Building your Jazz Repertoire part 2: Latin

Building your Jazz Repertoire part 2: Latin

Jazz repertoire part 2:
10 Latin tunes

The world of Latin American music is vast and would take a lifetime of study. What we are looking at here is a small collection of tunes with a Latin feel; songs that are likely to come up when playing with other musicians. I’ve tried to keep the list short, as it’s easy to get overwhelmed with too many choices. I’ve marked essential songs with *.

All these tunes have a straight 8 feel rather than swing.
The compositions of Carlos Jobim are of particular interest as they don’t follow the usual II – V – I  patterns.

You will find the complete list of ‘Building a Jazz Repertoire’ in book 3 of Learn Jazz Piano.

Here’s the link to book 3

 

At some stage you might find yourself comping behind vocalists singing this repertoire. A good reference is the Getz /Gilberto album (1964).

If you’re looking for an easy tune for starters I’d go for Blue Bossa.
Try Desafinado for something a little more advanced.

So here are my 10 choices of Latin tunes to build your jazz repertoire.
Although many artists have recorded these  tunes, I’ve provided you with suggested listening.

———————-

Blue Bossa*

Composer: Kenny Dorham

Listen: Joe Henderson

———————-

Con Alma

Composer: Dizzie Gillespie

Listen: Wes Montgomery

———————-

Desafinado

Composer: Jobim

Listen: Dizzy Gilespie

———————-

The Girl From Ipanema*

Composer: Jobim

Listen: Stan Getz

———————-

How Insensitive

Composer: Jobim

Listen: Oscar Peterson

———————- 

Meditation

Composer: Jobim

Listen:  Joe Pass

———————-

Manteca

Composer: Dizzie Gillespie

Listen: Red Garland

———————-

Nica’s Dream*

Composer: Horace Silver

Listen: Art Blakey

———————-

Song For My Father

Composer: Horace Silver

Listen: Horace Silver

———————-

Wave

Composer: Jobim

Listen: Paul Desmond

———————-

jazz repertoire
Jobim

I have now produced 22 videos for my online  Lean Jazz Piano course.

Click here for my online video lessons.

 

Building a Jazz Repertoire part 1: The Blues

Building a Jazz Repertoire part 1: The Blues

Building a Jazz Repertoire part 1:
17 essential blues tunes.

When building a jazz repertoire there’s no better place to start than with the blues. Notice that blues compositions are not confined to the jazz musicians that we associate  with the genre. We have everyone here from Miles Davis and Charlie Parker to Mingus and Monk. The following  17 tunes are essential to building a jazz repertoire and I suggest that you at least make a start by listening to some recordings.

Some blues tunes have a very simple construction, such as C Jam Blues and Blue Monk. Then there are others, like Blues For Alice, that consist of a more complex bebop sequence full of II-V’s.

Notice also that blues tunes are not confined to 4/4 time. For example, All  Blues is in 12/8 and West Coast Blues is in 3/4.

This jazz repertoire is particularly relevant for those of you planning to play with other musicians. These tunes come up all the time. However some, such as Bag’s Groove, are very easy to learn.

Building a jazz repertoire should be an integral part of your practice. How many tunes do you actually know?  It’s all to easy to study each new tune in depth but then forget your previous pieces.

So here are 17 blues tunes. Try to familiarise yourself with at least the 6 essential titles followed by *.  For beginners, I’d save Blues For Alice for later.

All Blues *

Composer: Miles Davis

Time signature:12/8

……………………………………………….

Au Privave

Composer: Charlie Parker

……………………………………………….

Bag’s Groove*

Composer: Milt Jackson

……………………………………………….

Bessie’s Blues

Composer: John Coltrane

……………………………………………….

Billie’s Bounce

Composer: Charlie Parker

……………………………………………….

Blue Monk*

Composer:Thelonious Monk

……………………………………………….

Blues For Alice*

Composer: Charlie Parker

……………………………………………….

Blues March

Composer: Benny Golson

……………………………………………….

C-Jam Blues*

Composer: Ellington

……………………………………………….

Freddy Freeloader*

Composer: Miles Davis

  ……………………………………………….

Misterioso

Composer: Monk

  ……………………………………………….

Mr. P.C.

Composer: John Coltrane

……………………………………………….

Nostalgia In Times Square

Composer: Charles Mingus

……………………………………………….

Now’s The Time

Composer: Charlie Parker

……………………………………………….

