Professional Documents
Culture Documents
4. Arpeggios
5. Chromaticism
5.1 leading notes
5.2 passing notes
5.3 embellishing notes
6. Building a repertoire
6.1 bebop
6.2 monktunes
6.3 modal jazz
6.4 standards
6.5 blues/hardbop
6.6 bossa
6.7 modern jazz
6.8 originals
8. Themes
8.1 piano/trio arrangements
8.2 solopiano (rubato/performance)
9. Listening/transcribing
1
2
Jazz Piano Essentials
The purpose of this book is to provide the students with clear information about what
they should know when they graduate from the conservatory.
After 15 years of teaching jazzpiano at the Royal Conservatory in The Hague and
the Conservatory of Amsterdam I discovered that the natural talents will always
develope into great jazzpianists anyway (just by listening to the recordings of
the great masters), but theres also a large group of students that need practical
information and clear assignments how to study and what to work on.
Also the fact that the government reduced the lenght of the study to 4 (!) years
makes it even more important to study efficiently to gain a reasonable level of
musicianship.
Besides that theres also a number of students that seem to find a way to escape from
studying the essentials, by working on a very limited part of jazzpiano music. Its
good to develope your own style off course, but studying also other styles will actually
expand your possibilities to work after finishing the school!
Its not necessary to study all the pianostyles chronologically (I started working on
bebop after my graduation...) as long as you do study them!
In the next chapters I will give clear examples and exercises to study; feel free to
make as many variations as possible! I expect the student to work on at least 5 keys.
Later on return to the same exercise and do the other 7 keys to complete it.
Favourite (jazz-) keys to start with are: C, F, Bb, Eb and G and their minor keys Ami,
Dmi, Gmi, Cmi and Emi.
We will work on tunes to which the exercise can be applied. For example 5-note
chords on a major II V I : Green Dolphin Street, Afternoon in Paris, Ornithology.
To conclude this prefix I have to admit that we must not forget that jazz is all about
personal expression and interaction/communication between musicians and about
developing your own style of playing, however graduating at a conservatory is also
about knowledge (especially when you want to become a teacher yourself!) and skill
(to be a versatile and usefull musician).
3
4
I
Left hand voicings
1.1: 2 voices
First of all lets look at a number of 2-note voicings; the first voicing to practise is
what we call Bud Powell-voicing, you can use this type of voicing in the beboptunes.
Also a very handy voicing to practise lines at home, because the root is in the chord.
The root plus the 3 or 7 (or 6 sometimes); practise the following examples:
< >
Dmi G7 C^ C6 Dmi G7 C^ C6
? w
w w
w
combination with lines
3
& j b j b J w
3 3
< >
Dmi G7 C^ C6 Dmi G7 C^
? w w
w w
Possibility number 2: the third and the 7 (or 6) without root; we call this the shell of
the chord. Can be used in the blues, or as a basis for upperstructures (2.4); practise
the following examples:
Dmi G7 C^ C6
Dmi G7 C^ C6
< > <>
w
? w
w
w
w w
F7 Bb7 F7 Cmi7 F7
. w
bw bw bb
bw
Blues in F
? w w
. w bw w
Gmi7 C7 F7 D7 G7 C7
..
b
? bw
w bw # b
w
w
w
5
1.2: 3 voices
The first one is a combination of the former 2 voicings: the root plus 3 and 7 (or 6).
Also used by Bud Powell (Celia/Bouncing with Bud) ; to be practised in both close and
wide voicing:
Second possibility: the shell(3 and 7 or 6) with 1 note added; practise the following
examples:
Variation: Bill Evans type voicing (4-note chord , one note omitted!)
Example:
Gmi C7 F^ F6
b w
? b b w b
Quartal left hand voicings: build 2 fourths , preferably include third of the chord!
Examples:
Dmi G7 C6/9
Dmi
w Dmi6/9
w
Dmi
.. w
? w
w w
w . w
w
w
w
w
J
w w w
1.3: 4 voices
Also referred to as Bill Evans voicings, the shell with 2 notes added, for example the
5 + 9, or 7 + 13, etc
Practise the following examples:
6
Major Key with different extensions:
7
Minor key
Also a good thing to practise in the right hand with the left hand providing the root, or
a (walking) bassline!
