Exploring Jazz Piano - Volume 1

254 Pages·2005·23.29 MB·English

by  Tim Richards

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About the Author

Fir tices Beaman“ fone cree ly 981% a est Enon fe
adep ec nsineem a rowp Spel er bates 19 Eel w 1373, ARE mera
Ios sney Papa connty egal rs ab aera ore

Neswuno ssf ?aenvd: Bony lesen Heacaui Hy rsae Af Pasta J
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Tesch revs beh asia sence on ea 94 greg Set Lo

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Slacapcemnirzamend Lacan 3b, Worwes lars mony aan ade SSE eles or
onnsighy
“Pana toning mg var ans caone tin eae

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sud Lig seg rs eee

"Cisne sas aa Rhvses annals de 33 she eels

Tae La dite avant cere ral eoracs pon fps
Stew eae ep hte mdey™ Soy 2 Cold Gol "thas

nn in Fo toast nas ina anes an les wl fs 369 i ar

Selected Discography

Groat Spit ise

fee 20 2505

nepa br trang faa 59, orcs Tr
Sc gy en bre, aloe

Tin Rc“ Tha”

Meas? 25

WibTieciak Vom! sextant Mac Oates ere
Thame, Lhe Toe be Bre

Gratis Sekt er 1979-1980 2 75
pieemraiartion

Ninepice bend frre Aon are epi toa
‘onal, Foe (ort ale hanover Or las Ds Eas
Equiv Eoea qu emtip ors tiaks laine 2a Dyes Lor fy Cea 96h ate
HEldogenth rk 8 rll eueyet ovis athe, Sand,
Tinks & Ss ites Sumdscape Shiba

RMRCDe sort

‘Seon rth Views usp Soe ace Wana ea

So 1c Pon Rg slo

thong asco 1a He thi

soy Ny, Pod as
sth Mi Pals

Tin Boks Tg he hen 8

lust?)

BN Kose “smal shaskaé Kosch in Aras ie Faas ee sl

Len, Catan Cubans Can,

Sa ike Tim Beads ea Dare
GROEDISE Fb fne ua 957
Suapabine snd prs di ee Ss

Stat ord Te a
uate seth sora. Mitotane ¥ Giese io, Sent ea

3 Reco ae anys De apie oe bf cj th st
2G Cle singe 3 Ree aan ye Rea oor, Dawn Tove

See Cheer ry Geb, Carre, frat Cs, Lene Cobb, M be Gorn cl
rte, Dok Tek Ste i Te le ll Har sche, Kate Lane Pag
Sane Nir fr ssa ren Sure, Mia Spake Suet: St ar, Slr Tri
Stenger, than ais nd Whar

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Contents

Ta oman
eae nv Use this Book

ied
elon Yn Stare °

ae Sajnr Tas mn
Sain Weds 1 Threesome = rr
SwirgcFiguh Nowes_~ 4

Romar Nuucele 6

“Muir Triad Inversinns nr

= Norsblem 8

“The Major Penta. Seale _ re)

lunaryale and Fata = ny

Gowting to Row your Ma OF ads all Kop a

The Cyale ot bls 2

Wa Major Trind Gyo, a4

Trisd Arpesgioe %

Coincidence Calypso Tas Richards
omic

Major Iilad Werkour

Teryet Nonstane Pick ps

F tesensens! 4

FY Todaviala Quiero ue Henderson: 36
Vert eal Trrprosisution ‘Wechniques _ 7s
|e On Geen Dalphin Stecet iparel; £ .
Spread Posi.iom Triads 4
aveloping Hugues ita Soread Posian Tiss “4

Braker: Chords
Al The Lost Valley
Peatatanic Sears Pingetiog,
vias, Mere
Fina’ Clickewint: Augmereis Tacs
Major Triad Quiz,

