BPC
WILLIE MYETTE’s
JAZZ EDGE
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part I
Lesson by Paul Buono
Great Blues Chord Riff
CH. 1 - Bluesy Chord Riff
F7
4 4 4 4
5
B¨7
9
C7
F7
B¨7
CH. 4 - Turnaround Chord (last measure of 12-bar blues form)
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano BLUES CH. 1 - Bluesy Chord Riff
F7
PIANO PartPIANO I BLUES Part I
Lesson by Paul Buono Lesson by Paul Buono
Advanced Turnaround Chord
CH. 1 - Bluesy Chord Riff
4 4 F7 4 4 4 4 4 4
5
B¨7
F7
5
B¨7
F7
9
C7
B¨7
F7
9
C7
B¨7
F7
CH. 4 - Turnaround Chord (last measure of 12-bar blues form) CH. 4 - Turnaround Chord (last measure of 12-bar blues form)
© 2015 JazzEdge - More lessons at JazzEdge.com © 2014 - JAZZEDGE From the lesson: "Blues Piano Course"
C7[äÆ] C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Theory Time 2
CH. 5 - The I, IV, and V chords
1 (Root)
2
I chord
CH. 6 - Dominant 7th Chords
F7
B¨7
3
4
5
IV chord
6
7
Root
V chord
3rd
5th
b7
Root
3rd
5th
b7
Root
3rd
Root
(I chord)
(IV chord)
© 2015 JazzEdge More lessons at JazzEdge.com C7 (V -chord)
5th
b7
JAZZ EDGE
JAZZ EDGE I chord chord Jazz and BluesIVPiano
V chord
Playing Dominant 7th Chords
CH. 6 - Dominant 7th Chords
F7
B¨7
C7
3rd
5th
b7
Root
3rd
5th
b7
Root
3rd
Root
(I chord)
(IV chord)
5th
b7
(V chord)
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course" Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
3
Jazz and Blues Piano
CH. 7 - Practice Exercises
Exercise #1 - LH chord, RH chord tones
Exercise #2 - RH chord, LH chord tones 3
Practice ideas to get you grooving CH. 7 - Practice Exercises
Exercise #1 - LH chord, RH chord tones
CH. 8 - Starting the Bluesy Chord Riff on Different Parts of the Beat
Beat 1
F7
CH. 8 - Starting the Bluesy Chord Riff on Different Parts of the Beat
Beat 1
F7
Beat 2
F7
Beat 2
F7
Beat 3
F7
Beat 3
F7
Beat 4
F7
© 2014 - JAZZEDGE Beat 4 "Blues Piano Course" From the lesson: F7 © 2015 JazzEdge - More lessons at JazzEdge.com Find more lessons at: http://www.pianowithwillie.com/
Exercise #2 - RH chord, LH chord tones
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part II
Lesson by Paul Buono Left Hand Bassline
CH. 1 - Grooving w/LH bassline
F7
4 4 4 4
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Another Left Hand Bassline CH. 3 - Another LH Bassline
1
F7
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Building a Groove CH. 3 - Another LH Bassline
1
F7
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Right Hand Rhythm Riff 3 CH. 4 - RH rhythm riff
1
F7
5
B¨7
9
C7
F7
B¨7
F7
C7[äÆ]
CH. 6 - RH Comping Practice
F7
B¨7
F7
F7
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C7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE C7 and Blues Piano B¨7 Jazz 9
F7
C7[äÆ]
Comping Practice
CH. 6 - RH Comping Practice
F7
B¨7
F7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part II" Find more lessons at: http://www.pianowithwillie.com/
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C7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part III
Learning theLesson Rightby Hand PaulMelody Buono
CH. 1 - Learning a Blues tune
F7
4 4
5
B¨7
C7
9
F7
B7
B¨7
3
3
11
F7
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C7[äÆ]
3
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Left Hand Shell Voicings 2
CH. 2 - Building Shell Voicings
Root
3
5
F7
7
F7
*(probably too low)
Root
3
5
7
B¨7
B¨7
Root
3
5
7
C7
C7
CH. 3 - Playing the Melody w/Shell Voicings in LH
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
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3
F7 3
C7[äÆ]
*(probably too low)
JAZZ EDGE
JAZZ Root EDGE
3
5
7
B¨7
B¨7
7
C7
C7
Jazz and Blues Piano Root
3
5
Putting Hands Together
CH. 3 - Playing the Melody w/Shell Voicings in LH
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
F7
C7[äÆ]
3
3
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part III" Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Using Left Hand Basslines 3 CH. 4 - Melody w/LH Bassline
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
3
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F7 3
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Creating an Intro
4 CH. 5 - Creating an Intro using the Last 4 Bars
C7
B¨7
F7
C7[äÆ]
CH. 6 - Using a Classic Blues Ending
C7
B7
B¨7
3
3
19
F7
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F©7
F7
3
4 CH. 5 - Creating an Intro using the Last 4 Bars
JAZZ EDGE
JAZZC7 EDGE
B¨7
F7
C7[äÆ]
Jazz and Blues Piano Classic Blues Ending CH. 6 - Using a Classic Blues Ending
C7
B7
B¨7
3
3
3
19
F7
F©7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part III" Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 4-Way Close-Position Voicings For Major and Minor 7th chords: 1. Spell the chord in root position.
C‹7
CŒ„Š7
2. Invert the chord so that the 3rd or 7th is in the bass.
CŒ„Š7
C‹7
3. Replace the root with the 9th.
CŒ„Š7
C‹7
For Dominant 7th chords: 1. Spell the chord in root position.