Examples:
Examples:
& b
#
?
Dmi7/9 G7/b9/13 C^/9 A7b9/13 Dmi7/9 G7/b9/13 C6/9
& b ##b
b w
w
w
? w
w
Dmi7/9 G7/b9/b13 C^/9 A7b9/b13 Dmi7/9 G7/b9/b13 C6/9
& b
bb
#
bb w
w
w
? w
w
& b
b
#
b w
w
w
? w
w
9
Important inversions:
Dmi7/9 G7/9/13 C^/9 A7b9/b13 Dmi7/9 G7/9/13 C^/9
w
& b w
w
# w
? w
In minor:
Dmi7/b5/11 G7/b9/b13 Cmi6/9 A7b9/b13 Dmi7/b5/11 G7/b9/b13 Cmi6/9
& bb b bb w
b # b w
w
? b bw
w
10
2.2: drop 2 voicings
This is a very special piano technique that is related to the former voicings; you just
omit the root.
You take any 4-note voicing and drop the 2nd voice (from the top) an octave down.
Practise the next examples:
Dmi7 Dmi7/b5
b b b w
&
w
w b bw
w b w
? w
b b
w
D7 Eb0
# b # b
& # # # w
# b # b # w
w w w
w
b
? # # w b # # b w
Eb0 variation D^
# # # # ##
& # n bb # # bb nn # w
w
## # # ## w
w
w w
b
? b # # b w #
# # #
w
G7b9/#11/13 (oct)
b b
b # b w
& b w
w
#
? b b w
11
Adding a diminished passing chord (Barry Harris)
The C major 6 diminished scale provides a C6 chord with its passing chord B0.
Can also be used as Ami7 (with G#0) or F maj7/9.
Combinations
Dmi7
&
b# n b# n
?
C^
& b
b n
?
II V I
j
Dmi G7b13
b . j C^ Dmi
G7b13
b j C^
& b .. w
w b ww
w w
3
b
? J .
J
w
w
J
3
12
Dmi G7b13 C^ Dmi G7 Abmi Db7 C^
b b b
& b bb b b b w
b w
w
b b b n b b
? b w
G7alt
Dmi7
bb b C6/9
& # n b b b w
b b w
w
b b
b
? w
4-note Dmin (dorian) 5-note
&
?
You can add a third to the voicing, like the so what chord
including third
&
?
Also practise a pentatonic movement
pentatonic
&
?
13
A combination of the 3 possibilities:
Bb7 A7 Dmi
(alone together)
j . j ..
& b #
.
? b # .
.
J b
w
2.4: upperstructures
Take any left hand voicing and add a structure with the right hand; this could be:
1) a triad (preferrably a major or minor triad)
2) a fourth chord
3) a 4-note chord (dominant 7/ diminished7 chord)
1) you can build triads on all steps of the scale; choose the ones you like best;
practise the following examples:
14
Dmi7/9/11 G7/b9/b13 C^9 D/9/11 G7alt Cmi^/9
bb w b w
& b w
w
w bb w
w
w
bb w
w b b w
? w
w bw
w
w
w w
b G7alt bb Cmi7/9
w C#0
Cmi11
b
& b b bww
w # bw
w
w
w
b ww bb w
w bw w bb w
w
?bw w w
w #w w
w
w
A D7alt Gmi^
b w
#w
C7 F7 Bb7 Eb7 Ab0 Ab^
w b
b # n nb
& b w b # # bn
b bb
b # bw
w b b # nb
? # w w
w b
b b w
15
Sebastiaan Cornelissen
16
III
Scales
Lets look at a more jazzy way of running up and down the piano!
C major scale (omit 4th)
&
&
b b
& b b
# b n b b
# b n b b
&
3 3 3
3
D minor harmonic
A7b9 Dmi A7b9 Dmi
# b
& J # b w w
#
A7b9 Dmi
& J b w # b w
A7b9 Dmi b
# b
& J # b w w
17
# b
A7b9
Dmi
w J # b w
&
J
A7b9 Dmi
# b
& w
A7b9
# b
Dmi
# b
& w w
A7b9 b Dmi
# b w
&
D minor melodic
#
& # J
# b
b #
& J
# #
# #
&
#
& # #
# n b
# n b
&
4) bebop scales; majorscale with chromatic passing tone added between 5
and 6.