Straight No Chaser

Composer: Monk

……………………………………………….

Tenor Madness

Composer: Sonny Rollins

……………………………………………….

West Coast Blues

Composer: Wes Montgomery

Time signature:3/4

……………………………………………….

You will find the complete list in book 3 of Learn Jazz Piano, chapter 9:
Building a jazz repertoire.

Here’s the link to  book 3

building a jazz repertoire
Book 3

 

 

 

 


 

Are you ready to start jazz piano lessons?

Are you ready to start jazz piano lessons?

Starting jazz piano lessons

I receive many enquiries from people who want to start jazz piano lessons but I take on only about 10% of them. So why do I turn away so many potential students?

One of the first questions I ask is ‘Do you listen to jazz?’ and if the answer is ‘no’ then my interest quickly wanes. This may sound obvious, but to play jazz one needs a feel for the music and this is acquired by listening to it. I can teach you the chords, scales etc, but I can’t teach you to swing.  Yes, I can explain the theory, but swing is not a concept. You may be able to play a tritone substitution, but if you don’t swing, then you’re not playing jazz. I recently took on a man in his 80’s. He’d never played jazz but because he’d been listening to it all his life there was a swing feel in his playing from the start. Conversely, I’ve worked with new jazz students of a high classical standard but who always sounded ‘straight’ in their playing. So my first point is that in order to get swing into your bones you need to expose yourself to the great jazz masters.

Here’s the second answer that deters me from taking on a new student. When I ask ‘Why do you want to start jazz piano lessons’ and the answer is ‘to sound jazzy’ I’m ready to put the phone down. Sounding jazzy is all about playing funky chords and hot licks, neither of which I’m prepared to teach. I turned pro in 1967 and for many years played Hammond organ in soul bands. People said that I sounded ‘jazzy’ but I really wasn’t playing jazz. In the 70’s I was playing in what was then known as ‘jazz rock bands’ but again there wasn’t much jazz involved. Even now, when I catch myself consciously trying to create a jazz sound in my playing, I hear the words of Howard Riley, one of my old teachers, saying ‘don’t play jazzy, just play.’  Once you are consciously trying to create recognisable sounds and phrases you’re on the slippery slope of approximating your music rather than staying within it and being true to yourself.

And this leads me to style.

When I ask a potential student why they want to start jazz piano lessons and their answer is that they want to play in the style of, say, Bill Evans, I revert to my grumpy old man mode and reply that I don’t teach styles. And there is no better witness for my defence than the great man himself. Just Google ‘Bill Evans interview’ on YouTube and you’ll hear him say ‘Jazz is not so much a style as a spontaneous creative process.’ If we are really playing in the moment, expressing ourselves and how we feel, this is authenticity and has nothing to do with style. Yes, we are all subconsciously influenced by all that has gone before, but are then bringing all this life experience into present moment to create something new. It should be like walking a tightrope; we are on an exploration. What has this to do with style? As much as I love Evans, Jarrett and Monk, I have no wish to sound like them.

So… listen to great players to get swing into your bones and don’t try to sound ‘jazzy.’  By expressing yourself you will be playing jazz.

You can make a start jazz piano lessons  by watching lessons 1 – 5 of my video course
and reading book 1 of Learn Jazz Piano.

start jazz piano lessons
My eBooks

Great jazz albums part 4

Great jazz albums part 4

Great jazz albums

This is the final instalment of my list of great jazz albums. You can find the complete list in book 3 of my eBook Learn  Jazz Piano. Here’s the link:

http://www.learnjazzpianoonline.com/book-3.html

I begin with my favourite jazz musician of all time: John Coltrane, and to chose just one album is almost impossible. However, it has to be a recording with McCoy Tyner, The obvious choice would be A Love Supreme, but I’ve chosen My Favourite Things because you can hear his approach to standards.

For the same reason, I’ve chosen Herby Hancock’s The New  Standard.

Chic Corea’s output has been and continues to be varied  in genre but Acoustic Band  gives you an insight into his approach to standards like Autumn Leaves and So In Love.

Exactly the same goes for Keith Jarrett. His standards trio, for me, has never been bettered.