‘Mine Triede
lc Blue and Whio
The Relative Minar
The MicorFireVinger Post
Minoe [rust i
dhe Misr Trae usa 0 Chord
Mannenberg Abilis Tirabiea
Thickening tbe Melody
Panranmie Sate raprovisatioe Kechragniss
2 Take The'A’ leain Billy Strashara
Goambitiug Nass amd Chords tne Fete Tha
Bevheu Chords —
PIS Livia Improvisation
walking bt
Haas
vag Dimicasioe. toad
“Monta for Monty
Thoee Dilirers Wwe Seales
Nawal Minor Workout
Twrtiar Phasing Conceoes

Lines
The Minor Prati Sa
Open Tels
“AIF Open triad Workout
Final Chec rir Diminished nds
teil Quie
Maur vena Choe
herds a breamon
Maar Sov: lusrsioes
231 Major Sevemh Workout
Scns anne
Seale Pagers — RI
Ihe Ker Chk
Down the Line
Ihe ele Bar Blues Sei
Play Donaunut Seventhy as Ths
Smaighe Nn Chaser Welonians Mt
Hominanr Seve Seales
Who gins Seales
Monit Soto on Straight No Chaser
Learnt Domina Sseanche inal Koy
{ Hominnat Seventh Warknot Ta
Broken Chord Pauerrs,

Dhyuhinie. Wat iatous

SN

sc ea GY

a1 The These bles Dac
“nprosisieg ovate Louie Chord 1s
Kespng he Fos re
Resthre Change’ Chords fr
Seer Save Chords Us
‘Lbe Dorian Mode ar cal
Dalia am. 8
Final Cake: CRIBS Teanionahipe me
anein Hat as
Mande Voi ur Rour Sete Cs im 8
2 Open Tp be
Modi tmpsiciarom a!
Maal Saapes wo
Uhell-¥ sequence 14 $
Fy itosie Cpe ol Foe —s |
Brarilian Racthias 144 3
te Bovsa Naa Comming 21 we
fe Fly Metu the Moon Bart Hosea 146 z
Secnany Doar =— Hs
Sah Chords Mg
noe Sth Chords 48
Open Out Four Note Ca ie Es i
Aum Leaves sep Rose 7 ae
Shu 153
Thr Bsa Seals GG
29 Omitlngy Gras Parhr be
Veatc: Firovsrion ba
Lama Shor t= Sageances ir
Suna sao che Thr cal FU 162
att ¥an Arpeeie Woon twa
TW = (Sequences Joe Sn 166

W=¥-1Eudings
TW Vill ¢ Endings
Fake Back

FU-vGyal

Tend Shee.s

1 Clarckpones Mises
‘wes Qui

Grater

Billo

i Shans

Sine
0 Sell rea
‘ning Pectatorne SeZlex beer May
Pentatnc Seale Barterns
The i Chard
Quaccal armery
© Deca Improvisation.
Dominant Nini: Chords
71 Fnley Two-live

3 Pectatouk
Paw g
Faodladed Em
Siaor Ninth Chords
Gleud Nine
Mire Vion Nth lapse
4 Clana Nine Fmpeoviation
3 Song For My Tithe Hots SE
Tora ise’ Sl on Song Tor Sy Eathet
Blovna nalsio
Fhe hla 69 Chol
Ganwwe
Cle Phyo ide
Majer and Miso ie Chore Ca
& Whine sian
TEVIETE V See x036
vt Ina Sepia Mood Du Fg
Shear Bloc Chae
roo Te Vox.
hal Csi To Bad
Cdn

ie Ags

T Snggested Lin ening, (DE=oRrap _
TWPevetonie sake

TU Syabols Use

TY Gassacy of rs

Quiz Ansvies

Lukes _
CO Vind Tas Vel

Athi Bok
Introduction

eploving Tac Benn ise soquel w “ay 1997 Sahote
publication tprocising Bikes Pico. Overs, Ue
tee ics] and theore ical level 3a litte high ane
players are senply advised to work through the
sealce Pook Fst.
tors baie} someents it depth. UF you. ase prablerm
teith eortedinating Betener he kan
Jmpcorwing arousd ple chu seae
fin prone pla to hag

