Jazz Piano Basics Handout WIBC17 - Dan Davey
JAZZ PIANO BASICS - DAN DAVEY DAN DAVEY JAZZ PIANO BASICS
JAZZ PIANO BASICS - DAN DAVEY LEAD YOUR PIANIST ACROSS THE THRESHOLD Your pianists need YOUR help in rehearsal! Don’t expect private teachers to give them everything they need to be successful in YOUR ensemble on YOUR timeline. You need to have an understanding of the role of the piano and how to communicate voicings, comping, style, and more! Joining the jazz band as a pianist (or any other rhythm section instrument) is much different than joining as a horn player. The “concert band notes” look shockingly similar to the “jazz band notes” on the page. The horn player has to learn style and listening responsibilities. The music you hand your pianist looks entirely different and can be very overwhelming unless you know how to help them. BASIC FOUR-NOTE CHORD SYMBOLS Chord tones are numbered based on an 8-note scale using scale degrees 1 (Root), 3, 5, & 7. The following formulas are used to modify a major scale/arpeggio. Basic Symbols: Major 7th: 1 3 5 7 Dominant 7th: 1 3 5 b7 Minor 7th: 1 b3 5 b7 Half-Diminished: 1 b3 b5 b7 C-7(b5), C-7(-5) Diminished 7th: 1 b3 b5 bb7 Minor-major 7th: 1 b3 5 7 Cmaj7, Cma7, CM7, C 7 C7 Cmin7, Cmi7, Cm7, C-7 C 7, C , Cmin7(b5), Cmi7(b5), Cm7(b5), Co7 Cmin(maj7), C-( 7) See the pattern of how each chord adds one flat to create the next. CŒ„Š7 4 &4 w w w w Œ„Š7 w w w w C7 bw w w w C7 7 5 3 Root C‹7 w bb w w w bw w w w C‹7 b7 5 3 Root w bb w w w C‹7(b5) b7 5 b3 Root bbb w w w w b7 b5 b3 Root (Same as half-diminished chord) Note: All of this may be applied to your guitarist as well! C‹7(b5) bbb w w w w
JAZZ PIANO BASICS - DAN DAVEY WHAT ARE TENSIONS/EXTENSIONS? Tensions are non chord tones that are added to a chord to change the color/texture of the chord. 4 &4 CT CT CT 2 3 CT 7 8 œ œ œ œ œ œ œ œ 1 CT 4 5 6 œ œ œ œ CT 9 10 CT 11 12 œ œ 13 CT CT 14 15 Tensions are numbered outside of the scale even though they may be played/written in any octave. Ex: 9, 11, 13 Chord tones are numbered within the scale Ex: 1, 3, 5, 7 NUMBERING CHORD TONE EXTENSIONS Note that scale degrees 10 is the same as 3, 12 the same as 5, 14 the same as 7, and 15 the same as and Root. All of these are Chord Tones (CT), and therefore, these are not tensions. NUMBERING COMMON TENSIONS/EXTENSIONS The most common tensions are 9, 11, and 13, or some form of these. Rule of Thumb: There must be a whole step above the 3rd of a chord, so an 11 may become a #11 on major and dominant chords. 4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ THE 11 VS. #11 œ A half step above the 3rd of the chord confuses the sound of the chord. On a major or dominant chord, raise the 11 so there is a whole step above the 3rd. On a minor chord, the 11 is a whole step above the 3rd œ œ #œ œ œ 2 œbœ &4 œ Ó
