play chords in root position, with the voices toghether as possible (for example, c-e-g-b for cmaj7)and so on. I'm pretty sure you'll be soon playing with harmonic richness and coming with new things.ġ. i can see everyday how students suffer because they don't take in serious ear training in their early education stages. by the way, i'm a music teacher, and my specific subject is music grammar, ear training, harmony and solfeo. Going though this process can take days, months or years, it depence on you. soon you'll feel you need to play different. and as you add new tricks to your vocabulary, you'll start to see how your musical mind begins to give you new colors. if you still don't have this hability, go ahead. probably you are able to distinguish by ear the quality of a chord: major, minor, major or minor 7th, etc. Here we arrive to stage two: ear training. the ability of hearing a sound before you play or sing it, or to discriminate the notes when you hear them. but then, i feel i was lacking something: ear training. even though i didn't understand what i was hearing, i realized you could listen and listen to transcribe. ![]() it was chic corea's version (i didn't know this pianist). the first thing that attracted my attention was hearing a popular tune, say autumn leaves, played with a fresh and modern harmonic approach. My personal experience: when i went throuhg that process, i found myself bored playing always everything the same way, probably the stage where you are at by now, but i'm sure not for a long time. thinking about new arrangements, embelishments, etc, is just a matter of experience and it's not that easy. try to be original and define the principles of your own style. record yourself, listen to he results and try invite somebody to play for and see the reaction. Playing 3rd+5 (or 6th)+7th+9, or 7th+9th+3rd+5th.Īlways keep on your mind a good voice leading from chord to chord, and stay with open ears to correct any mistake you make or something that does not sound well. then, jump to the middle region of the piano to play the chord, also, you can play root + 5th, root + 10th (10th=3rd), root + 5th + 10th, root + 7th, and so on. put as many notes as your ears tell you it's okay, try to play different kinds of voicings and dissonances to make it interesting. Right hand: melody, but nuw you're going to choose a few notes to put below the melody, depending on the chord you are playing on that moment. If you have a good command of piano, you can try to play this way: after that, you can think about an arrangement, some new chord changes, substitutions, passing notes, embellishmentes and all kind of things you can imagine. So far, you'll be playing pretty well and it's not difficult. Left hand: just play the root of the chord. Right hand: play the melody + the third + the seventh on every chord, always keeping the melody on top. another way you can play is the mark levine approach, it's an axis of 3rd and 7th, even though thre is a great diference on the amount of notes you play with each hand. ![]() ![]() look for the archives called "harmonic shells" and "axis of 3rd and 7th. you can go to albetan's area in personal rooms, and look for an archive called "playing lead sheets" or something like that. if you ask me, the eassier is melody in right hand and an accompaniment pattern on the left. You can use many approaches to study a tune. compare it with the chord changes in the real book version, and get your own conclusions. listen to the "autumn leaves" version recorded by cannonball adderley with miles davis, from the album "something else". if you a real artist, try to find out your own style. just learn the basic harmony of the piece and the melody, then try to experiment different types of progressions, substitutions, etc. for me, it makes no sense playing "autumn leaves" or any standard as everybody play it. I use the real book only as a guide, since i think if you are trying to develop your personal style, reharmonization is a good point. the real book version i have, is harmonized with a cm7 chord in the first phrase, but if you listen to the original version recorded by coltrane with winton kelly on piano, you'll realize that the real chord is eb7 9#. for example, "blue trane", by john coltrane. just look for a good recording of any particular tune, and check it out. ![]() Many peaces you can find in the real book have transcriptions mistakes, believe or not.
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