So here goes…

————————

Artist: John Coltrane

Instrument: sax

Title: My Favourite Things

Date: 1961

Piano: McCoy Tyner

————————

Artist: Wayne Shorter

Instrument: tenor sax

Title: Juju

Date: 1964

Piano: McCoy Tyner

————————

Artist: Herbie Hancock

Instrument: piano

Title: Maiden Voyage

Date: 1965

————————

Artist: Herbie Hancock

Instrument: piano

Title: The New Standard

Date: 1966

————————

Artist: Wes Montgomery

Instrument: guitar

Title: Smokin’ At The Half Note

Date: 1965

Piano: Wynton Kelly

————————

Artist: Stan Getz

Instrument: tenor sax

Title: Anniversary

Date: 1987

Piano: Kenny Barron

————————

Artist: Chic Corea

Instrument: piano

Title: Now He Sings, Now He Sobs

Date: 1968

————————

Artist: Chic Corea

Instrument: piano

Title: Akoustic Band

Date: 1989

————————

Artist: Keith Jarrett

Instrument: piano

Title: Standards

Date: 1983

————————

Artist: Keith Jarrett

Instrument: piano

Title: Bye Bye Blackbird

Date: 1993

Great jazz albums
Keith Jarrett

And here’s the link to my video course:

http://www.learnjazzpianoonline.com/lessons.html

Recommended jazz albums

Recommended jazz albums

Recommended jazz albums – part 3

This is part 3 of my list of recommended jazz albums that I think you should be listening to. You can find the complete list in chapter 10 of  Learn Jazz Piano book 3.

I’m starting with another essential Bill Evans album and this time it’s live. I was fortunate enough to see him at Ronnie Scott’s in 1980.

For learning jazz pianists (and I count myself among them) there are certain piano players that I find more accessible and I’ve listed two of them below: Horace Silver and Wynton Kelly.

Anyone that knows me will not be surprised that I’ve included two Monk albums. The eccentricity of Monk often overshadows his unique approach. I feel it’s a mistake to assume that he’s playing strange and dissonant voicings just  to be different. In fact, everything he plays has a logic and purpose.

My one ‘guilty pleasure’ in this list is the inclusion of Andrew Hill.  Again, he is an acquired taste, but a true original.

I’ve not included Oscar Peterson in his own right as you can hear him supporting the great sax player Ben Webster in his 1959 album.

—————

Artist: Bill Evans

Instrument: piano

Title: The Complete Village Vanguard Recordings

Date: 1961

—————

Artist: Charles Mingus

Instrument: bass

Title: Ah Um

Date: 1959

Piano: Horace Parlan

—————

Artist: Ben Webster

Instrument: sax

Title: Ben Webster With The Oscar Peterson Trio

Date: 1959

Piano: Oscar Peterson

—————

Artist: Wynton Kelly

Instrument: piano

Title: Kelly Blue

Date: 1959

 —————

Artist: Hank Mobley

Instrument: tenor sax

Title: Roll Call

Date: 1960

Piano: Wynton Kelly

—————

Artist: Art Blakey

Instrument: drums

Title: Mosaic

Date: 1961

Piano: Cedar Walton

—————

Artist: Horace Silver

Instrument: piano

Title: Horace Silver And The Jazz Messengers

Date: 1954

—————

Artist: Dexter Gordon

Instrument: tenor sax

Title: Go!

Date: 1962

Piano: Sonny Clark

—————

Artist: Andrew Hill

Instrument: piano

Title: Point Of Departure

Date: 1964

————— 

Artist: Art Blakey

Instrument: drums

Title: Mosaic

Date: 1961

Piano: Cedar Walton

—————

Artist: Thelonious Monk

Instrument: piano

Title: It’s Monk’s Time

Date: 1964

—————

Artist: Thelonious Monk

Instrument: piano

Title: Monk Alone

Date: 1962 – 1968

Recommended jazz albums
Monk

Happy listening!

Paul

Learn Jazz Piano by Listening

Learn Jazz Piano by Listening

Learn Jazz Piano by Listening – part 2

This is part 2 of my list of essential recordings that I think you should be listening to. You can find the complete list in chapter 10 of  Learn Jazz Piano book 3.

Alongside playing and studying, listening to the masters of improvisation will improve your playing without you even knowing that it’s happening. Of course you can study the solos and even transcribe them.  There are apps for slowing the tracks down and changing the key like Tempo SloMo and Transcribe. But nothing replaces just listening to the music without trying to analyse it. I guarantee that it will sink in subconsciously and become a backbone of your own developing style.

In part one we looked at the recordings of Louis Armstrong, Lester Young, Charlie Parker,  Bud Powell, Coleman  Hawkins and Duke Ellington. I pointed out that it is important that you listen to other soloists besides pianists. Also, by listening to a recording of, say, Lester Young, you will also be hearing the great piano playing of Teddy Wilson.

