Practice, Practice, Practice

2019 ◽  
Author(s):  
Angela Duckworth ◽  
Keyword(s):  
Jazz Piano

In the 1993 film Groundhog Day, misanthropic meteorologist Phil Connors relives the same 24 hours, over and over and over again…for years on end. Given nearly infinite “do-overs,” Phil learns to speak French, play jazz piano, and flip cards into an upturned hat. Most important: he discovers the good in other people, and he learns to care about them. In return, they love him back. There's a lesson in Groundhog Day for all of us: Trying to do something over and over again, with intention and focus and feedback on what we could do better next time, is how you improve—at anything.

The Work of a Left-Handed Man

2000 ◽  
pp. 86-105
Author(s):  
John Lucas
Keyword(s):  
Second World War ◽  
Personal Interest ◽  
Writing Style ◽  
World War ◽  
Left Handed ◽  
Jazz Piano ◽  
The Many ◽  
The Uk ◽  
Second World ◽  
Formal Constraints

In chapter three, John Lucas describes the UK jazz scene following the Second World War. Lucas describes the free and unlimited qualities of jazz and makes comparative reference to Fisher’s own personal interest in the genre. The chapter goes on to state that Fisher’s writing style can arguably be linked to the many styles of jazz piano, in that the two both adhere to imaginative thought and liberation from formal constraints. As well as music, the chapter also focuses on the significance and impact of the themes of location and belonging found in Fisher’s poetry.

Jazz Piano

2019 ◽  
pp. 199-208
Author(s):  
Russell A. Schmidt
Keyword(s):  
Effective Instruction ◽  
General Philosophy ◽  
Skill Sets ◽  
Jazz Ensemble ◽  
Jazz Piano ◽  
The Individual

Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.

Art Tatum (1910–1956) and the jazz piano: a stylistic appraisal

Ars Nova ◽  
1994 ◽  
Vol 26 (1) ◽  
pp. 61-79
Author(s):  
Anthony Tambourlas
Keyword(s):  
Jazz Piano

scholarly journals Psychoacoustic Foundations of Contextual Harmonic Stability in Jazz Piano Voicings

2011 ◽  
Vol 7 (2) ◽  
pp. 156 ◽  
Author(s):  
James McGowan
Keyword(s):  
Jazz Piano ◽  
Harmonic Stability ◽  
Written Sources

While many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between "stable" and "unstable" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or "consonance." For this article the author focuses on the vertical dimensions of this issue, providing a "harmonic dialects" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts.

“Cooking” lessons for rhythmic skills: Jazz piano

1983 ◽  
Vol 69 (9) ◽  
pp. 50-51
Author(s):  
Jerry Gray
Keyword(s):  
Jazz Piano
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