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    Learn Jazz Piano Book 2
    Learn Jazz Piano Book 2
    Learn Jazz Piano Book 2
    Ebook117 pages1 hour

    Learn Jazz Piano Book 2

    By Paul Abrahams

    4.5/5

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    About this ebook

    With over 100 illustrations, book 2 of Learn Jazz Piano journeys further into the heart of jazz and blues improvisation. In non-technical language Paul Abrahams explains such concepts as rootless voicings and tritone substitution.

    LanguageEnglish
    PublisherPaul Abrahams
    Release dateOct 30, 2013
    ISBN9781310388781
    Learn Jazz Piano Book 2

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    Book preview

    Learn Jazz Piano Book 2 - Paul Abrahams

    Published by Paul Abrahams at Smashwords

    www.learnjazzpianoonline.com

    This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each reader. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy.

    Thank you for respecting the hard work of this author.

    © Paul Abrahams, 2011

    Author’s note

    Although this book can be read independently, I would recommend that each section be studied alongside my online video course Learn Jazz piano, which can be found here:

    Learn Jazz Piano Online with Paul Abrahams

    Together with each online video lesson, I have bundled four backing tracks, downloadable sheet music and a quiz.

    ----------------------

    This book is part of series of three eBooks called Learn Jazz Piano.

    Click here to purchase book 1.

    Click here to purchase book 3.

    There is also a fourth book called How To Solo.

    ----------------------

    At the start of some chapters I have indicated which video lesson relates to the text.

    TABLE OF CONTENTS

    Terminology

    Glossary

    Introduction

    Chapter 1: Rootless Voicing

    Chapter 2: Diminished Theory

    Chapter 3: Tritone Substitution

    Chapter 4: The Blues Part 2

    Chapter 5: Rhythm Changes

    Chapter 6: Modes Part 2

    Chapter 7: Soloing Over Dominant 7s

    Chapter 8: Upper structures

    Chapter 9: Block chords

    Chapter 10: Stride (1)

    A final word

    Links

    Terminology

    For obvious reasons, more Americans than Brits follow my lessons. So after numerous emails asking me what I mean by a crotchet, I’ve mended my ways and now refer to quarter notes. This also means that swing quavers are now swing eights. With apologies to my British readers I’ll also be using the following terms, which appear in the left-hand column.

    Intervals

    USA / UK

    half step / semitone

    whole step / tone

    Note names

    USA / UK

    whole note / semibreve

    half note / minim

    quarter note / crotchet

    eighth note / quaver

    However, as a token act of rebellion, I’ll continue to speak of key centres rather than centers.

    Naming chord symbols

    As no two books use the same chord symbol names, I’m opting for the following:

    * In book 1, I used the triangle for a major 7. In this book I’m mostly using ‘maj⁷’.

    I suggest you get used to working with both symbols.

    Naming extensions

    As the name suggests, extensions are notes played above the octave. They should therefore be referred to as 9, 11 and 13.

    When these extensions are flattened or sharpened they become b9, #9, #11 and b13. These four ‘altered extensions’ are commonly known as alterations.

    However, if these added notes occur within a chord they should, in theory, be referred to as 2, 4 and 6 etc.

    Unfortunately, the world isn’t that simple and the same note can be described in a number of ways. For example, #11 will often be referred to as b5. Here are the possibilities:

    You will also encounter + and - signs instead of # and b. I suggest that you get used to seeing #11 and b5 as the same note. This also goes for b13 and #5.

    Keep in mind, however, that in a chord such as C⁷(b⁵), the 5 (G) is being replaced by the flat 5 (G b) and therefore needs to be described as such.

    Compare this with the chord C⁷(#11). Here, although the note in question is still the same, it is now an alteration rather than a replacement of the G. It is therefore described as sharp 11. I feel a migraine coming on!

    Glossary

    Alteration of flattening or sharpening an extension.

    Bridge The middle ‘B’ section of a song. Also known as the middle

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