/piano-lessons-a-poignant-poem-by-american-poet-laureate-billy-collins/#comments</comments>
		<pubDate>Wed, 24 Mar 2010 17:26:04 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Piano Potpourri]]></category>
		<category><![CDATA[Piano lessons]]></category>
		<category><![CDATA[poem on piano lessons]]></category>
		<category><![CDATA[Poet Billy Collins]]></category>

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		<description><![CDATA[I enjoy a good poem once a while. So I was pleasantly surprised to stumble upon one that&#8217;s on piano lessons and then some &#8212; and what more penned by a renown poet! It&#8217;s been said that a picture paints a thousand words. Well, sometimes words paint beautiful landscapes too! Hope you take the time to read and soak in the poignancy of the words like I did&#8230; And then enjoy the music clips (as mentioned in the poem) that I&#8217;ve included for your listening pleasure! PIANO LESSONS by Billy Collins 1. My teacher lies on the floor with a bad back off to the side of the piano. I sit up straight on the stool. He begins by telling me that every key is like a different room and I am a blind man who must learn to walk through all twelve of them without hitting the furniture. I<a href="http://www.mypianoriffs.com/1443/piano-lessons-a-poignant-poem-by-american-poet-laureate-billy-collins/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Sight Reading &#8211; Is it Important For Pop And/Or Jazz Pianists?</title>
		<link>http://www.mypianoriffs.com/1433/sight-reading-is-it-important-for-pop-andor-jazz-pianists/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=sight-reading-is-it-important-for-pop-andor-jazz-pianists</link>
		<comments>http://www.mypianoriffs.com/1433/sight-reading-is-it-important-for-pop-andor-jazz-pianists/#comments</comments>
		<pubDate>Sun, 21 Mar 2010 05:59:54 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Jazz For You]]></category>
		<category><![CDATA[chord symbols]]></category>
		<category><![CDATA[ear training]]></category>
		<category><![CDATA[reading skill]]></category>
		<category><![CDATA[rhythmic notation]]></category>
		<category><![CDATA[sight reading]]></category>
		<category><![CDATA[standard music notation]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1433</guid>
		<description><![CDATA[By Nicole H. E. Lee Sight reading is the ability of a musician to spontaneously play any piece of music put in front of him/her. Traditionally, to be able to read music, as in the actual standard music notation, is the only way to learn a musical instrument. In the case of piano lessons, every lesson is very much focused on building the reading skill of the student so much so that sometimes, when a wrong note is played, instead of asking the student, &#8220;Did you HEAR the wrong note that you just played?&#8221; the teacher reprimands the student by saying, &#8220;Can&#8217;t you SEE that you have played the wrong note?!&#8221; If we acknowledge that music is essentially the art of listening, that is, we appreciate the sound of music via our auditory senses, then placing too much emphasis on reading music is not exactly the best way to motivate<a href="http://www.mypianoriffs.com/1433/sight-reading-is-it-important-for-pop-andor-jazz-pianists/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<title>Harmonic Rhythm &#8211; The Natural Flow of Chord Changes</title>
		<link>http://www.mypianoriffs.com/947/harmonic-rhythm-the-natural-flow-of-chord-changes/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=harmonic-rhythm-the-natural-flow-of-chord-changes</link>
		<comments>http://www.mypianoriffs.com/947/harmonic-rhythm-the-natural-flow-of-chord-changes/#comments</comments>
		<pubDate>Thu, 18 Mar 2010 08:48:48 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Harmonic Concepts]]></category>
		<category><![CDATA[I Got Rhythm!]]></category>
		<category><![CDATA[Autumn Leaves]]></category>
		<category><![CDATA[Bad Day]]></category>
		<category><![CDATA[Blue Moon]]></category>
		<category><![CDATA[chord changes]]></category>
		<category><![CDATA[Fly Me to the Moon]]></category>
		<category><![CDATA[harmonic rhythm]]></category>
		<category><![CDATA[Someday My Prince Will Come]]></category>
		<category><![CDATA[strong and weak bars]]></category>
		<category><![CDATA[strong and weak beats]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=947</guid>
		<description><![CDATA[Hmm&#8230;the blog post title sounds like a mashup of my two favorite musical elements! Well, it is&#8230;but leaning more towards the rhythmic aspects of when and where chords move. In other words, harmonic rhythm refers to the rate of chord change or how often one chord progresses to another. Most songs or compositions are written in a form in which the total number of bars is divisible by two. Hence, we naturally tend to hear and feel music in 2-bar phrases. For example, a standard 32-bar song form can be thought of as a structure of four sections with  eight bars each. Refer to the lead sheet of &#8220;Autumn Leaves below&#8221;: This torch song has a classic A-A-B-C form, where each letter represents an 8-bar phrase. Within this 8-bar phrase, we can further subdivide it into a 4-bar phrase and then a 2-bar unit. The odd-numbered bars within each 8-bar phrase, i.e. Bars<a href="http://www.mypianoriffs.com/947/harmonic-rhythm-the-natural-flow-of-chord-changes/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<title>Brad Mehldau &#8211; Committed Improviser</title>
		<link>http://www.mypianoriffs.com/1390/brad-mehldau-committed-improviser-2/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=brad-mehldau-committed-improviser-2</link>
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		<pubDate>Wed, 17 Mar 2010 12:11:03 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Jazz For You]]></category>
		<category><![CDATA[Brad Mehldau]]></category>
		<category><![CDATA[improviser]]></category>
		<category><![CDATA[jazz]]></category>
		<category><![CDATA[piano trio]]></category>