C7
2. Invert the chord so that the 3rd or 7th is in the bass.
C7
3. Replace the root with the 9th.
C7
© Replace 2015 JazzEdge - More 4. the 5th with thelessons 13th. at JazzEdge.com
C7
Building Rootless Voicings
2. Invert the chord so that the 3rd or 7th is in the bass.
CŒ„Š7
C‹7
JAZZ EDGE
JAZZ EDGE 3. Replace the root with the 9th. Jazz and Blues Piano
C‹7
CŒ„Š7
Building Rootless Voicings For Dominant 7th chords: 1. Spell the chord in root position.
C7
2. Invert the chord so that the 3rd or 7th is in the bass.
C7
3. Replace the root with the 9th.
C7
4. Replace the 5th with the 13th.
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
Walking Bass Lines
BLUES PIANO Part I
1. Play roots on quarter notes: F7
4 4 5
9
B¨7
C7
F7
B¨7
F7
2. Play chord tones in step-wise motion: F7
5
B¨7
9
C7
F7
B¨7
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F7
by Paul Buono WalkingLesson Basslines Exercise 1
JAZZ EDGE
5 JAZZ B¨7
F7
EDGE
Jazz and Blues Piano 9
C7
B¨7
F7
Walking Basslines Exercise 2
2. Play chord tones in step-wise motion: F7
5
B¨7
9
C7
F7
B¨7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Walking Basslines Exercise 3
3. Play chord tones in step-wise motion, resolving to root of new chord by smallest interval possible: B¨7
F7
1/2 step
7
F7
minor 3rd
C7
minor 3rd
B¨7
unison
F7
minor 3rd
4. Use chord tones and scale tones in step-wise motion. Use skips only between chord tones. Resolve to root of new chord on first beat of each measure by half- or whole-step.
B¨7
F7
skip between chord tones
7
F7
C7
whole-step © 2015 JazzEdge - More lessons atwhole-step JazzEdge.com
skips between chord tones
B¨7
half-step
1/2 step skips between chord tones
skip between
F7 chord tones
whole-step
1/2 step
JAZZ EDGE
JAZZ EDGE 7
F7
C7
B¨7
F7
Jazz and Blues Piano minor 3rd
minor 3rd
unison
minor 3rd
Walking Basslines Exercise 4
4. Use chord tones and scale tones in step-wise motion. Use skips only between chord tones. Resolve to root of new chord on first beat of each measure by half- or whole-step.
B¨7
F7
skip between chord tones
7
F7
whole-step
C7
whole-step
skips between chord tones
B¨7
half-step
1/2 step skips between chord tones
skip between
F7 chord tones
whole-step
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Walking Basslines Exercise 5 3 5. Use chord tones, scale tones, and chromatic tones. Resolve to root of new chord at start of measure. Half- and whole-step motion is strong motion. Use skips only between chord tones. 1/2 step resolution
Root
5
B¨7
chromatic tone
chromatic tone
9
C7
Root
Chord tone
Chord tone
1/2 step resolution
chromatic tone
chromatic tone
B¨7
F7
Skip between chord tones
Chord tone
Root
1/2 step resolution
Root chromatic tone
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F7
1/2 step resolution
Chord tone
Chord tone
whole-step resolution
1/2 step resolution
Root
1/2 step resolution
1/2 step resolution
F7
1/2 step resolution
chromatic tone
1/2 step resolution
Root chromatic tone
Chord tone
chromatic tone
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Sample Basslines 4 Sample Bass Line #1
F7
5
B¨7
9
C7
F7
B¨7
F7
Sample Bass Line #2
F7
5
B¨7
F7
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9
C7
B¨7
F7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE
Jazz and Blues Piano 9
C7
B¨7
F7
Sample Basslines
Sample Bass Line #2
F7
5
B¨7
9
C7
F7
B¨7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part II
Lesson by Paul Buono
Common Alternate Changes
Common Alternate Changes in 12-Bar Blues Form
B¨7
4 F7 4 5
B¨7
9
G‹7
F7
F7
C7
F7
G‹7
C7
More Advanced Alternate Changes in 12-Bar Blues Form
F7
B¨7
F7
C‹7
F7
5
B¨7
Bº7
F7
A‹7(b5)
D7
9
G‹7
C7
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
D7
G‹7
C7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE 9
Jazz Piano G‹7 and Blues C7
F7
G‹7
C7
More Advanced Changes More Advanced Alternate Changes in 12-Bar Blues Form
F7
B¨7
F7
C‹7
F7
5
B¨7
Bº7
F7
A‹7(b5)
D7
9
G‹7
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
D7
G‹7
C7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Altered Extensions
2 Some Common Extensions on Chords in 12-Bar Blues Form