JAZZ PIANO BASICS - DAN DAVEY CHORD SYMBOLS WITH TENSIONS Chords with tensions use the basic four-note chord as the foundation. Young players may simply play the basic four-note chords until tensions are introduced to them. Ex: C9 is really a C7 with an added 9. Young musicians can simply play a C7 until tensions are introduced. C7(„ˆˆ9) 4 w & 4 bw w w w GUIDE TONES: THE FOUNDATION OF EVERY CHORD Guide Tones are the 3rd and the 7th of any chord. These two notes give us information on the quality of the chord The 3rd tells us if it is a major or minor chord The 7th tells us if it’s a major seventh or a dominant seventh Cmaj7 vs. C7 - difference is the 7th CŒ„Š7 4 &4 w w w w C7 7 3 C7 vs. Cm7 - difference is the 3rd CŒ„Š7 C7 4 w w &4 w w bw w w w bw w w w C‹7 7 3 w bb w w w C‹7 7 3 w bb w w w C‹7(b5) 7 3 bbb w w w w As a pianist (or guitarist), playing the guide tones gives all of the harmonic information needed to Play in a big band rhythm section; Begin reading chord changes; Play fast-moving changes C‹7(b5) bbb w w w w
JAZZ PIANO BASICS - DAN DAVEY Usually, the guide tones resolve within a step to the next chord. The 3rd of one chord becomes the 7th of the next, etc. Range of Voicing: D below middle C up to A above middle C When these voicings are performed, it’s important that the pianist learn them in both hands so they can be used for comping behind another soloist, comping behind their own solo, or playing a melody in the right hand. Omit the root of the chord and have students double the voicings in both hands. GUIDE TONE VOICINGS PLUS ONE Adding one note to our guide tone voicings creates a more rich and colorful sound. We add the 9 (or any alterations: b9, #9, etc.) and the 5th (or a substitute of 13, b13, b5, etc.) The pianist learn these voicings in both hands as well so they can be used for comping behind another soloist, comping behind their own solo, or playing a melody in the right hand. Range of Voicing: D below middle C up to C# one octave above middle C Mark Davis’ Guideline: For voicings with the 3rd on the bottom followed by the 7th, add the 9th on top (options of #9 and b9 for dominant chords). For a 4th note, add the 5th above. CŒ„Š7 4 &4 { w ? 44 w w 4 &4 w w 59 ? 44 w w 73 { For voicings with the 7th on the bottom followed by the 3rd, add the 5th on top (options of 13 or b13 on dominant chords). For a 4th note, add the 9th (options of b9 and #9 on dominant chords). CŒ„Š7 Piano 9 7 3 CŒ„Š7 4 &4 { w w ? 44 w CŒ„Š7 5 3 7 w w w w 9 5 3 7 To add another dimension to these voicings, the pianist may play one chord tone or tension in octaves in the right hand. This technique is helpful in cutting through a big band!
Dan Davey Mt. Hood Community College Guide Tone Voicings II - V - I in Cycle 5 Form A1: 7th on bottom with 3rd above E‹7 A7 DŒ„Š7 D‹7 G7 CŒ„Š7 C‹7 F7 B Œ„Š7 ## w w w w bb w w w w 4 & 4 # ?4 4 Piano { 7 bw B ‹7 E 7 A Œ„Š7 A ‹7 D 7 G Œ„Š7 F ‹7 B7 EŒ„Š7 Pno. & b b ? b { w w bw bb bw w bw # # #w w w BŒ„Š7 B‹7 E7 AŒ„Š7 b b b Form A2: 13 E ‹7 & bb A 7 D Œ„Š7 w w Pno. ? b bw { 19 b A‹7 D7 GŒ„Š7 C ‹7 F 7 # # # G‹7 ## w w w C7 FŒ„Š7 # F‹7 B 7 ## w w w E Œ„Š7 Pno. & # ? { #w w w b w w w Copyright 2017 bb b w w bw
2 Form B1: 3rd on bottom with 7th above B‹7 E7 & ? # 25 Pno. { AŒ„Š7 ## w w w A‹7 D7 # GŒ„Š7 G‹7 C7 FŒ„Š7 #w w b w w w w 31 F‹7 B 7 E Œ„Š7 w w E ‹7 A 7 D Œ„Š7 w w C ‹7 F 7 BŒ„Š7 Pno. & b b ? bb { bw b bw # # # b ##w w w b Form B2: 37 B ‹7 & bb E 7 A Œ„Š7 A ‹7 w w bb bw b D 7 G Œ„Š7 F ‹7 B7 bw w # EŒ„Š7 ## w w Pno. ? b { bw # b w b 43 E‹7 A7 DŒ„Š7 D‹7 G7 CŒ„Š7 C‹7 F7 B Œ„Š7 Pno. & ? # #w # w w w { w w bb w w bw