dominantscale with chromatic passing tone added between 7 and 8
18
F major bebop scale
b # b
&
C7 bebop scale
b
b
&b
Gmi7 C7 F#mi7 B7
b b
b #### b
&b
b b7
C7alt
n b b n b
&b b 8 n b 4
4
3
4
Fmi F7alt
b b b3 4 b bb 7 b
b
& 4 n b 4 b b8 n
b w
n b b nb Bbmi
bb 4 3 n b 4
&b b b 4 4 b 4 w
C7alt Fmi
bb n b
&b b n b
b w n b b w
bb
& b b n b b b n w
w
(horace silver)
b b
& b b n b b nb b w b n b
w
(scofield) (clich) 3
b b n b b nb b b
&b b nb b j
nb w w
19
6) diminished scale; to be used on diminished chords and dominant 7 (with
b9/#11/13)
practise the following examples in C, G and D
(C7/A7/Gb7/Eb7 and E0/Db0/G0/Bb0 are the same scale)
C7b9/#11/13
b b n # b
& # b
b b n
b
# b b b
& # b b w
E0
b b n # b
& # b # # w
b b
# b #n nb bb b
& # bb n b
# n bb w
b
# b b # b b b
& b # # n
b
b b # b b b
& b b b b b
b
b
& b b b n #
b b n #
b
? # b b b
# b b
b
# b b b
& # b b w
b w
? b b n #
b
b b n #
20
7) whole tone scale (Monk!) on dominant7 b5 chords and + chords.
only practise C and Db!
(C/D/E/F#/Ab/Bb are the same scale and Db/Eb/F/G/A/B as well)
3 b b b b
&4 # #
# b b b b b b b b # .
# # bb
? 43 #b b # .
b b b b
& b b bb
b .
b b b b
? b b
b b .
(barry harris)
b
& b b b b #
b n
(bud powell)
33 3
b b n
3
& b b b b # b
3 3
3
3
b
3
b #
& b # b b b
3 3 3
3 3
# b
3 3
& b b # b b
#
3 3
# b n
& b n b # # b # b # b
# # b b n
& b b b b # n b b
21
8) pentatonic scales ; lets focus on the minor pentatonic ( major pentatonic
starts from third) , used in minor (dorian) on the I/II and V, in major
(#11) on III/VI and VII, on altered a minor third up.
practise the following examples:
D minor pentatonic
5 4
&4 4
&
3 3
&
4
3
3 3 3
3
3
3
3
&
3
3 3
3 3 3 3 3
&
&
4
D minor 6 pent G major 7 pent
& 4
J
& J
22
9) blues scale;minor pentatonic scale with the b5 added; great to use on
bluesy tunes, funk, gospel... practise following examples;
b b b
& b b b n b b b b
& b b b b b b b n b b b
b
b
& # n # n # n # b n # n
b
b j j
& #
# J #
3
& b # # w j#j #j ..
#
j
w
3
b ^ ^ j
& b # n # b b
b #
10) augmented scale; a little more modern, to be used on Maj#5 chords, Mi
maj7 chords, altered chords. Practise following examples in C,Db,D & Eb:
& # # # # n
# # n #
? # # # # # n .
# # n #
# .
# b n
b
b # #
& # # #
# n # # n # # n
# # # #
& # n # # # # n n #
#
23
Another way of practising scales is to divide them into intervalls; lets try
the thirds, fourths and sixths:
C major
&
&
&
+ leading note 3
3 3 3
3 3
& # # # # #
3
rhythmic variation
3 3
3 3 3
3 3
&
COMBINATIONS
&
intervalls can be played melodically or simultaniously (harmonically).
# # #
&
# # #
A7 (oct)
#w
&
## b n #b w
# bb nn
We will see the same thing with triads and four note chords in the next
chapter.
24
IV
Arpeggios
A very important thing to practise that you can apply to almost any jazzstyle!
Practise 3-note arpeggios in different type of scales (for example minor, major,
altered, diminished, etc), but also on harmonic progressions.
