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Jazz Piano I

piano2

Overview

Learn to play jazz standards and the 12-bar blues through the study of jazz chord voicings and improvisation techniques. Prerequisites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.

Registration

Section I: Mondays 6:30 – 8 pm
4/3 – 6/12 (10 weeks) (no class 5/29)
Bob Karty • $395
REGISTER

Section II: Thursdays 6:30 – 8 pm
4/6 – 6/8 (10 weeks)
Steve Blum • $395
REGISTER

DEPARTMENT: Piano

COURSE TITLE:  Jazz Piano I, Section I

COURSE DESCRIPTION:

Learn to play jazz standards and the 12-bar blues through the study of jazz chord voicings and improvisation techniques.  

COURSE PREREQUISITES:

Basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in any key, and ability to read treble and bass clefs.

REQUIRED READING/MATERIALS: Jamey Aebersold Play-along Vol. 54, Maiden Voyage; music manuscript paper and pencil; a metronome for home practice.

RECOMMENDED READING/MATERIALS: The Jazz Piano Book by Mark Levine (Sher Music Co.) ‘The Jazz Language’ by Dan Haerle (CPP/Belwin), a concise theory resource.

To brush up on interval recognition, use this (free) Interval Ear Trainer: http://www.musictheory.net/trainers/html/id90_en.html

COURSE OUTLINE:

Week 1

Course overview and introductions; review of intervals, triads, basic seventh chord types, key signatures of major keys, and the circle of 5ths; practice sequence for chord voicings: playing the roots around the circle; one-hand rootless voicings

Week 2

Category A and Category B voicings for major seventh chords around the circle; the concept of smooth voice leading in chord progressions using a metronome to develop rhythm skills; swing feel vs. straight 8th notes

Week 3

In-class review and drill of major seventh chord voicings; dominant seventh chord voicings; one hand rootless voicings around the circle; Selected jazz standard. practice sequence for learning songs

Week 4

Improvisation exercises for the Bb blues; minor pentatonic and blues scales; listening examples of blues piano; introduction to Roman numeral analysis applied to the blues Introduction to reading a lead sheet

Week 5

Review of dominant seventh chord voicings and Bb blues -in-class playing and evaluation; the major blues scale; two-hand voicings for major and dominant seventh chords

Week 6

Minor chord voicings -single-hand; Category A and B selected jazz standard; chord nomenclature

Week 7

Continue work on selected jazz standard; in class playing and evaluation; listening and analysis: original recording of selected jazz standard; the II-V7-I progression in all major keys; single-hand rootless voicings

Week 8

Selected jazz standard; reading and rhythm skills; improvisation exercises using arpeggiated chords

Week 9

Continue work on selected jazz standard — in class playing and evaluation; chord-scale theory: the major scale; improvisation exercises using the bebop dominant and bebop major scales; applying the bebop scales to selected jazz standard and developing the improvised line; introduction to transcription

Week 10

Additional topics, time permitting: half-diminished chord voicings; altered dominant chord voicings; introduction to the II-V7-I progression in minor keys; tunes: selected jazz standards.



DEPARTMENT: Piano

COURSE TITLE: Jazz Piano I, Section II

COURSE DESCRIPTION:

Learn to play jazz standards and the 12-bar blues through the study of jazz chord voicings and improvisation techniques.

COURSE PREREQUISITES:

Basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in any key, ability to read treble and bass clefs, and ability to identify and construct major, minor, and perfect intervals from any note.

REQUIRED READING/MATERIALS:

Music manuscript paper and pencil; a metronome for home practice.

RECOMMENDED READING/MATERIALS:

The Jazz Piano Book by Mark Levine (Sher Music Co.) ‘The Jazz Language’ by Dan Haerle (CPP/Belwin), a concise theory resource.

COURSE OUTLINE:

Week 1

Course overview and introductions; review of intervals, triads, basic seventh chord types, key signatures of major keys, and the circle of 5ths; introduction to the functions of tonic, subdominant, and dominant harmonies through the use of ii-V-I’s; introduction to chord symbols; constructing 3 note voicings using root, third and 7th.

Week 2

Category A and Category B voicings for our 3 note voicings using simple two-chord cycles, introducing the concept of smooth voice leading in chord progressions; introduction to basic rhythmic concept in various feels and time signatures; introduction to the blues and cyclical forms.

Week 3

In-class review and drill of 3 note voicings through two-chord cycles, starting in both position A and position B; introduction to the ii-V7-I progression; introduction to playing melodies with our RH while our LH plays chords via a simple blues melody.

Week 4

Expanding our voicings by adding a note on top of our 3rds and 7ths; Continuing our practice of 3-note rootless voicings in position A and position B through ii-V7-I’s and I-vi-ii-V7’s, introduction to transposition; introduction to simple LH bass idea.

Week 5

Continued practice on our 3-note rootless voicings; introduction to building simple arrangements using root, third, seventh, and melody notes. conceptual introduction to altered chords, Improvisation exercises for the blues; minor pentatonic and blues scales; listening examples of blues piano; discussion of roman numeral analysis. Begin work on selected tune playing bass notes and chords.

Week 6

Review and practice of 3-note rootless voicings with both right hand and left hand through the ii-V7-I and I-vi-ii-V7 chord progressions and common substitutions thereof; continued practice of to bass playing concepts, continued work on improvising over the blues progression in several keys, and transposition of simple blues melodies. Continue work on selected tune, playing chords and melody.

Week 7

Introduction to 4-note rootless voicings for major, minor, and dominant 7th chords; Work on selected tune using 4-note rootless voicings in each hand, pairing with either simple LH bass playing or RH melody playing; listening and analysis: original recording of selected tune.

Week 8

Introduction to the modes of the major scale; chord-scale theory using major ii-V7-I’s and selected tune; introduction to constructing two-handed voicings; reading and rhythm skills; improvisation exercises using modal ideas; continued practice of rootless voicings in various contexts.

Week 9

Continue work on selected tune and chord-scale theory; improvisation exercises using the bebop dominant and bebop major scales; applying the bebop scales to selected tune and developing the improvised line; Introduction to the minor ii7(b5)-V7-i as a substitution in selected tune; introduction to transcription.

Week 10

In-class evaluation on selected tune, additional topics, time permitting: half-diminished chord voicings; altered dominant chord voicings; upper structure triads, continued discussion of the minor iio-V7-i; tunes via selected tune.

Bob Karty (piano)

B.A., Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums.

bobkarty.com

Steve Blum (piano)

B.M. CSU Long Beach, M.F.A. California Institute of the Arts. Performer, composer, music director and educator. Student of David Roitstein, Alfred Ladzekpo, Joe LaBarbera, Wadada Leo Smith, Larry Koonse, and Charlie Haden. Recorded and/or performed with Vinny Golia, Tony Clifton, Blockrad, A Giraffe, Keen Inkling, Steve Blum’s Keyboarchestra, Disappear Incompletely, See-Saw Trio, and more.

JCMS Spring Catalog
The Word

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— Dylan Habegger