Guide Your Tone Blues Dan Davey Mt. Hood Community College F7 B 7 F7 4 & b 4 bw w bw w bw w bw w w w Piano ?b 4 { 4 w w B 7 5 & b bw w bw w F7 G7 bw w nw w Pno. ?b { w w w w C7 B 7 F7 C7 &b w w bw w bw w w w 9 Pno. ?b { w w w w
Dan Davey Mt. Hood Community College Guide Tone Voicings Plus One II - V - I in Cycle 5 Form A1: E‹7 A7 4 & 4 # ?4 4 Piano DŒ„Š7 D‹7 G7 CŒ„Š7 w ## w w w { 7 C‹7 F7 B Œ„Š7 w w w bb w w w w bw B ‹7 E 7 A Œ„Š7 bw w w A ‹7 D 7 G Œ„Š7 F ‹7 B7 EŒ„Š7 Pno. & b b ? b { bw b bbb bb w w w b b bw # # # w ##w w w Form A2: 13 E ‹7 & bbb A 7 D Œ„Š7 bw w w Pno. ? b bw { b C ‹7 F 7 BŒ„Š7 # # # # ### w w w w A‹7 D7 GŒ„Š7 G‹7 C7 & ? # w #w w b 19 FŒ„Š7 B‹7 E7 AŒ„Š7 # # w ## w w F‹7 E Œ„Š7 B 7 w Pno. { w w w w w Copyright 2017 bb b bw w w bw
2 Form B1: B‹7 E7 & # # 25 AŒ„Š7 w # # w w A‹7 D7 # GŒ„Š7 G‹7 C7 FŒ„Š7 #w w w b w w w w Pno. ? n { w w F‹7 31 Pno. B 7 & b b ? b E Œ„Š7 w w w E ‹7 A 7 D Œ„Š7 bw w w bb bw # # D 7 G Œ„Š7 F ‹7 bw bw w b b bw { bw C ‹7 b b F 7 BŒ„Š7 # # ## w #w w w Form B2: E 7 A Œ„Š7 bw w w ? b b bw 37 B ‹7 & bb A ‹7 bbb B7 # n # EŒ„Š7 ### w w w Pno. { # w E‹7 A7 & # ? # 43 DŒ„Š7 D‹7 G7 CŒ„Š7 w w w C‹7 F7 B Œ„Š7 Pno. #w w # w { w w bb w w w bw
Guide Your Tone Blues Dan Davey Mt. Hood Community College F7 B 7 F7 4 w & b 4 bw w bw w w w bw w w bw w w w Piano ?b 4 { 4 w w B 7 5 w & b bw w bw w w F7 G7 w bw w nw w w Pno. ?b { w w w w C7 B 7 F7 C7 w &b w w bw w w w bw w w w w 9 Pno. ?b { w w w w
Guide Your Tone Blues Dan Davey Mt. Hood Community College Piano F7 w B 7 w F7 w 4 &b 4 w w ?b 4 bw 4 w w w w w bw w w w bw w w bw w { B 7 F7 G7 w &b w w ?b b w w w w w w w w bw w w w bw w nw w w C7 w B 7 F7 C7 w w w w w w bw w w w bw w w w w 5 Pno. { 9 Pno. &b w w ?b w w {
Dan Davey Mt. Hood Community College Four-Note Minor Voicings II - V - I in Cycle 5 Form A1: E‹7(b5) A7(b9) D‹7 D‹7(b5) G7(b9) C‹7 C‹7(b5) F7(b9) B ‹7 w w ww b b ww bb w w ww bb w w w bbb b 4 & 4 b # ?4 4 Piano w { B ‹7(b5) E 7(b9) 7 Pno. & b b b b b ? b b A ‹7 G ‹7(b5) C 7(b9) bbbb w w ww { F ‹7 w ## n ## w ww # # #w bw F ‹7(b5) B7(b9) bw E‹7 Ó Ó # # # #w w ww w Form A2: E ‹7 E ‹7(b5) A 7½ D ‹7 C ‹7(b5) F 7½ B‹7 & bb b ? n b bbb w w ww bbb n b b bbb w w ww # # # # ## w w ww 19 B‹7(b5) A‹7 13 Pno. F‹7(b5) B 7½ bw { Pno. E7½ & # ? { w w ww w bw w A‹7(b5) D7½ G‹7 G‹7(b5) C7½ F‹7 b b b bw w ww bb b ww bb w w w Copyright 2017 w
2 Form B1: 25 B‹7(b5) & E7½ A‹7 A‹7(b5) D7½ G‹7 G‹7(b5) C7½ F‹7 # w w w w b #b w w bw w b bb w b w bw w Pno. ? { w w w 31 Pno. F‹7(b5) B 7½ & b b b ? E ‹7 b b w w bb w w E ‹7(b5) A 7½ D ‹7 bbb b bb b w w bw w { bw b b b bw B ‹7(b5) E 7½ A ‹7 C ‹7(b5) F 7½ B‹7 # # ## w w w w # # w Form B2: 37 C‹7(b5) F7½ B ‹7 w & bbb b bb w w w w bbbb b bbbb w w w G ‹7(b5) C 7½ ## F ‹7 # ## w w w w Pno. ? { bw b b bw # #w # Pno. 43 F ‹7(b5) B7½ E‹7 E‹7(b5) A7½ D‹7 D‹7(b5) G7½ C‹7 & # # ? # #w w w w b # w w w w b b w b w bw w { w w w
