A great book for beginners is "A clasical approach to jazz piano- Exploring
Harmony" of Dominic Alldis. This book explain very clear this subjects.
Tino
"Filipo" <fooltergeist@[EMAIL PROTECTED]
> escribió en el mensaje
news:62db7324.0405251117.6054af01@[EMAIL PROTECTED]
> Gama <none@[EMAIL PROTECTED]
> wrote in message
news:<BCD8B647.375E9%none@[EMAIL PROTECTED]
>...
> > Are you reading a Berklee harmony book?
> >
> > Gama
> > http://www.dreamtracks.com/
> >
>
> No, I'm self-taught and I'm reading a book entitled "Jazz Keyboard
> Harmony" by Phil DeGreg, published by Jamey Aebersold Jazz. Its a
> great book if you're into comping, but I really want to play old
> standards with melodies, like songs taken from the Ultimate Jazz
> Fakebook. Songs like "Autumn Leaves" or "All the Things You Are" or
> "Misty". I like DeGreg's automatic II-V-I voicing exercises in all
> keys, but I'm having a heck of a time applying it to solo piano
> arrangements. The hard part is inserting the melody since the
> exercises were designed more for comping, say with a jazz trio, rather
> than with a melody inserted by the right hand fingers. Like how do you
> keep your melody finger gyrating while your chord voicing fingers are
> locked in a fixed pattern ready to pounce on the ivories in time with
> the steady beat of a metronome? Its almost like patting your head and
> rubbing your tummy at the same time!
>
> For example, Chapter 3 is entitled "Four-Voice Shell Extensions". The
> author provides the following 2-handed example but he doesn't tell
> you how on earth you're supposed to insert the melody:
>
> Key Left Hand Right Hand
>
> Em7 E D G B
> A7 A C# G b
> DM7 D C# F# A
>
> Then he goes on to another example like the following:
>
> Em7 E G D F#
> A7 A G C# F#
> DM7 D F# C# E
>
> And on to other examples - shell voicings, guide tones, 3-note
> rootless voicings, 5- voice shell extensions, 4 - note rootless
> voicings, 4-note open position voicings, etc. Nowhere does he explain
> how or where I'm supposed to stab my ever-curious melody finger at the
> keyboard (though I know when - on the 1st and 3rd beat).
>
> In the foregoing examples, I know that they are the same progression
> with different extensions (5-9-5 in one and 9-13-9 in the other). But
> this is just pure theory - I'm looking for him to tell me where to
> stick my melody finger while I'm doing the I-V-I exercises outlined
> above.
>
> This seems to be a problem with with all the jazz instruction books I
> have - books by Levine, Amadie, Beale, Edly, Dobbins - all full of
> theory signifying nothing, i.e., no clearly described step-by-step
> real-time fingering exercises a la Martha Stewart. I hired a teacher
> once who promised everything but delivered nothing - a classical
> pianist jazz artist wannabe.
>
> Thanks for letting me vent,
>
>
> Frustrated
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