Pub Date : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0018
Russell A. Schmidt
Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.
{"title":"Jazz Piano","authors":"Russell A. Schmidt","doi":"10.1093/oso/9780190462574.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0018","url":null,"abstract":"Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129228715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0019
N. Walker
The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.
{"title":"Jazz Bass","authors":"N. Walker","doi":"10.1093/oso/9780190462574.003.0019","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0019","url":null,"abstract":"The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129574134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：