Solo Jazz Piano: The Linear Approach
Solo Jazz Piano: The Linear Approach by Neil Olmstead
Berklee Press | 2003 | English | ISBN-10: 0634007610 | 310 pages
A regulated way to deal with solo jazz spontaneous creation for piano. Figure out how to extemporize utilizing the methods spearheaded by piano greats Lenny Tristano and Dave McKenna. This deliberate way to deal with taking in the craft of solo jazz piano extemporization will free your inventive feeling of music.
It starts with a survey of harmony image elucidation, strolls through bass line advancement, and closures with how to play a few melodic lines at the same time in fortifying musical discussion. You'll figure out how to create performances that decorate and backing the tune, and utilization lead sheets to help you produce your own particular musical thoughts. Twenty-one lessons present procedures, practice activities, and tunes taking into account jazz benchmarks. Documented translations of test extemporizations outline each lesson's strategy, and the going hand in hand with CD gives you a chance to hear an expert improviser set these thoughts to work.
Every section of "Solo Jazz Piano" starts with an unmistakable, compact presentation of the hypothesis that will be penetrated all through the rest of that part. This is for the most part taken after by an exercise worked out in full (both clefs) that permits the understudy to have an inclination that to apply the hypothesis quickly. The understudy will take in a ton by examining the creator's exercises. The piece is then trailed by a leadsheet (normally with harmony changes the same as or like those of the exercise). The understudy is then coordinated to make a game plan utilizing the recently learned hypothesis (and methods adapted in earlier parts) to make a unique course of action of the leadsheet. This framework is exceptionally powerful and helps the ideas "stick" in the understudy's brain, as I would see it.
The main piece of the book additionally incorporates an amazing survey of essential harmony hypothesis. When the investigation of bass lines starts, the creator does not relinquish the study and utilization of harmonies. Despite what might be expected, he reminds the understudy to play 'comping plans in which the left hand plays a bass line and the right hand plays well-voice-drove 'comping harmonies notwithstanding the standard excercises in which the understudy plays the song (with or without included voices in the right hand) and a left-hand bass line. This guarantees a balanced methodology. My just feedback of this book is that it ought to have been winding bound like Mark Levine's "Jazz Theory Book" for less demanding utilization at the piano.