Stuff you hear in the Pianists Forum.īut everyone only thinks in terms of triplets. The ability to control the percussiveness has to do with the attack, playing close to the keys, fingertip control, on and on. It is the accents (control of it) and the singing legato (like Jarrett) that creates swing.
It's pretty much the same concept as the "Cantabile" that you have heard often in classical. Lots of control required just like classical music. To make a piano solo line sound like a horn or wind instrument means that you make the piano sing and have a less percussive attack. So for a heavy swing that you're trying to emulate, instead of thinking of the swing, you think of the accents and softening the transition in the accents so that the line sounds like a "horn" (something I mentioned earlier was in Chris Bell's sig).
In contrast, less legato is actually possible but only when playing completely straight (such as when playing sixteenth notes). The reality is that a lot of swing ratios are acceptable if true legato is used. I'm not sure it is assumed directly but it's like the listener's ears are confused as to the origin of the swing sound. Now this seems to be a common misconception about playing jazz that the style is percussive. RH improvises the 1st 8 bars, and then again 8 bars in the middle. Softly as in a Morning Sunrise (Romberg arr Miles, ABRSM Gr 2) I did try to do 2 versions, one with accents on downbeats and one on offbeats, but I didn't have that much control. Accents are everywhere, but interestingly on the CD, they are on the down beats. The LH is written out, interesting, it's rootless. Good Time Blues (Eddie Harvey, ABRSM Gr 2) When I listen, I think, is there an accent there at all? When I play, I think I'm definitely exaggerating it too much. 1-5-1 on the melody note? Maybe it's not important right now.Īs well as rootless, I have been working on accents. I don't think I ever mentioned that in this thread.Įr - not quite sure I got that. You don't need to tackle the tunes completely but just use it for ii-V-I practice.īTW - interesting that you remind me of this, a "comping" style used is LH rootless, and 1-5-1 on RH or 1-5-1 or 1-3-1 on the melody note. You need a tune that has lots of ii-V-I's like All the Things You Are, Stella By Starlight, Just Friends, Days of Wine and Roses, to name a few. The context of when you typically use an A vs a B voicing depends on the tune (register location and melody) so it is best to try it out. So you can see that this is not something quickly acquired.Īfter muscle memory has been somewhat established, I would start playing ii-V-I's. There may be a second or two delay for the uncommon keys. 2 handed voicings is not automatic for me in some keys. As you get further advanced, you will realize that there's a limitless range of options depending on what you want to accomplish and mastery requires complete oneness with the instrument so all of this is automatic. Voicings? In this thread, we talk about two specific voicing methods, rootless (A & B) and various 2 handed voicings (2+3, 3+2 ). Knowing this, be aware that if you see the chords stated as the alternates above that you are seeing the same chords but the composer is stating the voicings.Īre we clear on Chords vs. You must do this in the A & B voicings though. Half step movement keeps the same general hand shape.
Dom7 - learn it by half step starting at C7 Min7 - learn it by half step starting at Cm7ģ. Maj7 - learn it by half step starting at CMaj7Ģ. To practice rootless, first do it by chord quality and using A & B voicingsġ.
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