Let me introduce some Japanese Jazz pianists. Those people learned jazz at US military camps in Japan after the WW2. Yes, they were the first generation. Their crest was during 1960es and some to early 70es. The first big band who played at jazz festival was Sharps and Flats in 1968 at Newport Jazz Festival. It could have been 67, I am not sure now. And the ting is that I was there,
They brought shakuhachi, a bamboo flute, that had been used exclusively for Japanese folk music. That was quite impressive. The band leader was one of them, I mean one of the graduates from US army camp.
Now, this person, Mr. Sera is another example. The MC, Ohashi has been popular figure up until 90es. He retired to Canada now. They are talking about the jazz scene of after the WW2. Then Ohashi asks Sera to play aka Garner and Sera did Dreamy.
After the play, Ohashi started to talk about Ray Brown, bassist with Oscar Peterson. One day Ray was talking with Ohashi and said that he wished to play with Garner. Ohashi replied to him that he should not make complaint playing with Peterson. Ray should be feeling utmost happiness doing it.
But Ray said that he wanted to ride along Garner's rhythm. The set up had realized, Ohashi says. Ray Brown looked ecstatic playing with Garner. Sera's play does imitate Graner nicely though, Garner is much more earthy than Sera and this play characterize Japanese jazz scene of later part of 20th century.
Dec 12, 2009
Three singers from Sixties, Anita, Carmen and Nina
In alphabetical order, that is.
I didn't realize that Carmen was this beauty. I am wondering if she is the person who I saw and listened to playing piano with her own trio at 1967 Newport Jazz Fes. That was much too earthy.
I didn't have a chance to hear her live while living in Ft. Lee, NJ. But I had a chance to listen to this lady, Anita O'day at Five Spot. I think it was there. But this is kind of surprise Anita singing a part of saxophone of Woody Herman. Besides, it's nice to see Carmen making a comment on Anita.
http://www.youtube.com/watch?v=mdHMAzN2Hxk
I cannot bring in this video. So I recommend you to check it clicking on URL.
"Anita O'day Three Sound" was the first record I bought on her. It is nostalgic just looking at Verve mark, doesn't it.
Now I've found the lady I saw at the Newport Jazz Festival. It was Nina Simone. She sounds earthy though not that much as I remember. But I must correct my impression because of this video. She must come from wealthy family. She knows how Bach was. So. . . .?
I didn't realize that Carmen was this beauty. I am wondering if she is the person who I saw and listened to playing piano with her own trio at 1967 Newport Jazz Fes. That was much too earthy.
I didn't have a chance to hear her live while living in Ft. Lee, NJ. But I had a chance to listen to this lady, Anita O'day at Five Spot. I think it was there. But this is kind of surprise Anita singing a part of saxophone of Woody Herman. Besides, it's nice to see Carmen making a comment on Anita.
http://www.youtube.com/watch?v=mdHMAzN2Hxk
I cannot bring in this video. So I recommend you to check it clicking on URL.
"Anita O'day Three Sound" was the first record I bought on her. It is nostalgic just looking at Verve mark, doesn't it.
Now I've found the lady I saw at the Newport Jazz Festival. It was Nina Simone. She sounds earthy though not that much as I remember. But I must correct my impression because of this video. She must come from wealthy family. She knows how Bach was. So. . . .?
Dec 3, 2009
Ella with trio. She is vivid.
Ella Fitzgerald, she doesn't look like how she sound. Tha was my first impression seeing her. That was at Macormick Place, Chicago in 1967. She was backed by Oscar Perterson Trio. So, I remember. But not sure now. Tha was piano trio anyway. That is sure thing.
Till then I have heard her with big bands. That was rather noise to me and I was not the eagar listner of her. But this session gave me the quite different sound that I like. One is that her scat sound much more vivid that that with big band.
Listen to this one. She is beautiful. I won't send his kind of high notes to Ella for sure or rather I'd be quiet and let base to the work. That should have been much nicer.