*Use altered extensions when going from V to a minor i chord (ie, D7 going to G-7 in bars 8 and 9) F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A‹7(b5)
9
G‹7
C7
F7
D7[äÆ]
G‹7
F7
D7[äÆ]
C7[äÆ]
Using Tritone Substitutions in 12-Bar Blues Form
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A¨7
9
G‹7
C7
F7
© 2015 JazzEdge - More lessons at JazzEdge.com
A¨7
G‹7
B7
F©7
JAZZ EDGE
5
B¨7 JAZZ EDGE
Bº7
F7
A‹7(b5)
D7[äÆ]
Jazz and Blues Piano 9
G‹7
C7
F7
D7[äÆ]
G‹7
C7[äÆ]
Tritone Substitutions
Using Tritone Substitutions in 12-Bar Blues Form
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A¨7
9
G‹7
C7
F7
A¨7
G‹7
B7
F©7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Working With Basslines
3 Creating Walking Bass Lines Using Alternate Blues Changes
Bass Line #1
1
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
D7
9
G‹7
C7
F7
A¨7
G‹7
B7
F©7
Bass Line #2 - with bass player "licks"
1
5
F7
B¨7
B¨7
Bº7
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F7 3
F7
C‹7
A‹7(b5)
B7
A¨7
5
JAZZ EDGE
B¨7
Bº7
F7
D7
JAZZ EDGE 9 Jazz C7 G‹7and Blues Piano
F7
A¨7
G‹7
F©7
Bass Player Licks
Bass Line #2 - with bass player "licks"
1
5
9
F7
B¨7
B¨7
Bº7
G‹7 3
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7 3
C‹7
F7
F7
A‹7(b5)
A¨7
G‹7
B7
A¨7
C7[äÆ]
3
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Transcribe Basslines 4
Transcribe some bass lines
1:42 - Ray Brown, "C-Jam Blues," from the album 'Night Train' 1
C7
5
F7
9
D‹7
G‹7
C7
C7
G7
C7
A7
A7
D‹7
G7
0:35 - Percy Heath, "Now's The Time," from the album 'Charlie Parker [Verve]' 1
F7
5
B¨7
Bº7
F7
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D7
G‹7
F7
5
JAZZ EDGE
C7
A7
JAZZ EDGE G7 D‹7and Blues Piano Jazz
C7
9
A7
D‹7
G7
Transcribe Basslines
0:35 - Percy Heath, "Now's The Time," from the album 'Charlie Parker [Verve]' 1
F7
5
B¨7
10
C7
Bº7
F7
F7
D7
G‹7
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
BLUES PIANO Part III
Jazz and Blues Piano
Using Chord Substitutions in 12-Bar Blues Form
F7
B7
Lesson by Paul Buono
Using Chord Substitutions in 12 Bar Blues Form
B¨7
F7
4 4 4 4
4
C‹7 D¨7 C‹7
B7
B¨7
Bº7
F7
B¨7
8
E¨7
D7
G‹7
C7
3
3
11
A‹7
A¨7
G‹7
C7
3
© 2015 JazzEdge - More lessons at JazzEdge.com © 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part III
F©7
F7
E7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Concerted Comping
{
Concerted Comping
œ 4 &4 œ œ ? 44 bœœœ
{
F7
bœ bœ œ œœœ
œ bœ œ œ œ œ bB¨7 œ bœ bœ œ œ œ œ œœœ bœœœœ œœœœ œœœœ œœœœ œœœœ
œ œ
œ œ œ œœœœ bnœœœ
F7
bœ bœ œ œœœ
bœ bœ œ œœœ
œ œ w œ œ w œ œ w œœœ œœœ ww w
Another Blues Scale
& œ ? œ
{
bœ œ bœ œ œ œ œœœ œœœ
R
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
œ
œ
#œ
œ
#œ
4
b3
œ
#4
œ
œ
œ
b7
R
œ
5
œ
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
œœœœ œœœœ
œ
B¨7
bœ bœ œ bœ bœ œ bœœœœ œœœœ œœœœ
© 2015 JazzEdge - More lessons at JazzEdge.com
œ ‰ œ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
∑
∑
∑
∑
JAZZ EDGE
{
4 œ & 4 œ bœ œ œ ? 44 bœœœ œœœ JAZZ EDGE
bœ œ œ œ œœœ œœœ
œ bœ œ œœœ bœœœœ
œ bœ œ œ œ œœœœ œœœœ œœœœ œœœœ
œ œ œ œœœœ bnœœœ œ
bœ œ œœœ
bœ œ œœœ
œ w œ œ w œ œ w œœœ œœœ ww w
Jazz and Blues Piano
{
Another Blues Scale Another Blues Scale
& œ ? œ
{
R
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
œ
œ
#œ
œ
#œ
4
b3
œ
#4
œ
œ
œ
b7
R
œ
5
œ
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
œœœœ œœœœ
œ
B¨7
bœ bœ bœ bœ
œ œ bœœœœ œœœœ œœœœ
© 2015 JazzEdge - More lessons at JazzEdge.com
œ œ ‰ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
∑
∑
∑
∑
JAZZ EDGE
{
& œ
JAZZR EDGE ? œ
œ
œ
#œ
œ
#œ
4
b3
œ
œ
#4
œ
œ
b7
R
œ
5
œ
œ
Jazz and Blues Piano 3 Ways to Fill Space
{
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
B¨7
bœ bœ bœ bœ
œ œ bœœœ œœœ œœœ œ œ œ
œœœœ œœœœ
œ ‰ œ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
∑
∑
∑
∑
2
{
œ ™ b œ œ B¨7 ™ bœ œ b œ œ bœ & ‰ œ™ œ œ ? ‰bœœœ ™™™ œœœ œœœ bœœœœ
Idea #2 = Sparsely comp using left-hand rootless voicings; right-hand rests
{
F7
F7
bœ œ œ œ bœ œ œ ‰ œ J œœœœ œœœœ œœœœ ‰ œœœœ Ó J
Sparese comping w/rootless voicings
∑
œ bnœœœ Œ
∑
œ œ bœœœ ‰ œœœ Ó J
Idea #3 = Left-hand uses tensions to create "harmonic melody" and motion