Take ite pe
starting pornt 0 the iuuroduction of various carers
*elairg 16 melody, aaythm and F-mprovisation,
gin Yul, 1 froma esis triads ti soyenth anal

it slals eth esmgy imaorent it

fo with
the blues

esi, Ub boos uses harmony 2331

roe
iad choral. Vol, 2 continues the progressinn via
leverrh ara tbergonth chords. ut ir-vishea nd
Creve haruauny, feamarng sure sumplex and
lonréul okevds and scales Peal eobomes ent
interes. 9 4 challenging pieocs er alay and
impruise ocr
alike some ace piano Urea, this ut
place harmony
vom jartente, As panies, we are expected 10 have a

thos dows net
tb ams iewprowisauior m separate

[rood grasp of harmeny ei. uo be able en iay dow
shonds for surselves obey to imavowine oven We
are alsy expected no be able ro create # wood grote
accuaupanimert, Because af the siaria's aig. o's as
soles. accompanist, aud mente Ube aeythin
cation, rhese ropies are deals with alongside each

‘rhe derauhout tke Book

Jara pian isa comp ex nal demmanciing subiect,
-equiving many roars of study aval practice kefore
arything approaching mastery ear be ackzevew
Thuowahoct ehe bem 1 bore strc the tartans
of Titan ag inca evans, playing with ore
rrasiciamsy aru eau live jo as an ssscnial panto
the Learning process,

Thome Una xorg fe: Pina snes yon 91a

jourzaey ‘oom oui an Tomes

ceajopmert, Ged hace om your craves

Tins Rasharls
Localeat 2005

How te use this book

As wie LRP ae T shal reise vs iti esse each

rauct within isell, Uhe piocea rowers tae end th
considerably hades, [his meame

that hore are zelacively easy places ithe book at be

srareat every ebapecr

Treweres, this grading is uot quite as clear-cal as
wich IBP =a catenin Susie comapurence is sumed. and
sore quate 1 engng ope oF piowes exe
esczsionally ineroduced qu ce carly om. You ray wish
ter ship these pages the est nme you work Parmagh a
shapeer, eomriry to thee at a Ister dats, fe is
recor neneut thet you
severt times, e-ecbing fre casest material “rst, su
Tear pou bave &

ark thro. the hoc

apscrticia’ nbe:standimy of the

wule, The go over ie agata iu nore dpe,
progressing Anefver through each Crapter a
increasing Your skill ana hacweledge. You'll probably
creed 19 rape: cis phocess seven! Limes over a pred
ul mers
[ hetiere that bis neeinerageack mse closely

lupficates ke way that mase prafessional musicians
Ja Undersea
‘yom get bugged down in ane chaaer, mows Lo Lae

Teer the

sacs in lagers =i

sesive pieces atthe stactof the ret, camry buck

othe kaeder material

The cD

very piece iv the boo’ ear 2 Tea on the CD. tet

ince the bic st listening 20 it as wel ae reading Ibe
runic amtirg pies ky ear isa viahle altercative

“Tracks played om piu alore are recorded in 0,
junt like an onlirary sugliv CD. Tewever sorte at the
subse tracks may suum a lite stremge 95 Sar
instormous have beer sored It aa iit tor
‘enteral pape.