JAZZ PIANO BASICS - DAN DAVEY COMPING 101 Compliment or Accompany The goal is to provide a harmonic and rhythmic counterpart that creatively supports the other instrumentalists. The pianist helps to create the foundational groove for the band. Comping patterns should represent the subdivision of the groove (triplets, swung/ straight 8th notes, etc.) like a drum fill Generally, all notes of the chord should sound together unless rolling/arpeggiating a chord in a ballad, etc. STYLISTIC CONSIDERATIONS: SWING The swing groove is established by a triplet subdivision. “LA” is the lift where the syncopation occurs. The bass player and comping instruments thrive on the lift! 3 3 3 3 4 &4 œ œ œ œ œ œ œ œ œ œ œ œ 3 Do - n - LA Do - n - LA Do - n - LA Do - n - LA & œ 3 j œ œ 3 j œ œ 3 j œ œ 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ Do - (n) -LA Do - (n) -LA Do - (n) -LA Do - (n) -LA j œ œ Do (n) LA Do (n) LA Do (n) LA Do (n) LA 3 œ Do(n) LA œ œ Do(n) LA œ œ Do(n) LA œ œ Do(n) LA STYLISTIC CONSIDERATIONS: LATIN Straight/Even 8th note subdivision Comping patterns should be short and percussive Afro-Cuban grooves should revolve around the 2-3 or 3-2 Son Clave 2-3 Clave 4 &4 Œ œ œ Œ œ j œ œ œ 3-2 Clave œ j œ œ œ Œ œ œ Œ
JAZZ PIANO BASICS - DAN DAVEY 4 STEPS TO SUCCESSFUL COMPING 1. 2. 3. 4. Play long, sustained chords Play same/similar rhythms to another section/instrument Play in the holes/spaces Play a combination of 1-3 (*this is comping!) KNOWING THE PIANIST’S ROLE Listen and groove with the bass and ride/hi-hat Communicate with soloists (requires listening!) Support the band and fill holes where appropriate Not letting the harmonic accompaniment become muddy or heavy! especially when other comping instruments are concerned Not all comping instruments can “talk” at the same time without yielding to each other - jazz is a conversation! Piano/Guitar relationships - coordinate comping for each section of the chart. One instrument can be more rhythmic while the other is more sustained. One can lay out while the other plays. Director can coordinate or empower the students to make these artistic decisions. UPPER STRUCTURES Playing a triad over your foundational chord can supply tensions and alterations to chords. Left hand can play the 2 or 3-note voicings from above Right hand plays an available triad in any inversion. Different triads give different colors and moods. VOICINGS IN 4THS More modern, open sound from players like McCoy Tyner and Chick Chorea Minor Chords: build up from the Root in 4th with a 3rd on top Major/Dominant Chords: build up from the 3rd in 4ths Piano 4 C‹7 CŒ„Š7 5 & 4 bw bw w 37 ? 44 w w 11 { R w R w w 59 w w 13 3 or C7
Upper Structure Triads Dan Davey Mt. Hood Community College Major Chords Use the following triads from the Lydian Scale over Major Chords #œœœ & œ & œ œœœ #œœ œ VMaj VImin VIImin œ #œ œ IIMaj Minor Chords œœœ Use the following triads from the Dorian Scale over Minor Chords œœœ œœœ b œœœ IVmaj Vmin b œœœ œ œ bœ IImin bViimaj Dominant Chords Use the following triads from the Lydian b7 Scale over Dominant Chords & œ #œœœ b œœœ œœœ Vmin VImin œ bœ œ œ IImaj Use the following triads from the Altered Scale over Dominant Chords for more color & œ bbb œœœ bIImin bbb œœœ bbb œœœ bb œœœ œ bœ nœ bIIImin bVmaj bVImaj Use the following triads from the Diminished Scale over Dominant Chords for even more color & œ bbb œœœ nbb œœœ #œœœ nœœœ bœ nœ nœ bœ bIImin Minor 7(b5) Chords & œ bbb œœœ bb œœœ b œœ œ IIdim. bIIImin/maj bVmaj/min bVImaj VImaj/min Use the following triads from the Locrian #2 Scale over Minor 7(b5) Chords b œœœ œ bœ œ bœ bœ IVmin bVIImaj
