A continuation of Jazz Piano I. Learn more advanced chord voicings and soloing techniques. Standard reharmonization techniques are also presented. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand.
Mondays 8:15 – 9:45 pm
4/9 – 6/11 (9 weeks) no class 5/28
Bob Karty • $375
Online registration is not available for this course. An audition is required. Please call Rob Ewing at 510-845-5373 x14 or email email@example.com to schedule an audition.
COURSE TITLE: Jazz Piano II
COURSE DESCRIPTION: A continuation of Jazz Piano I, covering a variety of soloing and comping techniques. Students are introduced to additional melodic resources commonly used in jazz improvisation. Students continue the study of techniques for voicing chords in one and two hands, and study standard reharmonization techniques while developing a jazz repertoire.
COURSE PREREQUISITES: Ability to play 3-note voicings with proper voice leading through a jazz standard (All The Things You Are, or similar piece), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. Placement audition required.
COURSE PURPOSE AND OBJECTIVES: Prepares students for a possible career as a jazz musician.
Jamey Aebersold Play-along Vol. 54, Maiden Voyage The Jazz Piano Book by Mark Levine (Sher Music Co.) music manuscript paper and pencil metronome
Course overview and introductions
Theory review; Three-note rootless voicings for major, minor, and dominant 7th chords; practice routine for chord voicings; application of dominant 7th voicings to Bb Blues; improvisation over the blues – minor pentatonic, minor blues, and major blues scales.
The ii-V-I progression in major keys using 3-note rootless voicings; application to Satin Doll; bebop scales. Major scale harmony Part 1 (Ionian, Dorian, Lydian, Mixolydian, and Aeolian modes).
Major scale harmony Part 2 (Phrygian, Locrian modes); variations of bebop scales for improvising over Satin Doll; arpeggio exercises for improvisation. Half-diminished chord voicings.
Altered dominant voicings; the minor ii-V-i; application to Autumn Leaves. Melodic minor scale harmony, Part 1 (Melodic Minor, Lydian Dominant, Locrian #2, Alt/Dim. Whole Tone modes).
Review minor ii-V-I in all keys; Improvisation over Autumn Leaves; Melodic minor scale harmony, Part 2 (Dorian b2, Lydian Augmented, Mixolydian b6).
Diminished voicings; the W-H diminished scale; application to Doxy.
Dominant 7 b9 voicings and the H-W diminished scale; application to F Blues.
So-What and 4th voicings; application to Impressions. Upper structures.
Drop 2 voicings. Solo piano.
The web site musictheory.net and its associated mobile apps Theory Lessons and Tenuto are excellent resources. Theory Lessons teaches theory clearly and concisely; Tenuto consists of exercises and drills.
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.