Nov 27, 2009
Hey, this kid's genius. It is amazing that he can keep this tempo. Yeah, this is kind of tough tempo to play. Besides, his left hand is doing excellent job. I envy him that he can do this far already, do you not?
I'll add a little bit comments on what's happening to the children of this country. It can be said with two words; Over protected!
Children in general are under the wing of mother. Those mothers, the age between 25 to 35 were the yields of baby boomers. How were they, I mean baby boomers?
Husbands had been company men. They go to their income source early in the morning and come back home late at night. They devoted all of their energy to the company.
Children were left home with woman who does not have enough social training basically. The problem with those mothers were that the school background has had the utmost priority. There were not enough ethic mentoring nor basic human relation mentoring to their kids.
The outcome was the kids who do not respect public rules like;
Obey your parents, Pay respect to law and ethics, There's someone who watch over you anytime, types of social training.
Children will be selfish, rude to unknown persons, have the anti-social tendency. Why do they do that? Because they were not able to have appropriate model during their infancy.
OK, but this boy, I bet he could become a person who has nice social behavior. Reason? Because he ride on rhythm, don't you think?
I'll add a little bit comments on what's happening to the children of this country. It can be said with two words; Over protected!
Children in general are under the wing of mother. Those mothers, the age between 25 to 35 were the yields of baby boomers. How were they, I mean baby boomers?
Husbands had been company men. They go to their income source early in the morning and come back home late at night. They devoted all of their energy to the company.
Children were left home with woman who does not have enough social training basically. The problem with those mothers were that the school background has had the utmost priority. There were not enough ethic mentoring nor basic human relation mentoring to their kids.
The outcome was the kids who do not respect public rules like;
Obey your parents, Pay respect to law and ethics, There's someone who watch over you anytime, types of social training.
Children will be selfish, rude to unknown persons, have the anti-social tendency. Why do they do that? Because they were not able to have appropriate model during their infancy.
OK, but this boy, I bet he could become a person who has nice social behavior. Reason? Because he ride on rhythm, don't you think?
Nov 5, 2009
How you grade up your RHYTHMIC response of your non-dominant fingers.
There are part 1 and 2. And whole lesson consists of 5 sub lessons.
Lesson #1: This lesson is to upgrade your bodily response to the rhythm. You tap on your lap with your hand alternatively. As you speed up the tempo, your non-dominant hand tries to move with your dominant hand. Thereby misses the beat. It becomes apparent as you set the tempo faster.
Lesson #2: This lesson is to separate the movement of your ring finger and little finger. The trick is that you practice this lesson along with "Take Five"
Lesson #3: This lesson let you memorize the spacing of each key if you try using keyboard. It can be nice alternative to Hanon tutorials. And you can use "Unsquare dance" of Dave Brubeck for the BGM.
Lesson #4: You will let your fingers move smoothly so that each finger of non-dominant hand can hit precisely where required. You practice this routine with usual 4 beat tune as the BGM.
Lesson #5: This lesson strengthen your finger muscle. Don't overdo this practice. It may hurt your finger muscle. 16 bars every 12 hours would be enough. And you'll know it takes time to get enough reflex to your non-dominant fingers.
Lesson #1: This lesson is to upgrade your bodily response to the rhythm. You tap on your lap with your hand alternatively. As you speed up the tempo, your non-dominant hand tries to move with your dominant hand. Thereby misses the beat. It becomes apparent as you set the tempo faster.
Lesson #2: This lesson is to separate the movement of your ring finger and little finger. The trick is that you practice this lesson along with "Take Five"
Lesson #3: This lesson let you memorize the spacing of each key if you try using keyboard. It can be nice alternative to Hanon tutorials. And you can use "Unsquare dance" of Dave Brubeck for the BGM.
Lesson #4: You will let your fingers move smoothly so that each finger of non-dominant hand can hit precisely where required. You practice this routine with usual 4 beat tune as the BGM.
