Fara scapare

Just met the piano jazz teacher today. We realized some important stuff together:

1. We (we the students) have a problem with hands independence. That comes from the rough classical school style where they tought us to decypher and learn by heart hands separatelly and then put them together. So in the brain there must be like to separate „lines”, one for the left, one for the right. This causes bass accompanying issues. I for example cannot keep the bass line with my left while I improvize, or canot fill in some chords just like that… I need to concentrate first.

  • Play music sheets with both hands at the same time. From the beginning.
  • Play bass lines on the left at the beginning (when there is no bass next to us. THis can be helpful for example during nass solos)
  • Place chords between solo lines

2. Chords progression. I don’t know how to pass from one to another…
Solution: don’t know yet. To work.

3. Jazz phrases. The little formulas that we hear all the time in almost all pieces we listen to.
Solution: play some accessible pianists who master them brilliantly, but are still not so complicated to decypher.
For example: Horace Silver, which apparently was not a virtuoso, but a very good composer. He has some nice tunes that are not so complicated for the „human” ear. Another one, Bud Powell, phrases are accessible, but … rapid! So, I should get hold of me and work speed and control aswell. Then he told us to listen a bit to Andy Laverne, very interesting for the way he reharmonizes standards …

That was quite it for the moment. So I’ve decided to work some Horace Silver first and then… I’ll see what’s next.


{08/25/2008}   Oscar Peterson

I found a beautiful Oscar Peterson album… I fell in love with it as soon as I listened, and am ready to work the solos out.
It’s called
A Jazz Portrait of Frank Sinatraand this is my favourite track

Discover Oscar Peterson!

Here’s a nice series of Oscar Peterson playing Duke Ellington…

Satin Doll

Take the A train

et cetera