Jazz piano
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Jazz Piano has been an integral part of the jazz idiom since its inception, in both solo and ensemble settings. The instrument is also a vital tool in the understanding of jazz theory and arranging, because of its combined melodic and harmonic nature. There are as many styles of jazz piano as there are jazz itself, as it has gradually been transformed in the context the changing roles played in the rhythm section in the various styles of jazz.
Historically influential proponents of jazz piano include Jelly Roll Morton, Thomas "Fats" Waller, James P. Johnson, Teddy Wilson, Mary Lou Williams, and Art Tatum. Players following these include Bud Powell, Oscar Peterson, Ahmad Jamal, Red Garland, Phineas Newborn, Jr., Wynton Kelly, Thelonius Monk, Horace Silver, and Lennie Tristano. Bill Evans was at the vanguard of a new generation of players emerging in the 1960's which included Herbie Hancock, Chick Corea, McCoy Tyner, Keith Jarrett and John Taylor (jazz). Today, luminaries include Mulgrew Miller, Geoffrey Keezer, Danilo Perez, Brad Mehldau, Esbjörn Svensson, Marc van Roon, Carli Muñoz, Benny Green, Django Bates, Bill Charlap, Jacky Terrasson, and Mr. Hal Waller.
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[edit] Role in ensembles
The role of the piano in the context of ensemble accompaniment has gradually changed from a time-keeping role consisting of repetitive left-hand figures to a more flexible one where the pianist is free to choose to interact with the soloist using both short and sustained chordal and melodic fragments. This form of accompaniment is known as comping
[edit] How jazz piano is played
The jazz pianist requires a unique set of skills. One must be able to read notes by sight, in a similar fashion to other styles, and must also be able to quickly interpret the content of chord symbols and lead sheets. Often, the pianist is doing this while recalling that information from memory. In an accompaniment setting, the pianist must balance this interpretation with choices appropriate to the musical context of the soloist and other accompanists.
The extended range of the piano as an instrument offers soloists an exhaustive amount of choices. One could use the bass register to play an ostinato pattern, such as those found in boogie-woogie, or a melodic counterline emulating the walking of an upright bass. In a style known as Stride piano the left hand alternates positions rapidly playing notes and chords. This is also done in more syncopated variants. The right hand will often play melodic lines, but might also play harmonic content, chordally or in octaves, sometimes in lockstep with the Left Hand using a technique called "Block Voicing"
[edit] See also
[edit] Further reading
- The Jazz Piano Book by Mark Levine: A "how to" book on the subject.
- Metaphors For The Musician by Randy Halberstadt: Insights into almost every aspect of jazz piano.
- Stylistic II/V7/I Voicings For Keyboardists by Luke Gillespie: Covers all styles of comping, from basic and fundamental approaches to modern.
- Forward Motion by Hal Galper: An approach to Jazz Phrasing.
- The Left Hand by Ricardo Scivales: A study of the history of the Left Hand in Jazz Piano
[edit] External links
- Piano Jazz - Marian McPartland's program on National Public Radio
- Learn Jazz Piano - Scot Ranney's acclaimed site devoted to the art of jazz piano
Categories: Jazz | Piano