Lesson #5: This lesson strengthen your finger muscle. Don't overdo this practice. It may hurt your finger muscle. 16 bars every 12 hours would be enough. And you'll know it takes time to get enough reflex to your non-dominant fingers.
Oct 29, 2009
Oscar Peterson the Great!
He excels in technicality as well as tempo setting, improvisation and above all his sense to jazz music is nothing but the surprise. I listened to Night Train at YouTube. Go ahead and try.
See? Nobody can play this tempo. And it does not fluctuate at all from top to tail.
And he's gone. How sad that is. . . . . .
See? Nobody can play this tempo. And it does not fluctuate at all from top to tail.
And he's gone. How sad that is. . . . . .
Oct 13, 2009
Sep 10, 2009
You can learn jazz from YouTube 1
After I completed my lesson videos for my jazz piano lesson "Lazy way to learn jazz piano", I have been picking videos that are available at You tube. And I have found that there are so many lessons that fits to be nice tutorials.
My plan is to relate my findings to you readers so that you do not need to go through You tube to find what you want. Yes, the selection is aimed to the very beginners and the matter that I was not able to tell because of limited video length.
The first one is this: Go here
and click on the "How to play piano: The basics, Piano Lesson #1" that is located left of the video screen.
If you haven't ever touched piano I recommend this video. A young guy talks a lot but saying things nice way. It is of 24 minutes long. They restrict it to see at You tube.
Yes, it tells you how to form your hand, how to position your hand against the instrument and your finger position.
I'd say that this is pretty thorough way to tell you the very beginning of your piano.
My plan is to relate my findings to you readers so that you do not need to go through You tube to find what you want. Yes, the selection is aimed to the very beginners and the matter that I was not able to tell because of limited video length.
The first one is this: Go here
and click on the "How to play piano: The basics, Piano Lesson #1" that is located left of the video screen.
If you haven't ever touched piano I recommend this video. A young guy talks a lot but saying things nice way. It is of 24 minutes long. They restrict it to see at You tube.
Yes, it tells you how to form your hand, how to position your hand against the instrument and your finger position.
I'd say that this is pretty thorough way to tell you the very beginning of your piano.
Aug 28, 2009
4 - How & when to pedal. Using explosive dynamics
Pedaling does require you to have good ear. It is too easy to play loosely. Yes, You can keep pedal pushed all the way from start to end of music. It can only be identified by your ear. If you do it too much, the sound become thick, dull and cloudy to your ear as well as to your audiences.
As the theory, you don't extend your pedaling beyond the bar you start to pedal. In playing jazz, to avoid clouding your chord, you should not use pedal beyond the limit of the chord.
And it is sincerely recommended that you use it just to give explosive effect to your sound. Which means you limit the use of it for a couple notes.
Above can be proven if you listen to Johon Lewis or Oscar Peterson. Red Garland uses pedal quite frequently when he play melody with chord.
The advice is that you should be able to keep your finger on a certain note so that you can play melody in legato. Thereby you cn keep your melody line clear and crisp.
As the theory, you don't extend your pedaling beyond the bar you start to pedal. In playing jazz, to avoid clouding your chord, you should not use pedal beyond the limit of the chord.
And it is sincerely recommended that you use it just to give explosive effect to your sound. Which means you limit the use of it for a couple notes.
Above can be proven if you listen to Johon Lewis or Oscar Peterson. Red Garland uses pedal quite frequently when he play melody with chord.
The advice is that you should be able to keep your finger on a certain note so that you can play melody in legato. Thereby you cn keep your melody line clear and crisp.
Aug 7, 2009
Django, John Lewis solo
John Lewis plays DJANGO: solo: He also tells that he has met DJANGO during war in France. I couldn't have a chance to hear this tune played solo. The first time I hear this tune was with MJQ.
It is a minor tune but having 8 bars with major inserted in the middle. The transition was appealing. If you listen to the MJQ playing it, during early sixties I mean, Milt jackson was dancing on the vivraphone with his mallets. And it had been rather Milt Jackson who had impressed me of his exciting yet cool playing style.