œ ™ bœ œ œ ™ bœ œ ‰ & F7
œ™ ? ‰bœœœ ™™™
B¨7
bœ bœ œ œ œ ∑ bœ bœ œ œ ‰ œ J F7 . œ œ œ œ œ œ œ œœœ œœœ bœœœ œœœ œœœ œœœ ‰ œœœ Ó bnœœœœ Œ J
© 2015 JazzEdge - More lessons at JazzEdge.com
B¨7
Bº7
Rootless voicings using tensions to create motion
∑
B7 . B7(b13) # œ ##œœœ ‰nœœœœ Œ J
#œœœœ bnnœœœœ B7
B¨7
Rootless voicings using tensions to create motion
JAZZ EDGE
{
F7 œ ™ b œ œ B¨7 Sparese comping w/rootless voicings ™ bœ œ b œ b œ œ œ œ œ bœ bœ œ œ ‰ œ ∑ ∑ & ‰ and Blues Piano Jazz J œ™ œ œ œ œ œ ? ‰bœœœ ™™™ œœœ œœœ bœœœœ œœœœ œœœœ œœœœ ‰ œœœœ Ó bnœœœ Œ bœœœ ‰ œœœ Ó 3 WaysJto Fill Space J
JAZZ EDGE F7
Idea #2 = Sparsely comp using left-hand rootless voicings; right-hand rests
{
Idea #3 = Left-hand uses tensions to create "harmonic melody" and motion
œ ™ bœ œ œ ™ bœ œ ‰ & F7
œ™ ? ‰bœœœ ™™™
{
bœ bœ œ œ œ bœ bœ œ œ ‰ œ ∑ J F7 œœ œœ b œœ œœ œœ œœ œœ œœ. n œœ œœ œœ œœ œœ œœ ‰ œœ Ó b œœ Œ J
œ ™ bœ œ œ ™ bœ œ ‰ & B¨7
™ ? ‰bœœœœ ™™™ œœœœ
{
B¨7
œœœœ
œ ™ bœ œ œ ™ bœ œ ‰ & G‹7
n œ™ œ ? ‰b œœœ ™™™ œœœ
œœœœ
Rootless voicings using tensions to create motion
Bº7
bœ bœ œ œ bœ bœ œ œ ‰ œœ J bnœœœœ bœœœœ bœœœœ bœœœœ bnœœœœ ‰ J C7
B7 . B7(b13) # œ ##œœœ ‰nœœœœ Œ J
#œœœœ bnnœœœœ B7
B¨7
Rootless voicings using tensions to create motion
F7
˙˙˙˙
bœ bœ œ œ bœ bœ œ œ ‰ œœ J F7 œ œ œ œ œ bœœœ œœœ œœœ œœœ bœœœ ˙˙˙˙ ‰ J
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∑
∑
˙ b˙˙˙
E7[äÆ]
∑
bœœœœ ™™™™ bbœœœœ J E¨7
D7[äÆ]
˙˙˙˙
Rootless voicings using tensions (in 4ths) to create motion
∑ n ˙˙ #˙
D7(#9)
∑
n ˙˙ n˙
G13
bbnœœœ ™™™ œœ bœ J C7(#9)
F7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Taking it out in M43
{
"Taking It Out" in m. 4 Example 1
F7
& ‰ ?
{
œ
œœ™™
œœ ˙˙ œ b ‰ œJ ˙˙
œ œ œ n œ & nœœœœ ? b ‰ J œ
{
bœœ
F7
œ bœ
B¨7
œ
œ
bw bw w
œœ b œ
j œ
‰
B¨7
B7
bœ bœ œ bœ #œ #œ #œ n œ # œ œ œ n˙ w bw ˙˙˙˙ #w n w bw w
œ
œ
Ó
Resolve by 1/2 step to the 5th
Example 2
F7
œ œ & œ œ œœ n œ ? ‰b œJ œ
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
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B¨7
œ œ #œ #œ # œ nœ
Resolve by 1/2 step to the 3rd
n˙ nbbw w w
Ó
JAZZ EDGE
{
Example 3
B7
œ œ œ bœ #œ œ bœ #œ nœœœœ ˙˙˙˙ ? b #w w ‰ J Jazzœ and Blues Piano w F7
JAZZ & œ EDGE
B¨7
Resolve by 1/2 step to the root
œ œ #œ #œ #œ nœ b˙ nbbw w w
Taking it out in M4
4
{
Example 3
œ œ œ œ & œœ n œ ? b ‰ œ J œ
{
F7
B7
bœ #œ œ bœ #œ ˙ ˙˙˙ #w w w
B¨7
Resolve by 1/2 step to the root
œ œ #œ #œ #œ nœ b˙ nbbw w w
Ó
Example 4
F7
œ œ & nœ œ nœœœœ ? b ‰ J œ
{
Ó
B¨7
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
œ #œ n œ # œ œ œ
Resolve by 1/2 step to the root
n˙ nbbw w w
Ó
Example 4
F7
œ œ & nœ œ nœœœœ ? b ‰ J œ
B¨7
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
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œ #œ n œ # œ œ œ
Resolve by 1/2 step to the root
n˙ nbbw w w
Ó
JAZZ EDGE
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part I
Lesson by Paul Buono
Great Blues Chord Riff
CH. 1 - Bluesy Chord Riff
F7
4 4 4 4
5
B¨7
9
C7
F7
B¨7
CH. 4 - Turnaround Chord (last measure of 12-bar blues form)
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano BLUES CH. 1 - Bluesy Chord Riff
F7
PIANO PartPIANO I BLUES Part I
Lesson by Paul Buono Lesson by Paul Buono
Advanced Turnaround Chord
CH. 1 - Bluesy Chord Riff
4 4 F7 4 4 4 4 4 4
5
B¨7
F7
5
B¨7
F7
9
C7
B¨7
F7
9
C7
B¨7
F7
CH. 4 - Turnaround Chord (last measure of 12-bar blues form) CH. 4 - Turnaround Chord (last measure of 12-bar blues form)
© 2015 JazzEdge - More lessons at JazzEdge.com © 2014 - JAZZEDGE From the lesson: "Blues Piano Course"
C7[äÆ] C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Theory Time 2
CH. 5 - The I, IV, and V chords
1 (Root)
2
I chord
CH. 6 - Dominant 7th Chords
F7
B¨7
3
4
5
IV chord
6
7
Root
V chord
3rd
5th
b7
Root
3rd
5th
b7
Root
3rd
Root
(I chord)
(IV chord)
© 2015 JazzEdge More lessons at JazzEdge.com C7 (V -chord)
5th
b7
JAZZ EDGE
JAZZ EDGE I chord chord Jazz and BluesIVPiano
V chord
Playing Dominant 7th Chords
CH. 6 - Dominant 7th Chords
F7
B¨7
C7
3rd
5th
b7
Root
3rd
5th
b7
Root
3rd
Root
(I chord)
(IV chord)
5th
b7
(V chord)
