CJC Degree Programs
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
1/7 – 3/18 (10 weeks) no class 1 /21
Bob Karty • $415
COURSE TITLE: Jazz Piano 1
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 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)
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.
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