AW yostee ust picked ap this buol, ara would lice Le
pst a iste of Ste pieces il eoetains, prograrrn Four
CD slaysr eo pay the following urtcks:

poo BAIS
2-34-35

ie
36-39

Seliot the ‘uw seting an your acon. hss
fone, te elin-nace Fhe panting.

aessiwith druamsaccompanitren hase been
wick tere separation. Althous deameand
ane wer record st the same tie, Ube
paar Ie

a right in the recordieg stadio. tt yo
svinh ta iminate dhe pian ron the iscording, you can
ileucing rh right
sing this:

slay alone seth the crural
pardhannel, There arene way

‘e-tora Fhe balene knoa on your am plier tothe let,
So that ww sound coxors ort the right had sgeacer

eH ysis soul’ol, exe hesapkones; ut
vy Ustue “ech leet ean, The cubes one sam be

pusirqned aehiue 0es «a sp thal you dot hear ie

Porth pieces wich drm, the piame usuerall plays
faba inc in the loft rnd eich is wl the bass is

(@-Baseand drums ‘ze tie euch Rave the pati cn thes
righ, 960 the ee, ih ube duns opt betwee
pout channels, By sileeaiug the prame as less ed
bone, yr cad play alg wurh bars aac Drums
‘yon were the pian in my io!

following Uacks, the ass ory ances ater

iF

F Buaky Toe tice
Le Cora Nine

his is heeatne ths plane pays the buss Tine eo stare
ye ta doi your'ee By
vousell, Wher the nase ee
selves to Tetchand ebards to avoid doe fing tie
Dass lire
Ie scare ertcks, the baes only emes al way

swith, something yon'll hs

ths piane. generally

‘irmagh, wea the pioss it vaperced wk ‘ft hand
ini eburels

Py Mujer Sorenth Workout
Ww Domnore Seventh Werk
FL Ansuene

‘© Playing along A.
‘wick, Intl, practise cael hand separately, auc

sckscan 3e nsec ty lay along

same i aoe pizne on che evodinw, F you can't
LLesp up, practise ata skawer teen, away fom the CD,
you've had u chou to getup to
spsea, Whan rhe loft-aad gpbechand pasare bo

u

Ar his pint, yi stole slenes the piano au play
slong sick {st tae creme fr has am reas 10
agvide you.

@ Compl Aer tae wad the Falleneing mes
Tjnse play -he bassline or hassars:shords,
lediane cher

Le Threesume
Fn Green Tih
Mansesbury
A Monza
FL Dreantin rdchorst
FL Danwrssbe Cane

Hl fhe Fhesne
PW Oreuthadonry
Sing Pa My keer

eure

rAleay

‘This koopa as siping? aulis what yor'd olay
asked Woagcompany sorsweue esc 010, hse
sczges arsdlesignedas a backdrop “oryen: own

iyp-ovinatiem. Eauually youll wars to play youraen
accompanirent while yo, imgrevire, by ening the
Prghechamd eal

(©-The workouts he Solowrngraueas cortam ‘blac
cut som sepa hc writen

at, ih
rmaserual, and try ont variations unt

31 Major Trad Barkow
Narunal Menor Wiekose
1 Open’ Poind Westone
FE MuiorSeeams
FA Dowdnans Serth Worden
SB) DVET Arpaia Weckant

@ lmpenvsation Move of bec
in:21oviseé woke whi detaonstvte che topics under

disentsion. Fe rexeans of space chesehae often her
leeprsquite suc Lf puu’d koe sear sales Lia. strech
outa litte scum, alease lier to ony eamrverially
avai ab. eeotdiegs, many of which i’ ude ieee
trout, is aco fee p.4
Before you start
do bore on play
Sorapreactavely the vot range a onj’es thar have
Porae ule esistence siace tke besisiinge o® the erie
over 10D years au, Jaze bas Fovocie verse Ura

1B Je: pla er clam ro cower

is m danger 9 bacoming.a meauiaglews wos) User's
lnzzrek, sepa, sour Sc, wot fay wun jce
laze fusion, cud faz, wuasneierm

a” iazs, Now" Orleans ji
bot ee, eo
Stroin jee, Lin jee, minder’ faze, bebo,
bop. post bu, free see, eomiermioniey ugg, modal
laze auant-gane jase, axl a while host of other
labale of varying dapices a seule