It was late '80es I have listened his own quartet somewhere in suburban San Franscisco. The tone was definitely Milt, but I felt something was missing and was not excited. Probably due Jhon Lewis wasn't there.
Listen to this solo of Lewis. You might have watched this video and so did I. But I love this little gap that is John plays minor tune with medium fast tempo. I believe you'd love it, too.
Aug 3, 2009
Oscar Peterson, the greatest pianist.
I didn't know till this day the death of Oscar Peterson. There are some reasons. I don't read those publications on music anymore. Nor I check online source on who's who type of directory.
I had learned a lot from his standard jazz collection. Yes, he had issued a series on great composers of so-called standard numbers. There wasn't long improvisation. His play was a few choruses for each tune.
They are just beautiful. Yeah, I agree that there is some plays that he has failed to create beautiful alley of tones. But as always, his powerful voicing did astound me and I was just awed.
I have been going through Google Alert and have found a young man, Benny Green. Well he looks young. You can hear "Taking chance of Love" with his? trio. As far as this performance is concerned, he sounds like trying out beat drums and base. His tempo is a bit different from those rhythm. Oscar had never been that. He rides on rhythm.
One more thing, Benny's left hand doesn't match to Oscars'. Voicing is rather simple with Benny if compared to Oscar.
But, I envy Benny. Yes, he definitely is the person to devise some kind of breakthrough.
I had learned a lot from his standard jazz collection. Yes, he had issued a series on great composers of so-called standard numbers. There wasn't long improvisation. His play was a few choruses for each tune.
They are just beautiful. Yeah, I agree that there is some plays that he has failed to create beautiful alley of tones. But as always, his powerful voicing did astound me and I was just awed.
I have been going through Google Alert and have found a young man, Benny Green. Well he looks young. You can hear "Taking chance of Love" with his? trio. As far as this performance is concerned, he sounds like trying out beat drums and base. His tempo is a bit different from those rhythm. Oscar had never been that. He rides on rhythm.
One more thing, Benny's left hand doesn't match to Oscars'. Voicing is rather simple with Benny if compared to Oscar.
But, I envy Benny. Yes, he definitely is the person to devise some kind of breakthrough.
Jul 28, 2009
3 - Attitude -- how it affects your learning
You love jazz. You want to play it to enjoy it further. You will be eager to know things. That way you'll learn faster. If you have people who is interested to see you progress, you'd like to show your progress to them. Consequently you'll learn thigns faster.
At first, I simply wished to play on time. That is to go along with rhythm without any stress at all. Which requires hard training on figners. It took me an hour to go to my teacher. I have devised a few tricks that can be done while I am on the train.
One was to spread fingers. You make fist and spread it as powerful as possible. In doing so, you try to extend your little finger.
You'll see that repeating it several times build your fore muscle a bit. You can accumulate your forearm muscle this way, as a matter of fact. Don't over do it. Several times at once. Do this training in the morning, afternoon and before you go to bed.
If you do this practice too much, your muscle become stiff. Stiffness doesn't fit to play piano. Your muscle has to be flexible. Otherwise your finger doesn't move fast.
Since you are not child, you can measure how fast your finger can move, right? As the simple yardstick, you can use your watch, but with a second hand. One beat a seond is rather slow. If you can strike your desk top using little finger four times while a second hand count up to next second, you got enough speed.
So start hitting your desk top 2 times a second with your little finger, you'll feel that you have enough finger speed to play tunes with tempo specified as medium fast.
The truth of the matter is that you invent some way as you get more motivated in learning things. And if your attitude gets to that level, it's not that far to reach your objective.
At first, I simply wished to play on time. That is to go along with rhythm without any stress at all. Which requires hard training on figners. It took me an hour to go to my teacher. I have devised a few tricks that can be done while I am on the train.
One was to spread fingers. You make fist and spread it as powerful as possible. In doing so, you try to extend your little finger.