Examples:
D minor (dorian)
3
3
3
&
3 3 3 3
3
D minor (harmonic)
b
3
3 3 3
& b # b #
3 3 3 3
3
5 E7 (altered)
b b b
b
& b b
7 C# (diminished scale)
b # b # n b # # n # #
& # # #
#
11
&
#
# #
# #
13 >rhythmic
variation
> > > > > > >
&
25
Practise 4-note arpeggios in the same way:
C major
&
A minor (melodic)
# #
& # # # # # # #
#
D minor (leading note)
# #
& # n
n #
C major (double approach)
# # #
& # n
F^ Bb^ Ab^ b
Eb^
combination (Fmaj/Dmi/Bbmaj/Gsus)
& b b
3
4 j b b
& 4 b b b j b b j b b b bb
b
w
w
w
3
b 3
? 4 b b jb b b b j b b b w
4 J b b w
3 3 3
26
A very interesting (and exhausting!) exercise:
C^9
&
?
Cmi^9
b b b
& b
b
b b
? b b
Cmi7/9
b b b b
& b b b b b
b
b b b b b b
? b b
b b b b
Cmib5/7/9
b b ####
& b b b b b bb b #
b b b b b b b
? b b b b bb ####
#
####
B^9
etc!
& #
#
?## #
#
27
photo by Linda Burmeister
28
V
5.1: leading notes
Chromaticism
can be used both ascending and descending, however the former is the strongest.
Leading notes can be applied to arpeggios and to scaletype lines. Practise single
approach and double approach, and before the beat and on the beat.
Note: examples are in D minor; practise different keys and scales!
Scale:
j
& b 4 j #j j #
4
#
b j j n 4
& # J 4
Arpeggio (3-note):
b 4 j n #
& 4 # #
# #
Descending:
b b b b
etc...
& b 44 J b
Double approach:
etc...
& b # # n #
Arpeggio (4-note):
# # n #
etc...
& b
Double approach:
29
5.2: passing notes
The best system I ever saw is designed by Barry Harris. The general idea is that
the scale notes are placed on the strong beats, and the chromatic passing notes in
between. If this is not possible, play the note from the scale one step up.
Example:
b
F major scale
b b b
&b b
A7 altered scale
& b b b b b # b n b
A7 oct.
& b b n # n # b b b b n w
Practise starting on each step of the scale, improvising your own ending of the phrase
F major
&b w # n .
& b # n b # n b
30
& b # b # # n b
F minor
w b n .
&b b b
& b b b n b b b n
& b # b # b b b n
peterson etc...
b n
&b b # n b
# b n
In combination with a scale type line
# b # # b n n
&b # b
b
& b # n #
In combination with arpeggios
etc...
b b # # b
&
etc...
b
& b # b
#
31
32
VI
Building a repertoire
Besides practicing all these very essential things you also have to build a decent
repertoire, to be able to function in various settings.
First of all you have to know the most played tunes by heart; it looks ridiculous if
youre reading stella by starlight from the real book when you are a graduate from a
conservatory!
Examples of standards you will have to memorize and off course have to be able to
play are:
33
34
VII
Comping
(rhythm, melody, approach chords)
Of course its very important to develop your skills as a soloist, but dont forget that
in real life most of the pianists are sideman for 80 % of the time! So lets also focus
on comping.
When you comp a singer be carefull with the topnotes of your voicings; use a
consonant interval according to the melody! This could be: unison/ third/ sixt/ maybe
fourth or fifth.
Example:
b .
& b bb w
You are the pro missed kiss of spring time
b
& b bb w
w w
w
b
b
w w
?bb
bb w w
When comping a hornplayer you have more freedom, however always try to play a
supporting role; your solo comes later!
1. rhythm; you are totally free in this case; however, things that have proven to
work: the use of the four-and.
Examples:
& O. j ~ O j j ~
~ j ~
3
j 3
& O O
^ ^
~ j j ~
j
& O
35
rhythmic patterns like the dotted quarter note; practise different variations:
j j - .j - . - .j
& . . . . . .
j - .j -j .j -
& . . . . . .
- .j - .j -
& . . . . . .
- .j - . - .j - .j
& . . .
- .j - . - .j - .j
& . . .
36
3. approach chords; create some harmonic movement.
