![Solo Jazz Piano: The Linear Approach [Paperback]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uynhUpFJpPHa6rF28wJ0dKkrJuiylL5MR5nUmcf6WgFhUhMnW-LrBL_r1dwDVCWHtBrSMsNJ6hU8olLPXixq-1MaczKD6nN_fLe9lF_aUF9qYtkBnUYRu9hjMUkzRI6Ng=s0-d)
I'm a serious amateur jazz pianist who has long noticed that most other jazz piano books--including Mark's Levine's excellent "Jazz Piano Book"--assume you're always playing in a trio or larger ensemble.Consequently, they say very little about the unique problems of solo playing, bass lines, etc.This very well written and organized book contains the best instructional foundation for playing solo jazz piano I've seen anywhere.I had been looking for a book like this for about a decade without success because it was published relatively recently.
After several years of study from Levine's book and others in conjunction with occasional lessons from a couple of good teachers, I decided to study almost exclusively from this book on my own for awhile about a year ago.My solo playing has definitely improved a lot, and studying bass lines in depth seems to have improved my musical ear somehow, making it easier to improvise strong lines in the right hand.
Each chapter of "Solo Jazz Piano" begins with a clear, succinct presentation of the theory that will be drilled throughout the remainder of that chapter.This is generally followed by an etude written out in full (both clefs) that allows the student to feel what it's like to apply the theory immediately.I've learned a lot by analyzing the author's etudes.The etude is then followed by a leadsheet (usually with chord changes the same as or similar to those of the etude).The student is then directed to create an arrangement using the newly learned theory (and techniques learned in prior chapters) to create an original arrangement of the leadsheet.This system is very effective and helps the concepts "stick" in the student's mind, in my opinion.The first part of the book also includes an excellent review of basic chord theory.Once the study of bass lines begins, the author does not abandon the study and use of chords.On the contrary, he reminds the student to play 'comping arrangements in which the left hand plays a bass line and the right hand plays well-voice-led 'comping chords in addition to the usual excercises in which the student plays the melody (with or without added voices in the right hand) and a left-hand bass line.This ensures a well-rounded approach.My only criticism of this book is that it should have been spiral bound like Mark Levine's "Jazz Theory Book" for easier use at the piano.
I cannot recommend this book highly enough to anyone desiring to learn how to play SOLO jazz piano.For those just beginning to learn jazz improvisation, I also recommend "The Joy of Improv" (two volumes) by Dave Frank and "How to Improvise" by Hal Crook.Both Dave and Hal have also been faculty at Berklee College of Music.
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Solo Jazz Piano: The Linear Approach (Berklee Guide) [Paperback]Product Description: A step-by-step approach to solo jazz improvisation for piano. Learn to improvise using the techniques pioneered by piano greats Lenny Tristano and Dave McKenna. This methodical approach to learning the art of solo jazz piano improvisation will free your creative sense of music. It begins with a review of chord symbol interpretation, walks through bass line development, and ends with how to play several melodic lines simultaneously in stimulating musical conversation. You'll learn how to develop solos that embellish and support the melody, and use lead sheets to help you generate your own musical ideas. Twenty-one lessons present techniques, practice exercises, and tunes based on jazz standards. Notated transcriptions of sample improvisations illustrate each lesson's technique, and the accompanying CD lets you hear a master improviser put these ideas to work.
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![Godspell, Easy Piano Series [Paperback]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tqMMu2QvBVOaGLEDJRMPhbfeECsbexvPUcqiCBl_5ot3OwvZQQ_nUAbNuNIW3kmKj2KAUZF6hc0q8zaSQmjp2FeXJ53wMDU6f8vgYMXctN67K0z3xk6CE9Kg7QAXSoaQ=s0-d)
You may or may not care for "Godspell" -- for what it's worth, I'm rehearsing it right now.But before spending fifty dollars on this book, you should know that, despite the fact that it's been in print for 30 years, it is full of flat-out typos, misspelled accidentals, mislabeled parts, unexplained divisi, and other musical grekh.The publisher should be ashamed.If you plan to use this book for a performance, be prepared to spend many hours correcting it before rehearsal.(It is also often musically different -- even in the melodies -- from the Original Cast Album, but I don't know who was responsible for that.)
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