You'll see that repeating it several times build your fore muscle a bit. You can accumulate your forearm muscle this way, as a matter of fact. Don't over do it. Several times at once. Do this training in the morning, afternoon and before you go to bed.
If you do this practice too much, your muscle become stiff. Stiffness doesn't fit to play piano. Your muscle has to be flexible. Otherwise your finger doesn't move fast.
Since you are not child, you can measure how fast your finger can move, right? As the simple yardstick, you can use your watch, but with a second hand. One beat a seond is rather slow. If you can strike your desk top using little finger four times while a second hand count up to next second, you got enough speed.
So start hitting your desk top 2 times a second with your little finger, you'll feel that you have enough finger speed to play tunes with tempo specified as medium fast.
The truth of the matter is that you invent some way as you get more motivated in learning things. And if your attitude gets to that level, it's not that far to reach your objective.
Jul 7, 2009
Jazz with young people
I have started to learn piano at the age of 17. Do you remember how this age was? You guessed right! I wanted to be popular.
Being the late starter, I have developed many shortcuts so that they recognize me a good piano player.
One thing is that I selected jazz piano as my target. Of course I liked jazz very much. But this is not to write my first encounter with jazz. Continue. . .
When I traveled up north to Newport Jazz festival in 1967, I had great jazz experience. One hundred pieces full band played "Begin the Beguin". The reason why I remember it is that a boy of 13 years old took solo part. His clarinet was just fabulous!
I was 23 at that time and had passed 5 years since I started piano. I was awed.
But then, do I stop playing my piano? Not at all. I started to build my style since then.
Being the late starter, I have developed many shortcuts so that they recognize me a good piano player.
One thing is that I selected jazz piano as my target. Of course I liked jazz very much. But this is not to write my first encounter with jazz. Continue. . .
When I traveled up north to Newport Jazz festival in 1967, I had great jazz experience. One hundred pieces full band played "Begin the Beguin". The reason why I remember it is that a boy of 13 years old took solo part. His clarinet was just fabulous!
I was 23 at that time and had passed 5 years since I started piano. I was awed.
But then, do I stop playing my piano? Not at all. I started to build my style since then.
Jul 2, 2009
How I start play jazz piano
Here's intermittance. Let me tell you how I started. I know there are many people who wish to play piano deep in their heart. If you are a man, you surpress that feeling by saying to yourself "I am a man. There's no time to tease around things that does not earn me money". Being a woman may be a bit different like saying "I am too busy with kids and keep home organized".
Well the truth is that both is wrong. Music isn't any excuse. If you feel like it, you enjoy it. One day you enjoy classical music and the other day you'll enjoy listening to Beatles.
I put up an article titled at an article site, "http://ezinearticles.com" under Arts-and-Entertaiment/music. It should be on the site within a few days. Check it out to entertain yourself.
Well the truth is that both is wrong. Music isn't any excuse. If you feel like it, you enjoy it. One day you enjoy classical music and the other day you'll enjoy listening to Beatles.
I put up an article titled at an article site, "http://ezinearticles.com" under Arts-and-Entertaiment/music. It should be on the site within a few days. Check it out to entertain yourself.
Jul 1, 2009
2 - The key to productive practice -- Spaced repetition
I cannot guess "productive practice" means. Learn to play piano is not manufacture something. But I have one idea relating to the word of "productive".
If you practice too much, you may ruin a couple of day because of the pain at your elbow. In training your fingers, you'd better realize that your little finger and ring finger are there to hold things. Their function were not defined to strike something.
Thereby if you work on those two fingers, your elbow starts to overwork and may accumulate some heat. It's like the shoulder of baseball pitcher. If you pitch too much, your shoulder gets sore.
Then you need to plan your practice. 15 minutes in the morning and evening would be best. It totals to 30 minutes, but you never try to practice 30 minutes consecutively. It easily hurt your elbow, and thereby it can't be productive in a long run.