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JAZZ PIANO BASICS - DAN DAVEY QUICK WAY TO SOUND MORE ADVANCED Any voicing can be moved up or down chromatically or diatonically to make a stagnant chord progression more interesting. JAZZ PIANO RESOURCES Jazz Piano Online: http://www.jazzpianoonline.com “Jazz Keyboard Harmony” A Practical Voicing Method for all Musicians by Phil DeGreg “Jazz Piano Voicing Skills” A Method for Individual or Class Study by Dan Haerle “101 Montunos” by Rebeca Mauleon-Santana PLEASE CONTACT ME! Dan Davey Director of Jazz Studies Mt. Hood Community College daniel.davey@mhcc.edu 503-491-7010 www.danieldavey.net
JAZZ PIANO BASICS - DAN DAVEY Chords with tensions use the basic four-note chord as the foundation. Young players may simply play the basic four-note chords until tensions are introduced to them. Ex: C9 is really a C7 with an added 9. Young musicians can simply play a C7 until tensions are introduced.
Jazz Piano, ABRSM Publishing: Level 1, Level 2, Level 3, Level 4, Level 5 Jazz Piano from Scratch, Dr. Charles Beale Shelton Berg: Jazz Improv: Goal-Note (Book/Cd), Shelton Berg Bill Boyd: Jazz Keyboard Basics, Bill Boyd An Introduction To Jazz Chord Voicing For Keyboard, Bill Boyd Intermediate Jazz Chord Voicing For Keyboard, Bill Boyd Exploring Traditional Scales And Chords For Jazz Keyboard .
JAZZ PIANO BASICS - DAN DAVEY Tensions are non chord tones that are added to a chord to change the color/texture of the chord. Note that scale degrees 10 is the same as 3, 12 the same as 5, 14 the same as 7, and 15 the same as and Root. All of these are Chord Tones (CT), and therefore, these are not tensions.
JAZZ PIANO BASICS - DAN DAVEY Tensions are non chord tones that are added to a chord to change the color/texture of the chord. Note that scale degrees 10 is the same as 3, 12 the same as 5, 14 the same as 7, and 15 the same as and Root. All of these are
The Jazz Piano Welcome to the wonderful world of jazz piano! Understanding the function of the piano and how to play your part in the jazz band can be overwhelming when first exposed to standard jazz material. But if we take small steps towards correct performance concepts, the instrument can be source of great joy to play in a jazz setting.
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“Jazz Keyboard Harmony” A Practical Voicing Method for all Musicians by Phil DeGreg “Jazz Piano Voicing Skills” A Method for Individual or Class Study by Dan Haerle “101 Montunos” by Rebeca Mauleon-Santana Dan Davey Director of Jazz Studies Mt. Hood Community College d
down your commitment to practice jazz piano, tell it to others, and schedule in specific practice times. MONTH ONE: Jazz Piano 101 A. Chord types (Play each in all keys) 2 B. Quick Fix Voicing C. ETUDE: (Quick fix voicings with inversions for better voice leading) ALL MUSICAL EXAMPLES TAKEN FROM “JAZZ PIANO HANDBOOK” (ALFRED PUBLISHING) AND USED WITH PERMISSION MONTH TWO: Position .
ACCOUNTING 0452/22 Paper 2 May/June 2019 1 hour 45 minutes Candidates answer on the Question Paper. No Additional Materials are required. READ THESE INSTRUCTIONS FIRST Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. You may use an HB pencil for any diagrams or graphs. Do not use staples, paper clips, glue or correction fluid. DO .
