Tag Archives: technique

areas of study within jazz piano

The 6 areas of study within jazz piano.

“Feel, form, rhythm,” “arranging,” and “technique” are what I call the three foundational blocks of jazz piano playing. Without them, you won’t be able to build anything musically solid because your playing will always lack rootedness, depth, and precision. To improve in the area of “feel, form, and rhythm,” I recommend immersing yourself in some kind of West African musical tradition (Ewe drumming and dance, or djembe and dundun rhythms for example). “Arranging” is about mastering different textures and telling an engaging story. The piano has an inherent orchestral quality due to its wide range and polyphonic nature, so there is a lot to cover here, from bass lines, to chord voicings, all the way up to how to interpret and embellish a melody. As far as “technique” is concerned, some sub-areas are specific to jazz (such as a practicing a snippet of music in a variety of keys) and others more particular to classical performance. This is why I often encourage my students to work on Hanon’s Virtuoso Pianist, and the Bach Chorales¹ and Inventions at the very least (taking separate classical piano lessons altogether, in addition to the jazz piano lessons, being the ideal scenario).

These first three foundational blocks support those that make up the second level in the diagram. “Improvisation,” in my opinion, is the heartbeat of jazz. It’s at the very core of the music, which itself is all about individuation (or “finding your own voice“) if you ask me. At its left, you’ll notice that I represented “listening/transcribing” as an arrow pointing towards “improvisation.” That is because the jazz language you will be exposed to, and eventually internalize, will unavoidably feed into your personal style as an improviser². The elements of tradition and innovation constantly and dynamically coexist in jazz, very much like the yin and yang components of Taoist philosophy.

Finally, all five aforementioned blocks support the final block at the top of the diagram: “building a repertoire.” Now the good news is, this task should be relatively effortless if you’ve studied all the other areas conscientiously… This culminating block is all about having fun learning the tunes you like, or, why not, even writing, practicing, and performing your own!

Notes

¹ In “Back to Bach: Keys to Jazz Piano Prowess,” pianist Fred Hersch (2012) also recommends working on the Chorales, and offers a step by step approach to studying them involving pairs of two voices, then groups of three, and finally all four.

² See Wernick & O’Donnell (2010).

References

Hersch, Fred. “Back to Bach: Keys to Jazz Piano Prowess.” Downbeat: 76-77, September 2012.

“The Four-Part Chorales of J.S. Bach.” bach-chorales.com. <https://www.bach-chorales.com/> accessed 10 March 2021.

Wernick, Forrest and O’Donnell, Eric. “The Importance of Language.” Jazzadvice. 2010. <https://www.jazzadvice.com/the-importance-of-language/> accessed 10 March 2021.


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“meditative practicing” technique

The following “meditative practicing” technique comes in really handy when far away from your instrument.

All you have to do is choose a notated piece of music that you’ve got memorized and try and play it in your mind as precisely as possible, hearing it, and even feeling the touch of the piano (this also works if you play another instrument: just mentally recall the feeling you experience when playing your particular instrument). For pianists, Bach’s Inventions work well because they consist of two contrapuntal parts, which are already challenging enough to hear simultaneously with the mind’s ear. But you can choose virtually any piece of music. When a passage seems unclear, go back and “replay” it again, slower if necessary (just as you would when you practice on your instrument) until you’re able to hear each note, as well as each item of expression attached to each note, with utmost precision.

This technique certainly requires sharp concentration and thus works best in a calm environment. But if practiced correctly, its benefits are certainly to be felt as soon as you return to the piano (the following day for example – it’s always good to allow the mental exercise to fully sink in during the night…): overall, your knowledge of the piece will have been considerably strengthened; your memory won’t fail you and you’ll be able to concentrate on musicality right off the bat.


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