Guide To Quickly Arranging Lead Sheets | Piano With Willie | Learn The Piano | Piano Lessons In this month’s article, I am going to talk about different techniques you can use to quickly create an arrangement from a lead sheet. Lead sheets, sometimes referred to “Lead Lines” are when you are presented with only the chords and melody of a song. If you know how to create an arrangement using lead sheets, you have thousands of songs at your fingertips. Now, you probably already know that in order to create an arrangement from a lead sheet, you must know your chords. Video Lesson: Can’t see the video? Step 1 – Finding & Playing The Roots The first step in preparing our arrangement is to start with only the roots of the chords. Every chord symbol has (2) parts: 1) the root and 2) the symbol. Let’s take a look at the first four measures of the song to see how we can apply this technique. By playing only the roots of the chord, we are creating a simple arrangement that will work, but it is not very full. Step 2 – Root-7, Root-3 Chords Step 3 – Adding Motion Step 4 -Improvisation
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how to play jazz piano Edit 21 authors | 82 revisions | Last updated: June 18, 2012 June 18, 2012 Jazz is an art form that has grown from its blues origins to draw influences from just about every genre of music there is. . . : Cole Porter, Gershwin, etc. . . : learn to play CM7 like (C, E, G, B), (E, G, B, C), (G, B, C, E) and (B, C, E, G). . . . . . How To Play Jazz Piano Chords Experiment! Love jazz, and learn to love the craft of songwriting. Gravitate towards the best pianists, if only to try and understand why they're considered the best. Do not forget: you learn to play the piano by the piano, not by reading a book or a wikiHow. Edit Warnings During your search through Jazz piano history, you'll eventually come across Art Tatum. But if you are wise, after hearing Art Tatum or Oscar Peterson will motivate you to work harder. Edit Related wikiHows Featured Article Last edited: June 18, 2012 by Codes for us Categories: Featured Articles | Piano and Keyboard Recent edits by: Samuel Sankins, Harri, Jordan
New Yorker - 100 Essential Jazz Albums While finishing “Bird-Watcher,” a Profile of the jazz broadcaster and expert Phil Schaap, I thought it might be useful to compile a list of a hundred essential jazz albums, more as a guide for the uninitiated than as a source of quarrelling for the collector. First, I asked Schaap to assemble the list, but, after a couple of false starts, he balked. Such attempts, he said, have been going on for a long time, but “who remembers the lists and do they really succeed in driving people to the source?” What follows is a list compiled with the help of my New Yorker colleague Richard Brody. Since the nineteen-seventies, jazz has been branching out in so many directions that you would need to list at least another hundred recordings, by the likes of Steve Coleman, Stanley Jordan, Joe Lovano, Jacky Terrasson, John Zorn, David Murray, Avishai Cohen, Béla Fleck, Eliane Elias, Roy Hargrove, Dave Douglas, Matthew Shipp, Gonzalo Rubalcaba, Fat Kid Wednesdays, and many, many others.
Registration Registration Instructions – Please register responsibly – your registration is a firm commitment to attend the class– Complete the form and enter the Captcha code– Click the "Submit" button at the bottom of the page Payments We encourage students to pay their tuition by personal check, bank check, or postal money order. Please make checks payable to Whetstone School of Lutherie. We can accept PayPal payments, but it's our policy to add the 3% processing fee to your invoice. Domestic and international wire tranfers can also be arranged on a case by case basis. Terms of Enrollment All classes are offered on a first-come, first-served basis. Your deposit reserves a spot in the class and is non-refundable. The tuition balance must be paid in full 30 days before the start of your class, or we may cancel your reservation. Registration Form
A Jazz Improvisation Primer This is the online version of my text, A Jazz Improvisation Primer. Here you can find information on almost every topic relating to jazz improvisation, from jazz history to music theory to practical advice on playing in a group. A German translation, by Edgar Lins, is online, at There is also a Hungarian translation at provided by Makrai Balázs. A Portuguese translation by Cláudio Brandt can be found at A Jazz Improvisation Primer is brought to you by Outside Shore Music. By the way, this work has been online since 1992, so if parts of it seem a bit dated, that’s why. Contents Appendices Thanks To: Ed Price (edp@panix.com), for the conversion of this resource into hypertext!
Jazz History Time Line Pre-1850 Though jazz and classic blues are really early twentieth-century black music innovations, certain characteristics found in jazz do have their roots in much earlier musical traditions. Call and response, improvisation, the appropriation and reinvention of elements from Western art music: black music in the twentieth-century has never held a monopoly on these musical practices. For instance, the era American historians call "antebellum" (roughly 1815-1861) holds much of interest to researchers looking for the deep roots of jazz. There was one condition that had to be met for a black tradition unique to North America to develop. But the North American variation and reinvention of African tradition in the early nineteenth-century was not monolithic. Despite the fact that the vast majority of blacks lived in the South, there were some freemen and women in the North. Keyword Search Disclaimer: Though we have checked our facts, this timeline may contain erroneous information.
