INTRODUCTION. A. Why study jazz piano? B. How to use the book. A COURSE
OF STUDY. PAGE. Chapter 1. Chord Construction. 1. The 'GRIP' method.
JAZZ PIANO & KEYBOARD HARMONY VOL. I ACCOMPANIMENT TABLE OF CONTENTS INTRODUCTION A. B.
Why study jazz piano? How to use the book
A COURSE OF STUDY Chapter 1.
PAGE Chord Construction
1. The 'GRIP' method....................................................... a. modal b. nonmodal 2. The STANDARD method................................................. a. pitch selection b. spacing c. density/balance Chapter 2.
12
Chord Connection
1. Voice leading............................................................. a. traditional b. unusual 2. Functional................................................................ a. ii-Vs/Cycles b. cadences/turnarounds 3. Modal/non-functional.................................................. a. common tones, common structures b. pedal point Chapter 3.
1
15
20
23
Comping
1. General concepts and comments....................................... 2. Range limits, hand placement & movement, Inversion selection...................................................... 3. Guidetones, obbligato melodies and fills............................ 4. Bass lines................................................................ a. general principles b. bass melodies c. balance d. clave.............................................................. (1) Latin/broken time (2) Jazz Latin (3) Mixed/odd meter
25 26 27 31
35
e. comping in "2"................................................. (1) Jazz waltz (2) Ballads (3) Strolling f. walking 4/4..................................................... (1) cadences/turnarounds (2) non-functional areas (3) odd meters
38
41
Chapter 4. Putting It All Together A. How to Practice 1. Keyboard orientation, Hand position................................. 48 2. By subject............................................................... 49 a. single chords, grips d. Latin, 8th note vamps b. chord connection e. Swing 4/4 c. bass lines 3. Practice Regimen....................................................... 54 B. Repertoire........................................................................ C.
Introduction to Reharmonization 1. General Comments....................................................... 2. Alterations/Substitutions............................................. 3. Harmonic Rhythm...................................................... 4. Arrangement............................................................
D.
54
54 54 59 63
Stylistic/idiomatic materials 1. Impressionistic/modal................................................. 2. Blues figures............................................................. 3. Latin.......................................................................
