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Jazz Piano 1

piano2

Overview

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

Required text: Jamey Aebersold Play-along Vol. 54, Maiden Voyage.

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.

Mondays 6:30 – 8 pm
9/17 – 11/26 (10 weeks) no class 11/19

Bob Karty • $415

 

Registration

DEPARTMENT: Piano

COURSE TITLE:  Jazz Piano 1

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 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 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

Weeks 2 and 3

In-class review and drill of major seventh chord voicings

Dominant seventh chord voicings – one hand rootless voicings around the circle

Applying dominant seventh chords to Bb blues (Aebersold, Vol. 54)

Improvisation exercises for the Bb blues; minor pentatonic and blues scales

Blues piano listening examples

Roman numeral analysis applied to the blues

Introduction to reading a lead sheet

Weeks 4 and 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

Minor chord voicings – single-hand, Category A and B

Applying minor and dominant chords to Song for My Father (Aebersold, Vol. 54)

Chord nomenclature

Weeks 6 and 7

Continue work on Song For My Father; in class playing and evaluation

Listening and analysis: original recording of Song For My Father

The II-V7-I progression in all major keys, single-hand rootless voicings

Applying the ii-V-I to Satin Doll (Aebersold, Vol. 54)

Reading and rhythm skills

Improvisation exercises using arpeggiated chords

Weeks 8 and 9

Continue work on Satin Doll – in class playing and evaluation

Introduction to chord-scale theory: the major scale

Improvisation exercises using the bebop dominant and bebop major scales

Applying the bebop scales to Satin Doll and developing improvised melodies

Introduction to transcribing; how to use transcriptions

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

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