West Con

sad

(© Listening Paced wth ris hewilde-ing variety of 3
the jaz pian'sthava lato choices In make Ue mest
importatieehing ists ccep an open rind, and el
te oube: tocpicians as emel as possible, or recids, or
the ali, ad a “ve us. Fird we whew yx local
jaze venues aren! attendegelarly the wane wat its
bestia live sition, and thea icicusdeperd on
rar spon

Th Apperdis Tip, 228: you'll find a discagsaphy
Tinpaineing sore estentin’ Perening, aeraxs a “ow 0° the
syle: indie whive, Chick ort 95 mam as
vassible of those rseordings tase your hacal Feary tor
sigyl oF CDs), Withoe innmersing yarselt ny the
aausie you eat eapeet ke become a provicien: jaz

(@ Learning thelanguage |.cuccng ly ply je foe cay
‘cher smeal lion i eory sma learning
anycage. Imagine erying te leara Tcnsh or Spans,
‘sishwst hesringizspolsent Tn order no somnd lise 4
o corstand: stem and ep
AT ehe geeal ino ators in ize hve hac a sonrd kr
potieaee of Ue sty
Imp-pviang, is micol Tike L'a a ex versations

eave sewer you ha

edge ara at cane hore

We dhirrplan ir advance wien ws sap shea speci,
mers. [riensls— we" rn drawang evan inatine. i
kaowledge of semen samamar end
sescabolary, Playing faa is ni ditsrens — hear,

spin ans patterns is a sn ta udying che
tnd sermmar ofa foreign wong. They are ie
bbave elements ws nore (9 ee ares ou: iss,

scales,

Bora Litof Symbuks and Glo:

"

(© The improvisation boxes ese Loutsin susuested noes
that tit he gives chords aryo. sala, clea a seals,
onpexgisor pestaromie scale, You are ner obliged weiss
allekemetae, nr do you have us slay ther in #49 9 der
sive. You cin shang ehesgister cf the notes ro0, aT
play teu:

justasugsotion other nitee iy sound god rac, 7
vyomcan jus, do you osu thingl

ous owen rhythm, Remerber char hee

(0 Prechearingideas Pracusing sca.es arpewis pullesus
and choather echniquasi Is bone wil ao, we absell,
sri you bate a jazz musician —dhey are merely che tools
which eva ks yom eo play head
‘Most imprusising masciars gre-hea” phrasesa split-
sevo:al before playing them. Imagine the eo naar or
Heth of a plzase ad let your taygess ey to rind tbe
sno1c3 a» bea Lae eae

Perfecting thi conection betwseu what you hea
and

2-70 play Fs perhaps the unas an soetant
thing ofall tn-a zara mussiian, WF yee doar hes
aythingir yore head, chove’s a dange- yen'll ne yas,
rpging your fingers and playing notes ar random —
rot very ping forthe ligerert

(© Sinzing Hee if you'ee not pzoacd of your wie oF
vonFidon a singing, itco:porate it into your orate.
Pes sale or pau, shige
vwullae plying i, (hen sing variation on waned uy 19
phy that. Thisis paricala
relator ie seals and f'ne9 59'¢s, since they camera
uly atew nos
vou bas Many uicsician sing alorg in enisom seth
‘he vionprosiea Lue be ultimate prao® chat thsy're
Tayi vet Uses

Transeriing solos, oF xt plartgalacy sith

‘arpenais,

sand their sand incasy co rain in

‘cords and copying what yor lca Uie logical
extension of des process IFyon can’; aay sc meng,

sing it first.