You can approach most chords - by a dominant
- the tritone dominant
- chromatic approach
- a diminished chord (especially to minor)
Examples:
(I-VI-II-V-I)
& #
b
b bn w
w
w b bn w
w
w
? # n # n w
w bb b b b w
w
b
chromatic dim. chord
& b b
b b w
b n w
b b w
w b ww
? b bb b b w
w # n # # n b w
b b # # w
j j j j
& b ... n bb b
# J b ...
b
? bb .. b
J b .
J J J b . J
> > >j
& j j j #
b .. #
b b . j b n b
? b # J
J J b .
37
38
VIII
Themes
piano/trio arrangements
solopiano (rubato/performance)
As I have mentioned before, most of the time you will be comping, also during the
theme, however when playing trio (most exams at the conservatory!) youll have to
play the theme as well.
In this case, you have to put some effort in arranging the theme for the piano and/or
the trio. This means some nice voicings, a little reharmonising of the melody (use the
two hand voicings as mentioned in chapter 2!), some nice fills (lines or chords) and of
course an intro and ending!
1. pedal on I
. . .
& ..
Bb^ Cmi7 Bb^ Ebmi6
. . .
Bb pedal
& .. .. .. ..
Bb^ B^ Bb^ Ab^
Bb pedal
2. pedal on V
& .. . . .
Bb^ Cmi7 Bb^ Ebmi6
. . .
F pedal
. . .
& ..
Bb^ B^ Bb^ Ab^
. . .
F pedal
. . .
& ..
Bb^ C#0 Cmi7 F7b9/13 Bb^ Db^ C^ Cb^
. . .
F pedal
39
Some ideas for endings:
#IV descending:
E Bb^/6/9
b j Ebmi7 Bb/D Dbmi Cmi7
j Cb^/6/9
& b b b
b b bb
? bb n b j b
J b b
E Cb^/6/9 Bb^/6/9
b j Ebmi7 Bb/D Dbmi
j Cmi7
&b b b
b b bb
? bb n b b
J b b
J
bVII ascending
40
bVI - bII
Bb^/6/9
Gb^ Cb^ Bb^ Gb^/6/9 Cb^/6/9
b U U
& b w
w
bbb w
w
w b
b w
?b b b w
w
b b w b w
Lady Bird ending
#
C6/9 Eb^ Ab^ Db6/9/#11 C6/9/#11
U
& #w #
bb w
w
? b b w
w
b
Bill Evans
> > >
b b b
& b
3 b
>j
? b b b
b b b
J 3
circle of fifths
41
42
IX
Listening/transcribing
Still the best way to learn to play jazz (besides studying all the former material, this
will only help to speed up the process and give you a solid basis as a jazzmusician) is
to listen to all the good recordings available (and there are a lot of them!). There are
2 ways of listening: 1. putting the record on, starting up your computer and enjoying
the internet (or whatever, maybe watching TV or preparing a great meal) and 2.
putting the record on, closing the windows and truly trying to feel the music and
even analysing what exactly is happening on the part of harmony, melody, rhythm
and what the interaction is between the musicians, how solos are build into a climax,
what the drummer is doing during the 2nd chorus of the pianosolo etc... to put it short,
what jazzmusic is about!
However, its a lot of work to transcribe a whole solo, start with small phrases that
you like, and dont be afraid to use great transcriptions available!
(Bill Evans, Herbie Hancock, Chick Corea, etc)
I hope you did enjoy studying all this material; I sure did (and still do)!
Yours sincerely,
Rob van Bavel
Rob van Bavel is teacher Jazz Piano at the Rotterdam Conservatory (Codarts) and
the Amsterdam Conservatory (Holland) ; he graduated with the highest mark, re-
ceived numerous soloist awards in Europe, and got second prize at the first Theloni-
ous Monk Jazz Competition in Washington D.C. Recorded over 70 Cds and toured in
Europe, China, Brazil, USA, Canada. Played with Woody Shaw, Johnny Griffin, Chet
Baker, Mark Murphy, Slide Hampton, Joe Henderson, Wynton Marsalis, etc.
Selected discography: Rob van Bavel trio (Generations, Piano grand slam, The Other
Side, Rob van Bavel Trio, Just for You), Rob van Bavel Octet (Endless), Tineke Postma
(First avenue, For the rhythm), Jarmo Hoogendijk, Ben van den Dungen 5 ( heart of
the matter, run for your wife) , Piet Noordijk (Piet plays Sinatra, Piet plays Bird)
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