In part 2 of my list we are now in the 50’s and 60’s.

Artist: Hampton Hawes

Instrument: Piano

Title: The Hampton Hawes trio

Date: 1955

———–

Artist: Sonny Rollins

Instrument: tenor sax

Title: Tenor Madness

Date: 1956

Piano: Red Garland.

———— 

Artist: John Coltrane

Instrument: sax

Title: Blue Trane

Date: 1957

Piano: Kenny Drew

————–

Artist: John Coltrane

Instrument: sax

Title: Crescent

Date: 1964

Piano: McCoy Tyner

—————

Artist: Art Pepper

Instrument: alto sax

Title: Art Pepper Meets The Rhythm Section

Date: 1957

Piano: Red Garland

—————-

Artist: Cannonball Adderley

Instrument: alto sax

Title: Somethin’ Else

Date: 1958

Piano: Hank Jones

—————–

Artist: Miles Davis

Instrument: trumpet

Title: Kind Of Blue

Date: 1959

Piano: Bill Evans

———————-

Artist: Bill Evans

Instrument: piano

Title: Portrait In Jazz

Date: 1959

We have now reached Bill Evans, perhaps the father of modern jazz piano.

Learn Jazz Piano
Bill Evans

Here’s the link to  my learn jazz piano video course

To be continued…

Study jazz piano: Suggested listening part 1

Study jazz piano: Suggested listening part 1

Three ways to study jazz piano

Three ways to study jazz piano are playing,  studying and listening.

Playing: I can only continue to encourage you to seek out other musicians. One of the  best ways to  study jazz piano is by playing with other people, whether with friends, with your teacher, at an evening class or summer school etc etc. Whatever gets you beyond just sitting at home and playing to backing tracks, the interaction and communication with other musicians is essential.

Studying: Hopefully, my learn jazz piano course and eBooks are helping you, but there is an ever growing number of resources now on the internet. Studying, of course, includes practice, and this doesn’t  just mean strolling through your favourite tunes and licks!

Listening: This brings us to today’s blog. How much jazz are you listening to? In a way, this is the easiest way to learn jazz piano, as you don’t need to be doing anything consciously. Just letting the music in without trying to analyse it will really inform your playing. Before I give you my recommendations, here are two pieces of advice:

Firstly, don’t just listen to the music you like. For years, I steered clear of 20’s and 30’s jazz, considering it old fashioned. Big mistake! You can learn just as much listening to Lois Armstrong as John Coltrane.

Secondly, don’t just listen to jazz pianists because that’s your instrument. Listen to how, for example,  great sax improvisers fashion their phrases.

So here’s the first in a series of recommendations. You’ll find the full list in book 3 of my Learn Jazz Piano eBook. Here’s the link to my books:

http://www.learnjazzpianoonline.com/jazz-piano-ebook.html

For each album, I’ve given you the pianist on the session, when the leader is other than a pianist.

Artist: Louis Armstrong

Instrument: trumpet

Title: Hot 5’s and 7’s.

Date: 1926 – 1930

Piano: Earl Hines

—————————–

Artist: Louis Armstrong

Instrument: trumpet

Title: Louis Armstrong Plays W. C. Handy.

Date: 1954.

Piano: Billy Kyle

——————————-

Artist: Lester Young

Instrument: tenor sax

Title: The Lester Young Story

Date: 1936 – 1949

Piano: Teddy Wilson and Count Basie.

—————————-

Artist: Charlie Parker

Instrument: alto sax

Title: The Complete Savoy Sessions

Date: 1944 – 1947

Piano: Bud Powell.

——————————

Artist: Charlie Parker

Instrument: alto sax

Title: Jazz At The Town Hall

Date: 1945

Piano: Al Haig

—————————

Artist: Bud Powell

Instrument: piano

Title: The Amazing Bud Powell

Date: 1951

——————————-

Artist: Coleman Hawkins

Instrument: tenor sax

Title: The Bebop Years

Date: 1939 – 1949

Piano: Teddy Wilson, Earl Hines and Hank Jones.

 ————————-

Artist: Duke Ellington and Charles Mingus

Instrument: Piano and bass.

Title: Money Jungle

Date: 1962

study jazz piano
Duke Ellington

To be continued…

Here’s the link to my video course.