Guitar Major Scales in 30 Days : Guitar Lessons Welcome to Guitar International’s series on Mastering the Major Scale in 30 days! We’re glad you’re here, so have a look around at all 30 of these very cool, and easy to practice exercises. The goal of this series is to give you all of the tools you will need to be able to play the major scale, in all keys, in all areas of the neck. By practicing these exercises you will not only boost your knowledge of the major scale, but you will also increase your knowledge of the guitar neck and raise your technical level at the same time. So sit back, grab your favorite guitar and a hot drink and get ready to Master the Major Scale! Section 1 – One Octave Fingerings Day 1Day 2Day 3Day 4 Section 2 – 2-Octave with Shifts Day 5Day 6 Section 3 – Major Scales with 6th String Roots Day 7Day 8Day 9 Section 4 – Major Scales with 5th String Roots Day 10Day 11 Section 4 – 3 Octave and Longer Scales Day 12 Section 5 – Scales on 1 String at a Time Day 13Day 14Day 15Day 16Day 17 Day 18 Day 19Day 20Day 21Day 22Day 23Day 24
how music works How Music Works is a comprehensive suite of multimedia tutorials which explain music in clear, simple language you can relate to. Packed with 115 topics in nine tutorials, and illustrated with 360 diagrams and 750 demonstration sounds, the tutorials start with the very basics of music and advance to topics which are valuable even for professional musicians. Whatever musical instrument or style you are interested in, these tutorials will be an essential source of information and guidance for years to come. The How Music Works tutorials are available online at www.howmusicworks.org but these tutorials are not printable and do not have the sounds. To get the full benefit of the tutorials, the ChordWizard Music Theory software is highly recommended.
Paul Scaruffi - A History of Jazz Music Bibliography (in order of relevance): Gioia, Ted: "The History of Jazz" (Oxford Univ Press, 1997) Shipton, Alyn: "New History of Jazz" (2001) Southern, Eileen: "The Music of Black Americans" (Norton, 1971) Gridley, Mark: "Jazz Styles" (Prentice Hall, 1991) Hardy, Phil & Laing Dave: "Faber Companion to 20th Century Popular Music" (Faber, 1990) Clarke, Donald: "Penguin Encyclopedia of Popular Music" (Penguin, 1989) Hodeir, Andre: "Hommes et Problemes du Jazz" (Flammarion, 1954) Polillo, Arrigo: "Jazz" (Mondadori, 1975) Roberts, John-Storm: "Black Music of Two Worlds" (1972) Lord, Tom: "The Jazz Discography" (Lord Music Reference, 2007) Discography: Jazzdisco Biographies: Almost a Preface Most books on the history of jazz music, even the ones published very recently (see the bibliography), tend to devote 80-90% of the pages to jazz before the Sixties, and then to quickly summarize (with countless omissions) the last 40 years. This is now a dangerous book. piero scaruffi, 2006 Notes Disclaimer
RC-30: Loop Station Twin Stereo Tracks, Built-In Effects, & Pro I/O Features BOSS celebrates the 10th anniversary of the LoopStation with an exciting new lineup of RC-series loopers! First out of the gate is the RC-30, a Twin Pedal multitrack looper with two synchronized stereo tracks and built-in loop effects. Twin Pedal multitrack looper with true stereo I/O Two synchronized stereo tracks with dedicated volume faders and track-select buttons Massive internal memory with up to three hours of stereo recording time 99 onboard memory phrases for storing loops Built-in effects for processing loops Multiple inputs: 1/4" A and B input jacks, stereo 1/8" mini AUX input jack, XLR input jack with phantom power USB 2.0 port allows you to connect to a PC and import/export WAV audio Rhythm guide with real drums Runs on batteries or optional AC power supply More Info Twin Stereo Loops Onboard Effects Fans of BOSS’s world-famous effects will be pleased to find a lineup of creative effects onboard the RC-30. Mic Input Support
ear training Jazz History Database ugly_guitar_guy's 2012 Challenge Build Thread -- COMPLETED - Page 7 Well, when it comes to this whole string tension topic I can only explain my first-hand experience, and that's strings on shorter scale guitars feel "looser," and strings from varying headstock lengths make the strings feel looser or tighter. There is something happening there to make it happen, I'm just no science major to explain it in numbers and graphs. Tonight was another neck night. Had one little goof where the drill bit pulled up on the headstock and goofed up the hole a little bit, but not enough to really cause an issue. After the 6 tuners, I tackled the 7th with the space I had left. Now, the reason why I haven't glued my fretboard yet is because of the high compression joint that I wanted. Now, I was moving kind of quick and neglected to get a pic of lining up the neck in the pocket to make sure the nut and the bridge were straight, but I did it. I used my drill press as an arbor to clamp the T-nuts in because I was too afraid to use a hammer (for obvious reasons).