		<guid isPermaLink="false">http://www.mypianoriffs.com/?p=1390</guid>
		<description><![CDATA[Pianist Brad Mehldau doesn’t so much stride between jazz, classical music and pop as swirl and eddy between them, absorbing traces as he goes. The American’s even-tempered independence reflects early classical training; his renowned interpretations of the jazz repertoire stem from a high school obsession. And he still loves pop and rock and roll. “I need to hear compressed, distorted guitars at least once a day,” he says. “It scratches an itch for me.” Mehldau’s career takes in the top range of jazz – unlike many successful band leaders, he doesn’t shirk sideman duties and can list Wayne Shorter, Michael Brecker and John Scofield as credits. Recent classical commissions include work with the opera singers Renée Fleming and Anne Sofie von Otter. But he is best known for his groundbreaking piano trio, which released its first CD in 1994, and was the first successfully to add post-Beatles pop into the<a href="http://www.mypianoriffs.com/1390/brad-mehldau-committed-improviser-2/"> <br /><br /> (Continue reading)…</a>]]></description>
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		<title>David Benoit Keeps the Creative Energy Flowing</title>
		<link>http://www.mypianoriffs.com/932/david-benoit-keeps-the-creative-energy-flowing/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=david-benoit-keeps-the-creative-energy-flowing</link>
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		<pubDate>Sat, 13 Mar 2010 14:54:39 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Jazz For You]]></category>
		<category><![CDATA["Peanuts"]]></category>
		<category><![CDATA[contemporary jazz]]></category>
		<category><![CDATA[David Benoit]]></category>
		<category><![CDATA[smooth jazz]]></category>

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		<description><![CDATA[In conversation, David Benoit is as laid-back and reflective as the piano music he composes and plays. Contacted at his home in oceanside Palos Verdes, Calif., Benoit, 56, chatted casually about the free concert he will perform Thursday at the Mount Union Theatre in Alliance. Joining him onstage will be bassist David Hughes and drummer Jamey Tait. A five-time Grammy Award nominee, Benoit launched his recording career in 1977 and has released more than 25 albums of mostly original music, including several orchestral collaborations and a chart-topping 2006 single titled “Beat Street.” On tour and on CD, he has played frequent tributes to the late pianist Vince Guaraldi and his “Peanuts” music. His 2008 album “Heroes” included songs by The Beatles, The Doors and Elton John, along with Dave Brubeck, Bill Evans and Horace Silver. “Even after all these years, I am still bursting with ideas for upcoming recordings,” Benoit<a href="http://www.mypianoriffs.com/932/david-benoit-keeps-the-creative-energy-flowing/"> <br /><br /> (Continue reading)…</a>]]></description>
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