Learn Bebop scales part 2

Learn Bebop scales part 2

Here is  Learn Bebop scales part 2. This is an extract from my forthcoming book ‘How To Solo.’. It will be the 4th in the series of my eBooks Learn Jazz Piano.

You can purchase books 1, 2 and 3 by clicking here.

Learn Bebop scales part 2

In my previous blog I illustrated the Bebop Dominant scale in C. Take another look before continuing.

Fig 45

learn bebop scales
Bebop Dominant scale of C

Bebop Dorian scale

The Dorian mode is usually associated with minor 7 chords.

To transform the Dorian mode into the bebop Dorian scale, we insert our chromatic passing note between steps 3 and 4.

For reasons that will soon become apparent, I’m illustrating this scale in G.

Fig 46

learn jazz piano dorian bebop scale
Dorian bebop scale

Now compare the C bebop dominant scale: fig 45 (see above) with the G bebop dorian scale (fig 46) and you will notice that these two bebop scales share the same passing note.

Their respective chords are Gmin7 and C7: II – V.

We can therefore employ the same notes to play any II – V phrase.

Fig 47

learn jazz piano bebop scales
II-V sequence

Bebop melodic minor scale

By adding one extra note to a scale, more bebop scales can be created.

Add a note between 5 and 6 of the melodic minor to create the bebop melodic minor.

Fig 48

learn jazz piano bebop scales
Bebop melodic minor scale

Bebop half diminished scale

In order to create a bebop scale to fit a half diminished chord (min7(5)), use the minor bebop scale 3 half steps up from that chord.

Fig 49

Bebop scales part 2
bebop half diminished scale

There is much debate as to which note to add when playing these scales. There’s something to be said for the argument that if a minor7 chord is functioning as a II, then adding a note between 7 and 8 (rather than 3 and 4) results in more chord tones occurring on downbeats.

Fig 50

learn Bebop scales
minor chord options

If you wish to look further into this subject I would recommend David Baker’s How To Play Bebop.

I have now produced 22 video lessons in my Learn Jazz Piano course. You can find them by clicking here.

You can find part 1 of ‘Learn Bebop scales’ below.

bebop scales part 1

bebop scales part 1

Using bebop scales in your jazz solos is easier than you think!

Chapter 4: of Learn Jazz Piano book 4

I don’t believe that most of us can learn jazz piano by instinct alone and bebop scales should be a part of your vocabulary.

The key is getting the right balance of instinct and theory. Here are some more tips to learn jazz piano, This time we are looking at bebop scales.

I’ll begin by stating the obvious.

Major and minor scales have 7 notes.

Most jazz tunes are in 4/4.

Solos are usually built from eighth notes.

Taking these three facts into our playing, a major scale in 8s and in 4/4 time, looks like this.

Fig 42

bebop scales
Downbeats of major scale

You’ll notice that beats 3 and 4 all fall on weak notes of the chord.

In order to make these downbeats fall on the chord tones, we can add one extra note to the scale.

Fig 43

bebop scales
Adding the extra note

This extra, chromatic passing note that occurs between steps 5 and 6 is the

Bebop major scale.

Bebop major scale

Fig 44 shows the C major bebop scale ascending and descending.

Play it in swing 8s with the marked accents on the downbeats. Notice how effectively this added note drives the phrase along.

Fig 44

bebop scales
Major bebop scale 

Bebop dominant scale

Because the bebop dominant scale is paired with a dominant 7 chord, our starting scale is the Mixolydian mode.

Once again, we will be adding an extra, chromatic passing note, but this time between steps 7 and the root of the Mixolydian mode.

Here is the C bebop dominant scale ascending and descending. The passing note is B♮.

Fig 45

bebop scales
Bebop dominant scale

 Book 4 of learn jazz piano is still in preparation but you can purchase books 1 – 3 if you follow the link below:
http://www.learnjazzpianoonline.com/jazz-piano-ebook.html

 

 

Learning Jazz Piano lesson 22 now available

Learning Jazz Piano lesson 22 now available

Learning Jazz Piano with Paul Abrahams

Here’s video lesson 22

‘HOW TO SOLO, PART 2.’

The second video lesson in this series is called ‘Chords and their scales.’

In lesson 22, I take the 4 chord types and pair them with all their scales and modes. The obvious pairings are as follows:

  • Major chords: major scale
  • Minor chords: dorian mode
  • Dominant 7 chords: mixolydian mode
  • Half diminished chords: locrian mode

But this is just the beginning. If you want to play creative solos, there are far more options when we dig deeper. For example, I illustrate five scale options just over the dominant 7.