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course" Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
3
Jazz and Blues Piano
CH. 7 - Practice Exercises
Exercise #1 - LH chord, RH chord tones
Exercise #2 - RH chord, LH chord tones 3
Practice ideas to get you grooving CH. 7 - Practice Exercises
Exercise #1 - LH chord, RH chord tones
CH. 8 - Starting the Bluesy Chord Riff on Different Parts of the Beat
Beat 1
F7
CH. 8 - Starting the Bluesy Chord Riff on Different Parts of the Beat
Beat 1
F7
Beat 2
F7
Beat 2
F7
Beat 3
F7
Beat 3
F7
Beat 4
F7
© 2014 - JAZZEDGE Beat 4 "Blues Piano Course" From the lesson: F7 © 2015 JazzEdge - More lessons at JazzEdge.com Find more lessons at: http://www.pianowithwillie.com/
Exercise #2 - RH chord, LH chord tones
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part II
Lesson by Paul Buono Left Hand Bassline
CH. 1 - Grooving w/LH bassline
F7
4 4 4 4
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Another Left Hand Bassline CH. 3 - Another LH Bassline
1
F7
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Building a Groove CH. 3 - Another LH Bassline
1
F7
5
B¨7
9
C7
F7
B¨7
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F7
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Right Hand Rhythm Riff 3 CH. 4 - RH rhythm riff
1
F7
5
B¨7
9
C7
F7
B¨7
F7
C7[äÆ]
CH. 6 - RH Comping Practice
F7
B¨7
F7
F7
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C7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE C7 and Blues Piano B¨7 Jazz 9
F7
C7[äÆ]
Comping Practice
CH. 6 - RH Comping Practice
F7
B¨7
F7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part II" Find more lessons at: http://www.pianowithwillie.com/
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C7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part III
Learning theLesson Rightby Hand PaulMelody Buono
CH. 1 - Learning a Blues tune
F7
4 4
5
B¨7
C7
9
F7
B7
B¨7
3
3
11
F7
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C7[äÆ]
3
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Left Hand Shell Voicings 2
CH. 2 - Building Shell Voicings
Root
3
5
F7
7
F7
*(probably too low)
Root
3
5
7
B¨7
B¨7
Root
3
5
7
C7
C7
CH. 3 - Playing the Melody w/Shell Voicings in LH
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
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3
F7 3
C7[äÆ]
*(probably too low)
JAZZ EDGE
JAZZ Root EDGE
3
5
7
B¨7
B¨7
7
C7
C7
Jazz and Blues Piano Root
3
5
Putting Hands Together
CH. 3 - Playing the Melody w/Shell Voicings in LH
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
F7
C7[äÆ]
3
3
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part III" Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Using Left Hand Basslines 3 CH. 4 - Melody w/LH Bassline
1
F7
5
B¨7
9
C7
F7
B7
B¨7
3
3
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F7 3
C7[äÆ]
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Creating an Intro
4 CH. 5 - Creating an Intro using the Last 4 Bars
C7
B¨7
F7
C7[äÆ]
CH. 6 - Using a Classic Blues Ending
C7
B7
B¨7
3
3
19
F7
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F©7
F7
3
4 CH. 5 - Creating an Intro using the Last 4 Bars
JAZZ EDGE
JAZZC7 EDGE
B¨7
F7
C7[äÆ]
Jazz and Blues Piano Classic Blues Ending CH. 6 - Using a Classic Blues Ending
C7
B7
B¨7
3
3
3
19
F7
F©7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course - Part III" Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 4-Way Close-Position Voicings For Major and Minor 7th chords: 1. Spell the chord in root position.
C‹7
CŒ„Š7
2. Invert the chord so that the 3rd or 7th is in the bass.
CŒ„Š7
C‹7
3. Replace the root with the 9th.
CŒ„Š7
C‹7
For Dominant 7th chords: 1. Spell the chord in root position.
C7
2. Invert the chord so that the 3rd or 7th is in the bass.
C7
3. Replace the root with the 9th.
C7
© Replace 2015 JazzEdge - More 4. the 5th with thelessons 13th. at JazzEdge.com
C7
Building Rootless Voicings
2. Invert the chord so that the 3rd or 7th is in the bass.
CŒ„Š7
C‹7
JAZZ EDGE
JAZZ EDGE 3. Replace the root with the 9th. Jazz and Blues Piano
C‹7
CŒ„Š7
Building Rootless Voicings For Dominant 7th chords: 1. Spell the chord in root position.