If you practice too much, you may ruin a couple of day because of the pain at your elbow. In training your fingers, you'd better realize that your little finger and ring finger are there to hold things. Their function were not defined to strike something.
Thereby if you work on those two fingers, your elbow starts to overwork and may accumulate some heat. It's like the shoulder of baseball pitcher. If you pitch too much, your shoulder gets sore.
Then you need to plan your practice. 15 minutes in the morning and evening would be best. It totals to 30 minutes, but you never try to practice 30 minutes consecutively. It easily hurt your elbow, and thereby it can't be productive in a long run.
Jun 29, 2009
1 - Hand & Body Position -- Should you look down at your hands? How to use 'eye flips'
You'll learn it as you progress. If you wish to learn it right now, try this video at U-tube. Or if you prefer lady teacher, you can check with this one.
Both lecture is quite relevant what is required. But if you have been playing with you PC keyboard a while, you must be well aware of your body position. Easy with PC keyboard does apply to the easy position with piano keyboard.
What could be the best way to learn jazz piano is you enjoy it. Sing your favorite tune as you walk. Keep rhythm with you body. The body movement is usally quite stable up until you reach 70 years old. (Well, this is my experience. So you may enjoy the stable movement till you die.)
Keep rhythm is much more important to learn how to play jazz piano.
Leave us your comments. At the tail of your comment, put your url so that you get back link from my blog.
Both lecture is quite relevant what is required. But if you have been playing with you PC keyboard a while, you must be well aware of your body position. Easy with PC keyboard does apply to the easy position with piano keyboard.
What could be the best way to learn jazz piano is you enjoy it. Sing your favorite tune as you walk. Keep rhythm with you body. The body movement is usally quite stable up until you reach 70 years old. (Well, this is my experience. So you may enjoy the stable movement till you die.)
Keep rhythm is much more important to learn how to play jazz piano.
Leave us your comments. At the tail of your comment, put your url so that you get back link from my blog.
Jun 24, 2009
33 Tips to Becoming a Great Pianist
I have noticed that this article could help. I agree with their comment that you are like a horse pulling carriage with eyemask. You don't know what's happening around you nor where you are heading to. Well, for that matter, it could be said to any other skill learning as well.
You need some kind of whole picture to measure your progress. Although there are some double notation, this list covers the themes nicely. I'll be going through item-by-item on this blog.
So tune in on us within a week.
33 Tips to Becoming a Great Pianist: "In our piano teaching studio at Piano University we have identified 33 distinct skill that must be developed if a person wants to play up to the limit of her or his potential. Here they are:
1 - Hand & Body Position -- Should you look down at your hands? How to use 'eye flips'
2 - The key to productive practice -- Spaced repetition
3 - Attitude -- how it affects your learning
4 - How & when to pedal. Using explosive dynamics
5 - Exposure: why it's critically important
6 - Ear Training -- Intervals from 2nds to 13ths
7 - Fingering -- which finger do you use when?
8 - Chord substitutions that create fantastic sounds
9 - Chord recognition -- how to recognize what chord is being used
10 - Musical vocabulary: tempo words, form words
11- Arranging: how is your 'bag of tricks' coming along? 'Head arrangments'
12 - Melodic sense: how does the melody relate to the chords?
13 - Sight-reading: 7 fundamentals you just cannot ignore
14 - Key orientation: Can you think in the key you're playing in?
15 - Scanning the score before you start playing
16 - Mental practice -- how to learn music in bed
17 - Repertoire: Why you need one to be prepared for any opportunity
18 - Goal setting: How good can you get? Is there a limit?
19 - Rhythm awareness -- samba, bossa nova, bolero, etc.
20 - Why knowing music history is important to you
21 - Idea stealing -- how and where & from who
22 - 12-bar blues; creating a motif; 'blue notes'
23 - Extended chords: 6th, 7th, 9th, 11th, 13th, suspensions
24 - Technique acquisition: rubber balls, fingering drills
25 - Harmonization: Using I, IV & V to harmonize
26 - Key identification: Recognizing key signatures
27 - Voicing: Open, closed, registers, color tones
28 - Improvisation: Making music right out of your head
29 - Harmony & theory: How much should you know?
