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The Jazz Piano Book
''The Jazz Piano Book'' is a method book written by Mark Levine. It was first published on January 1 1989. It aims to summarise the musical theory, including jazz harmony, required by an aspiring jazz pianist. Its target readership appears to be reading musicians who are new to jazz, implicitly classical musicians—there is very little discussion of physical pianistic technique, and only a very brief summary of musical intervals intended as a refresher. Another significant omission is any discussion of post-stride solo piano techniques—it is generally assumed that a bass player will be present to provide a root for the voicings that are discussed. The book covers a range of topics including left-hand voicings, scales and modes, improvisation, chords Chord may refer to: * Chord (music), an aggregate of musical pitches sounded simultaneously ** Guitar chord a chord played on a guitar, which has a particular tuning * Chord (geometry), a line segment joining two points on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Levine (musician)
Mark Jay Levine (October 4, 1938 – January 27, 2022) was an American jazz pianist, trombonist, composer, author and educator. Early life Levine was born in Concord, New Hampshire, on October 4, 1938. He began playing the piano at the age of five and started trombone in his early teens. He attended Boston University, and graduated with a degree in music in 1960. He also studied privately with Jaki Byard, Hall Overton, and Herb Pomeroy. Career After graduating, Levine moved to New York, where he freelanced and then played with musicians including Houston Person (1966), Mongo Santamaría (1969–70), and Willie Bobo (1971–74). Levine then moved to San Francisco, and played there with Woody Shaw in 1975–76. Levine made his first recording as a leader for Catalyst Records in 1976. He also played with the Blue Mitchell/Harold Land Quintet (1975–79), Joe Henderson, Stan Getz, Bobby Hutcherson, Luis Gasca, and Cal Tjader (1979–83). From 1980 to 1983, he concentrated on v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voicing (music)
In music theory, voicing refers to two closely related concepts: # How a musician or group distributes, or spaces, notes and chords on one or more instruments # The simultaneous vertical placement of notes in relation to each other; this relates to the concepts of spacing and doubling It includes the instrumentation and vertical spacing and ordering of the musical notes in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each note. Vertical placement The following three chords are all C-major triads in root position with different voicings. The first is in close position (the most compact voicing), while the second and third are in open position (that is, with wider spacing). Notice also that the G is doubled at the octave in the third chord; that is, it appears in two different octaves. : Examples Many composers, as they developed and gained experience, became more enter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Books
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comping (jazz)
In jazz, comping (an abbreviation of accompaniment; or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines. It is also the action of accompanying, and the left-hand part of a solo pianist.Hughes, Fred (2002). ''The Jazz Pianist: Left Hand Voicings and Chord Theory'', p.5. . Types In a standard jazz combo, the pianist or guitarist typically comps during the horn and double bass solos by improvising chords and countermelodies. The chordal accompaniment used in jazz is different from the chordal accompaniment style used in many types of popular music, such as rock and folk. *In a rock or folk band, a guitarist or piano player will accompany by playing primarily root-position triads consisting of the notes of the chord known as the root, 3rd, and 5th. In the key of C, the G chord would include the notes G, B, and D (t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord (music)
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (in which the notes of the chord are sounded one after the other, rather than simultaneously), or sequences of chord tones, may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and almost any other genre. A series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Improvisation
Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; see Applied improvisation. Improvisation also exists outside the arts. Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Improvised weapons are often used by guerrillas, insurgents and criminals. Engineering Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Examples of such improvisation was the re-engineering of carbon dioxide scrubbers with the materials on hand during the Apollo 13 space mission, or the use of a knife in place of a screwdriver to turn a screw. Engineering improvisations ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Scale
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In music theory, the concept of root is the idea that a chord (music), chord can be represented and named by one of its Musical note, notes. It is linked to Harmony (music), harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the Inverted chord, inversion of chords, which is derived from the notion of Invertible Counterpoint, invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "Elements of music, rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of Definition of music, what constitutes music, a more inclusive definition could be the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Bass
The double bass (), also known simply as the bass () (or #Terminology, by other names), is the largest and lowest-pitched Bow (music), bowed (or plucked) string instrument in the modern orchestra, symphony orchestra (excluding unorthodox additions such as the octobass). Similar in structure to the cello, it has four, although occasionally five, strings. The bass is a standard member of the orchestra's string section, along with violins, viola, and cello, ''The Orchestra: A User's Manual'' , Andrew Hugill with the Philharmonia Orchestra as well as the concert band, and is featured in Double bass concerto, concertos, solo, and chamber music in European classical music, Western classical music.Alfred Planyavsky [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stride Piano
Stride jazz piano, often shortened to stride, is a jazz piano style that arose from ragtime players. Prominent stride pianists include James P. Johnson, Willie "The Lion" Smith, Willie "the Lion" Smith, Fats Waller, Luckey Roberts, Mrs Mills and Mary Lou Williams. Technique Stride employed left hand techniques from ragtime, wider use of the piano's range, and quick tempos. Compositions were written but were also intended to be improvised. The term "stride" comes from the idea of the pianist's left hand leaping, or "striding", across the piano. The left hand characteristically plays a four-beat pulse (music), pulse with a single bass note, octave, major seventh, minor seventh or major tenth Interval (music), interval on the first and third Beat (music), beats, and a Chord (music), chord on the second and fourth beats. Occasionally this pattern is reversed by placing the chord on the Downbeat and upbeat, downbeat and bass notes on the upbeat. Unlike performers of the ragtime ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