C7
2. Invert the chord so that the 3rd or 7th is in the bass.
C7
3. Replace the root with the 9th.
C7
4. Replace the 5th with the 13th.
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
Walking Bass Lines
BLUES PIANO Part I
1. Play roots on quarter notes: F7
4 4 5
9
B¨7
C7
F7
B¨7
F7
2. Play chord tones in step-wise motion: F7
5
B¨7
9
C7
F7
B¨7
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
by Paul Buono WalkingLesson Basslines Exercise 1
JAZZ EDGE
5 JAZZ B¨7
F7
EDGE
Jazz and Blues Piano 9
C7
B¨7
F7
Walking Basslines Exercise 2
2. Play chord tones in step-wise motion: F7
5
B¨7
9
C7
F7
B¨7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano 2
Walking Basslines Exercise 3
3. Play chord tones in step-wise motion, resolving to root of new chord by smallest interval possible: B¨7
F7
1/2 step
7
F7
minor 3rd
C7
minor 3rd
B¨7
unison
F7
minor 3rd
4. Use chord tones and scale tones in step-wise motion. Use skips only between chord tones. Resolve to root of new chord on first beat of each measure by half- or whole-step.
B¨7
F7
skip between chord tones
7
F7
C7
whole-step © 2015 JazzEdge - More lessons atwhole-step JazzEdge.com
skips between chord tones
B¨7
half-step
1/2 step skips between chord tones
skip between
F7 chord tones
whole-step
1/2 step
JAZZ EDGE
JAZZ EDGE 7
F7
C7
B¨7
F7
Jazz and Blues Piano minor 3rd
minor 3rd
unison
minor 3rd
Walking Basslines Exercise 4
4. Use chord tones and scale tones in step-wise motion. Use skips only between chord tones. Resolve to root of new chord on first beat of each measure by half- or whole-step.
B¨7
F7
skip between chord tones
7
F7
whole-step
C7
whole-step
skips between chord tones
B¨7
half-step
1/2 step skips between chord tones
skip between
F7 chord tones
whole-step
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
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JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Walking Basslines Exercise 5 3 5. Use chord tones, scale tones, and chromatic tones. Resolve to root of new chord at start of measure. Half- and whole-step motion is strong motion. Use skips only between chord tones. 1/2 step resolution
Root
5
B¨7
chromatic tone
chromatic tone
9
C7
Root
Chord tone
Chord tone
1/2 step resolution
chromatic tone
chromatic tone
B¨7
F7
Skip between chord tones
Chord tone
Root
1/2 step resolution
Root chromatic tone
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F7
1/2 step resolution
Chord tone
Chord tone
whole-step resolution
1/2 step resolution
Root
1/2 step resolution
1/2 step resolution
F7
1/2 step resolution
chromatic tone
1/2 step resolution
Root chromatic tone
Chord tone
chromatic tone
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Sample Basslines 4 Sample Bass Line #1
F7
5
B¨7
9
C7
F7
B¨7
F7
Sample Bass Line #2
F7
5
B¨7
F7
© 2015 JazzEdge - More lessons at JazzEdge.com
9
C7
B¨7
F7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE
Jazz and Blues Piano 9
C7
B¨7
F7
Sample Basslines
Sample Bass Line #2
F7
5
B¨7
9
C7
F7
B¨7
F7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part I Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano
BLUES PIANO Part II
Lesson by Paul Buono
Common Alternate Changes
Common Alternate Changes in 12-Bar Blues Form
B¨7
4 F7 4 5
B¨7
9
G‹7
F7
F7
C7
F7
G‹7
C7
More Advanced Alternate Changes in 12-Bar Blues Form
F7
B¨7
F7
C‹7
F7
5
B¨7
Bº7
F7
A‹7(b5)
D7
9
G‹7
C7
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
D7
G‹7
C7
5
JAZZ EDGE
B¨7
F7
JAZZ EDGE 9
Jazz Piano G‹7 and Blues C7
F7
G‹7
C7
More Advanced Changes More Advanced Alternate Changes in 12-Bar Blues Form
F7
B¨7
F7
C‹7
F7
5
B¨7
Bº7
F7
A‹7(b5)
D7
9
G‹7
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7
D7
G‹7
C7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Altered Extensions