Get lesson 22 here!

This lesson is a follow-on from lesson 21, ‘How to solo, part 1.’

Here’s a summary of the lessons 1 – 20:

Lesson 1 – From scales to chords

  • Soloing over the Pentatonic scale
  • Mastering intervals
  • The V – I concept
  • One formula to construct all major scales
  • 7 chords, one family
learning jazz piano
7 chords, 1 scale

Lesson 2 – Building a chord sequence

  • Chord sequences
  • The relative minor and its scales
  • The family row of minor triads
  • Soloing in a minor key

Lesson 3 –  Mastering every key

  • The circle of 5ths
  • How to play in any key
  • Preview of the II-V-I sequence
  • Introduction to the turnaround

Lesson 4 – Swing time

  • Learning to swing
  • The construction of 7th chords
  • How to interpret chord symbols
  • Shells – how not to upset the bass player

Lesson 5 – Walking 3s

  • Turnarounds part 2: I – VI – II -V
  • Walking 3s and 7s: the seeds of vertical improvisation.
  • How to use passing notes.
  • Voice leading

Lesson 6 – Extensions

  • Extensions: how to use 9ths, 11ths and 13th.
  • Know which extensions work with which chord.
  • Voicing a chord using extensions.
  • Introduction to Modes.

Lesson 7 – The II-V-I sequence

  • Master the II – V – I sequence in all keys
  • Seven soloing techniques over II – V – I
  • Alterations: know your sharp 11 from your flat 13
  •  Flat 9s and the diminished chord

Lesson 8 – How to comp

  • Comp like a pro
  • Find the best chord voicings
  • Use the right extensions
  • Build up to a five-note comp
  • Explore rhythmic variations

Lesson 9 – Modes

  • Know your Mixodydian from your Dorian
  • Grasp the connection between modes and chords
  • The art of modal soloing and comping
  • How to play ‘So What’

Lesson 10 – Autumn Leaves part 1

  • Playing your first standard
  • Learning the melody
  • The comp
  • The shells
  • The solo

Lesson 11 – Autumn Leaves part 2

  • Taking Autumn Leaves to the next level
  • How to fill out the melody
  • Comping with alterations
  • Soloing with vertical improvisation

Lesson 12 – The Blues part 1

Play with confidence over the blues.

  • How to solo creatively
  • The minor blues
  • Blues in 12/8
    Plus lots of tips, tricks and licks!

Lesson 13 – The Blues part 2

  • Taking the blues beyond the basics.
  • Chord changes that turn blues into jazz.
  • Lydian dominant & diminished scales.
  • Rootess left-hand voicings.

Lesson 14 – Bebop blues

  • Left hand 4-note rootless voicings
  • Constructing the Bebop sequence.
  • How to solo over a Bebop blues
  • Comping over a Bebop blues

Lesson 15 – Rootless voicing

  • Constructing left hand rootless voicings.
  • Applying  rootless voicings to II-V-I and turnarounds.
  • Adding the alterations: b9, b13 etc.

Lesson 16 – Tritone substitution

  • Diminished theory
  • Soloing over diminshed chords
  • Using diminished scales over dominant 7ths
  • Mastering tritone substitution

Lesson 17 – Putting it together

  • Now put your knowledge to work!
  • Combine learned techniques to play a jazz standard.
  • Rootless voicings + tritone substitution
  • Altered and diminished scales

Lesson 18 – Decoding a standard

  • Analysis of ‘All The Things You Are.’
  • How tunes are structured.
  • Identifying key centres
  • Connecting melody and chords
  • How to learn tunes

Lesson 19 – Reharmonising a standard

  • Chord substitution
  • How to reharmonise a tune
  • All The Thing You Are: advanced
  • Take The A Train reharmonised

Lesson 20 – Rhythm Changes

  • Next to a 12-bar blues, Rhythm Changes
    is the most important chord sequence in jazz.
    Master all its forms in this vital video lesson.

___________________________________________________________________

Jazz Piano eBooks

These latest lessons are based on book 4 in my series of eBooks. You’ll find extracts from this book in the lesson packages, but as I’m still working on book 4, it’s not yet available. You can purchase books 1, 3 and 3 here:

Click here for eBooks
learning jazz piano
My eBooks

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Learn Jazz Piano Online blog with Paul Abrahams | jazz piano video lessons online