(© Rhy Ficl’y, Leau't cress emoeigh taneche mast

nly of jazewa.sic i chyttan,sstaneves the stole

tin the proces, ap your Zouk play with a steady

ake Ana feel che music wilh yaue bode

1 of Teens used this bk, sen Appendices WI aed LV, 99. 236-237,
Triads are chzee-note
chords, the basic
harmonic building blocks
of Westecn music.
Athorough knowledg
theen is essential to help
youdeal with the more
complex chords Found
later in this hook.

of

Chapter One

‘Lene ase “our Ispss oF triad: mon, ine, dicsisbed acd a jnuenuedl 15 Ih
tape wll deal with aor trade whic wre Formed fromm the fess chied and
fith notes ot rhe rajor scale, The Eestzaas ol ascaleis cao th
by a Paikl R, Othur sitar al the ocak ace even mumbers according to chee
pire in the sale. These aac appene bod ps, RBB rhevetore dasercbus ch
Formation oa mace ad.

Fi As Deaton of © mar ted or helt fe notes of C major seal

oor ingieaend

R 3 5
[hemambors ahaa Fae nes ay le ays

Tharb=1 Indea ger 2 Middefingor <3. Ringringer=4 Lele ager:

Tn Fig L Linas size sou al ucats a aii
te ie fgger ow G, “hig hard positon is clea ‘five finger posaion?. The

rn Finger tor cack rate, ening with

tuajur usad should be payed wil. 135 tirgeri, tom Ube sarae hoor positon.
Now uy play rg che ehora ir the lefe hand an vetave lower} wwth che Fete
Cgeror Cand thethamnb cn €, Notice buw te lingecing, $41 kee oppasite
sway romnd, Now ooh eke right hand play ue ft Tye notes ot the sale,
and down:
Fig 1.2: Fiera exrcie wth esta accompa
c

a] =e
gil: phe

Feowep ZL fF

{hs ond wade ga wandard abbceviate for anor rm

1a poparaion far Thversarne wera play Vig 22. “or she curds of T and
Gi wil the righr had play

fist five au. oF re senley of F and Coa

"
[IE strsiptos

. Threesome

TD owing = with play-along sectton
on

Checkpoint: Thravsan
(© AABA form Foch sigh -bar soaion i given a leicrie a square bn br the leo
‘he firer hae The Firs eighehars and the sen soetion beta Faye the same chore
and ferthae reasen ae hock given the etre “A, ae = the Fal cigh-barsetinn,
They ererained’AT\‘AZ ane ‘AS! ta ird-cate their position the erm

The third eight har sstion ix gen the leer BR hrzant the cra-de and
anclnly ace dllerent foam the '87 sections, Desrae itis srelviched hemes
lhe, heb sect: wen lle te aude veeion pr *Br‘des". Many popula
songs aad jazz tncs follow this AMS sur.ctute ine dine this bens Tae te
‘at Tran (Chaplor 23. the Theme iCha we 3} au tro Sent bsenial Mond
(Chaptor Sh, The fellow can be fomnal 13 Vol. 2: Raffeslone Chapter 6,
Tinpreesioas (Chaperr fh ptr 7 Carano ‘Chapt 8
Cheerges (Chapte: 9nd Meena Sianise Chapter 1:
(© Grace notes Like AW in he 4 shld be played on the beat, togstlier wth the
deft hand chord. You. vic use thy (rind finger fembetl nates :T pou wish a ing

Eom st to By oF you can vee Uhe second finger ot. AF iyslecd. The sare
Crag ag yore “or the other yriws Bolte ia Us pie, becas they areal bles
Thng civvehiee noes. 4 dona see Hie 8.20,

race rates mentioned abose are all a seaitone below the

tied note of che “ivestinger position, The Hlatssned kis! oC a chord cr scale i
lit cunt be
ston exher

semisally cx led the rsino third. f fei played vag a majer eh
ceo 48 “ble” thi, Note du ce ble third tC: ea
tas Br ors Ad hickeser's conveaican, (See Bl Third Rus, JBP.p

Aalding but [snl in (emt oF maine sPide gives colo ro rhe relody. Ty
dingit even when == noe wevicen, og: a use fest ar