2 Some Common Extensions on Chords in 12-Bar Blues Form
*Use altered extensions when going from V to a minor i chord (ie, D7 going to G-7 in bars 8 and 9) F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A‹7(b5)
9
G‹7
C7
F7
D7[äÆ]
G‹7
F7
D7[äÆ]
C7[äÆ]
Using Tritone Substitutions in 12-Bar Blues Form
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A¨7
9
G‹7
C7
F7
© 2015 JazzEdge - More lessons at JazzEdge.com
A¨7
G‹7
B7
F©7
JAZZ EDGE
5
B¨7 JAZZ EDGE
Bº7
F7
A‹7(b5)
D7[äÆ]
Jazz and Blues Piano 9
G‹7
C7
F7
D7[äÆ]
G‹7
C7[äÆ]
Tritone Substitutions
Using Tritone Substitutions in 12-Bar Blues Form
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
A¨7
9
G‹7
C7
F7
A¨7
G‹7
B7
F©7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Working With Basslines
3 Creating Walking Bass Lines Using Alternate Blues Changes
Bass Line #1
1
F7
B¨7
F7
C‹7
5
B¨7
Bº7
F7
D7
9
G‹7
C7
F7
A¨7
G‹7
B7
F©7
Bass Line #2 - with bass player "licks"
1
5
F7
B¨7
B¨7
Bº7
© 2015 JazzEdge - More lessons at JazzEdge.com
F7 3
F7
C‹7
A‹7(b5)
B7
A¨7
5
JAZZ EDGE
B¨7
Bº7
F7
D7
JAZZ EDGE 9 Jazz C7 G‹7and Blues Piano
F7
A¨7
G‹7
F©7
Bass Player Licks
Bass Line #2 - with bass player "licks"
1
5
9
F7
B¨7
B¨7
Bº7
G‹7 3
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
F7 3
C‹7
F7
F7
A‹7(b5)
A¨7
G‹7
B7
A¨7
C7[äÆ]
3
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Transcribe Basslines 4
Transcribe some bass lines
1:42 - Ray Brown, "C-Jam Blues," from the album 'Night Train' 1
C7
5
F7
9
D‹7
G‹7
C7
C7
G7
C7
A7
A7
D‹7
G7
0:35 - Percy Heath, "Now's The Time," from the album 'Charlie Parker [Verve]' 1
F7
5
B¨7
Bº7
F7
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D7
G‹7
F7
5
JAZZ EDGE
C7
A7
JAZZ EDGE G7 D‹7and Blues Piano Jazz
C7
9
A7
D‹7
G7
Transcribe Basslines
0:35 - Percy Heath, "Now's The Time," from the album 'Charlie Parker [Verve]' 1
F7
5
B¨7
10
C7
Bº7
F7
F7
D7
G‹7
C7
© 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part II Find more lessons at: http://www.pianowithwillie.com/
© 2015 JazzEdge - More lessons at JazzEdge.com
JAZZ EDGE
JAZZ EDGE
BLUES PIANO Part III
Jazz and Blues Piano
Using Chord Substitutions in 12-Bar Blues Form
F7
B7
Lesson by Paul Buono
Using Chord Substitutions in 12 Bar Blues Form
B¨7
F7
4 4 4 4
4
C‹7 D¨7 C‹7
B7
B¨7
Bº7
F7
B¨7
8
E¨7
D7
G‹7
C7
3
3
11
A‹7
A¨7
G‹7
C7
3
© 2015 JazzEdge - More lessons at JazzEdge.com © 2014 - JAZZEDGE From the lesson: "Blues Piano Course (Advanced)" Part III
F©7
F7
E7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Concerted Comping
{
Concerted Comping
œ 4 &4 œ œ ? 44 bœœœ
{
F7
bœ bœ œ œœœ
œ bœ œ œ œ œ bB¨7 œ bœ bœ œ œ œ œ œœœ bœœœœ œœœœ œœœœ œœœœ œœœœ
œ œ
œ œ œ œœœœ bnœœœ
F7
bœ bœ œ œœœ
bœ bœ œ œœœ
œ œ w œ œ w œ œ w œœœ œœœ ww w
Another Blues Scale
& œ ? œ
{
bœ œ bœ œ œ œ œœœ œœœ
R
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
œ
œ
#œ
œ
#œ
4
b3
œ
#4
œ
œ
œ
b7
R
œ
5
œ
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
œœœœ œœœœ
œ
B¨7
bœ bœ œ bœ bœ œ bœœœœ œœœœ œœœœ
© 2015 JazzEdge - More lessons at JazzEdge.com
œ ‰ œ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
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JAZZ EDGE
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4 œ & 4 œ bœ œ œ ? 44 bœœœ œœœ JAZZ EDGE
bœ œ œ œ œœœ œœœ
œ bœ œ œœœ bœœœœ
œ bœ œ œ œ œœœœ œœœœ œœœœ œœœœ
œ œ œ œœœœ bnœœœ œ
bœ œ œœœ
bœ œ œœœ
œ w œ œ w œ œ w œœœ œœœ ww w
Jazz and Blues Piano
{
Another Blues Scale Another Blues Scale
& œ ? œ
{
R
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
œ
œ
#œ
œ
#œ
4
b3
œ
#4
œ
œ
œ
b7
R
œ
5
œ
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
œœœœ œœœœ
œ
B¨7
bœ bœ bœ bœ
œ œ bœœœœ œœœœ œœœœ
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œ œ ‰ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