30 - Stylistic devices: Western, boogie, jazz, etc.
31 - Analysis: How to understand what you're hearing
32 - Riffs & runs & fills: How to develop them
33 - Cross-pollination: The best of all worlds!
You need some kind of whole picture to measure your progress. Although there are some double notation, this list covers the themes nicely. I'll be going through item-by-item on this blog.
So tune in on us within a week.
33 Tips to Becoming a Great Pianist: "In our piano teaching studio at Piano University we have identified 33 distinct skill that must be developed if a person wants to play up to the limit of her or his potential. Here they are:
1 - Hand & Body Position -- Should you look down at your hands? How to use 'eye flips'
2 - The key to productive practice -- Spaced repetition
3 - Attitude -- how it affects your learning
4 - How & when to pedal. Using explosive dynamics
5 - Exposure: why it's critically important
6 - Ear Training -- Intervals from 2nds to 13ths
7 - Fingering -- which finger do you use when?
8 - Chord substitutions that create fantastic sounds
9 - Chord recognition -- how to recognize what chord is being used
10 - Musical vocabulary: tempo words, form words
11- Arranging: how is your 'bag of tricks' coming along? 'Head arrangments'
12 - Melodic sense: how does the melody relate to the chords?
13 - Sight-reading: 7 fundamentals you just cannot ignore
14 - Key orientation: Can you think in the key you're playing in?
15 - Scanning the score before you start playing
16 - Mental practice -- how to learn music in bed
17 - Repertoire: Why you need one to be prepared for any opportunity
18 - Goal setting: How good can you get? Is there a limit?
19 - Rhythm awareness -- samba, bossa nova, bolero, etc.
20 - Why knowing music history is important to you
21 - Idea stealing -- how and where & from who
22 - 12-bar blues; creating a motif; 'blue notes'
23 - Extended chords: 6th, 7th, 9th, 11th, 13th, suspensions
24 - Technique acquisition: rubber balls, fingering drills
25 - Harmonization: Using I, IV & V to harmonize
26 - Key identification: Recognizing key signatures
27 - Voicing: Open, closed, registers, color tones
28 - Improvisation: Making music right out of your head
29 - Harmony & theory: How much should you know?
30 - Stylistic devices: Western, boogie, jazz, etc.
31 - Analysis: How to understand what you're hearing
32 - Riffs & runs & fills: How to develop them
33 - Cross-pollination: The best of all worlds!
There certainly is the information overload to learn jazz piano.
This is my first post on "how to play jazz piano". I have been learning internet marketing for 6 years. The conclusion of those years is that I go back to the basic. Do whatever you love to do. And this is my site to tell my way= lazy way to learn jazz piano.
I've been checking through those video on piano lessons at YouTube every now and then out of my curiosity. They are wonderful! But they are wonderful only if you had done finger training for certain extent and if you had learned how to read notes on sheets. Well, you don't have to read thoroughly, though. I mean you don't need to be able to play as you read if the score is of one of those classic music.
Since I started playing piano as late as 17 years old, my finger was totally in lack of training. So I have known that if I cannot play, I cannot read sheet nor figner positions on keyboard.
I started learn jazz piano as I started finger training using Hanon. I had two teachers, one for fingers and the other for jazz play.
I've been checking through those video on piano lessons at YouTube every now and then out of my curiosity. They are wonderful! But they are wonderful only if you had done finger training for certain extent and if you had learned how to read notes on sheets. Well, you don't have to read thoroughly, though. I mean you don't need to be able to play as you read if the score is of one of those classic music.
Since I started playing piano as late as 17 years old, my finger was totally in lack of training. So I have known that if I cannot play, I cannot read sheet nor figner positions on keyboard.
I started learn jazz piano as I started finger training using Hanon. I had two teachers, one for fingers and the other for jazz play.
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