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JAZZ EDGE
{
& œ
JAZZR EDGE ? œ
œ
œ
#œ
œ
#œ
4
b3
œ
œ
#4
œ
œ
b7
R
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5
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Jazz and Blues Piano 3 Ways to Fill Space
{
œ™ œ™ 4 ‰ &4 œ™ ? 44 ‰bnœœœ ™™™
3 Ways To Fill Space
Idea #1 = Leave space/silence/rest
F7
bœ bœ
œ œ
B¨7
bœ bœ bœ bœ
œ œ bœœœ œœœ œœœ œ œ œ
œœœœ œœœœ
œ ‰ œ œ œJ œœœœ ‰ œœœœ J
F7 Leave S - P - A - C - E -------
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2
{
œ ™ b œ œ B¨7 ™ bœ œ b œ œ bœ & ‰ œ™ œ œ ? ‰bœœœ ™™™ œœœ œœœ bœœœœ
Idea #2 = Sparsely comp using left-hand rootless voicings; right-hand rests
{
F7
F7
bœ œ œ œ bœ œ œ ‰ œ J œœœœ œœœœ œœœœ ‰ œœœœ Ó J
Sparese comping w/rootless voicings
∑
œ bnœœœ Œ
∑
œ œ bœœœ ‰ œœœ Ó J
Idea #3 = Left-hand uses tensions to create "harmonic melody" and motion
œ ™ bœ œ œ ™ bœ œ ‰ & F7
œ™ ? ‰bœœœ ™™™
B¨7
bœ bœ œ œ œ ∑ bœ bœ œ œ ‰ œ J F7 . œ œ œ œ œ œ œ œœœ œœœ bœœœ œœœ œœœ œœœ ‰ œœœ Ó bnœœœœ Œ J
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B¨7
Bº7
Rootless voicings using tensions to create motion
∑
B7 . B7(b13) # œ ##œœœ ‰nœœœœ Œ J
#œœœœ bnnœœœœ B7
B¨7
Rootless voicings using tensions to create motion
JAZZ EDGE
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F7 œ ™ b œ œ B¨7 Sparese comping w/rootless voicings ™ bœ œ b œ b œ œ œ œ œ bœ bœ œ œ ‰ œ ∑ ∑ & ‰ and Blues Piano Jazz J œ™ œ œ œ œ œ ? ‰bœœœ ™™™ œœœ œœœ bœœœœ œœœœ œœœœ œœœœ ‰ œœœœ Ó bnœœœ Œ bœœœ ‰ œœœ Ó 3 WaysJto Fill Space J
JAZZ EDGE F7
Idea #2 = Sparsely comp using left-hand rootless voicings; right-hand rests
{
Idea #3 = Left-hand uses tensions to create "harmonic melody" and motion
œ ™ bœ œ œ ™ bœ œ ‰ & F7
œ™ ? ‰bœœœ ™™™
{
bœ bœ œ œ œ bœ bœ œ œ ‰ œ ∑ J F7 œœ œœ b œœ œœ œœ œœ œœ œœ. n œœ œœ œœ œœ œœ œœ ‰ œœ Ó b œœ Œ J
œ ™ bœ œ œ ™ bœ œ ‰ & B¨7
™ ? ‰bœœœœ ™™™ œœœœ
{
B¨7
œœœœ
œ ™ bœ œ œ ™ bœ œ ‰ & G‹7
n œ™ œ ? ‰b œœœ ™™™ œœœ
œœœœ
Rootless voicings using tensions to create motion
Bº7
bœ bœ œ œ bœ bœ œ œ ‰ œœ J bnœœœœ bœœœœ bœœœœ bœœœœ bnœœœœ ‰ J C7
B7 . B7(b13) # œ ##œœœ ‰nœœœœ Œ J
#œœœœ bnnœœœœ B7
B¨7
Rootless voicings using tensions to create motion
F7
˙˙˙˙
bœ bœ œ œ bœ bœ œ œ ‰ œœ J F7 œ œ œ œ œ bœœœ œœœ œœœ œœœ bœœœ ˙˙˙˙ ‰ J
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∑
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˙ b˙˙˙
E7[äÆ]
∑
bœœœœ ™™™™ bbœœœœ J E¨7
D7[äÆ]
˙˙˙˙
Rootless voicings using tensions (in 4ths) to create motion
∑ n ˙˙ #˙
D7(#9)
∑
n ˙˙ n˙
G13
bbnœœœ ™™™ œœ bœ J C7(#9)
F7
JAZZ EDGE
JAZZ EDGE
Jazz and Blues Piano Taking it out in M43
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"Taking It Out" in m. 4 Example 1
F7
& ‰ ?
{
œ
œœ™™
œœ ˙˙ œ b ‰ œJ ˙˙
œ œ œ n œ & nœœœœ ? b ‰ J œ
{
bœœ
F7
œ bœ
B¨7
œ
œ
bw bw w
œœ b œ
j œ
‰
B¨7
B7
bœ bœ œ bœ #œ #œ #œ n œ # œ œ œ n˙ w bw ˙˙˙˙ #w n w bw w
œ
œ
Ó
Resolve by 1/2 step to the 5th
Example 2
F7
œ œ & œ œ œœ n œ ? ‰b œJ œ
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
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B¨7
œ œ #œ #œ # œ nœ
Resolve by 1/2 step to the 3rd
n˙ nbbw w w
Ó
JAZZ EDGE
{
Example 3
B7
œ œ œ bœ #œ œ bœ #œ nœœœœ ˙˙˙˙ ? b #w w ‰ J Jazzœ and Blues Piano w F7
JAZZ & œ EDGE
B¨7
Resolve by 1/2 step to the root
œ œ #œ #œ #œ nœ b˙ nbbw w w
Taking it out in M4
4
{
Example 3
œ œ œ œ & œœ n œ ? b ‰ œ J œ
{
F7
B7
bœ #œ œ bœ #œ ˙ ˙˙˙ #w w w
B¨7
Resolve by 1/2 step to the root
œ œ #œ #œ #œ nœ b˙ nbbw w w
Ó
Example 4
F7
œ œ & nœ œ nœœœœ ? b ‰ J œ
{
Ó
B¨7
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
œ #œ n œ # œ œ œ
Resolve by 1/2 step to the root
n˙ nbbw w w
Ó
Example 4
F7
œ œ & nœ œ nœœœœ ? b ‰ J œ
B¨7
B7
bœ #œ œ bœ #œ ˙˙˙˙ #w w w
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œ #œ n œ # œ œ œ
Resolve by 1/2 step to the root
n˙ nbbw w w
Ó
