But what if you’re a beginner with limited resources?

The good news is, free online piano lessons are available. They offer a flexible and cost-effective way to start your musical journey.

In this guide, we’ll explore the best platforms for free online piano lessons. We’ll also share tips on how to make the most of these resources. Let’s dive in.

Why Learn Piano Online?

Online piano lessons offer a host of benefits. They provide flexibility, allowing you to learn at your own pace.

You can revisit lessons as often as you need. This is a major advantage for beginners.

Moreover, online lessons are accessible from anywhere. All you need is a piano or keyboard and an internet connection.

Lastly, many online platforms offer free lessons. This makes piano learning affordable for everyone. With Jazzedge Academy you get something different.

At Jazzedge Academy you get lifetime free access to hours and hours of online piano lessons. Create your free piano account.

Finding the Best Free Online Piano Lessons

When looking for free online piano lessons, quality is key. The best platforms offer structured curriculums.

They also provide video tutorials. These are crucial for visual learners.

Interactive tools and apps can enhance your learning experience. They make lessons engaging and fun.

Here are some features to look for:

• Structured curriculum (Jazzedge Academy features our Jazzedge Practice Curriculum)
• Video tutorials (Over 1,300 hours of detailed lessons)
• Interactive tools and apps (Practice log, Practice Actions, Backing Tracks and more!)
• Lessons for different skill levels (All skills and styles are represented)
• Community and support (Interact with teachers and students live or via email)

Remember, the best platform for you depends on your personal learning style and goals.

How to Access Free Online Piano Lessons

Accessing free online piano lessons is simple. Most platforms require you to sign up with an email address.

After signing up, you can start exploring the lessons. They are usually categorized by skill level.

Some platforms offer mobile apps. This allows you to learn on the go.

Remember to set up a comfortable learning space. This will help you focus and make the most of your lessons.

Tips for Effective Online Piano Learning

To learn piano online effectively, consistency is key. Try to practice daily, even if it’s just for a few minutes.

Choose a structured curriculum. This will ensure you cover all necessary topics.

Use additional resources. Free sheet music and practice exercises can supplement your lessons.

Lastly, don’t rush. Learning piano takes time. Enjoy the process and celebrate your progress.

Overcoming Common Challenges for Beginners

As a beginner, you may face some challenges. Don’t worry, it’s normal.

One common issue is lack of motivation. To overcome this, set small, achievable goals.

Another challenge is understanding musical notation. Use online resources to learn at your own pace. Practice makes perfect.

The Role of Community and Support

Learning piano online doesn’t mean you’re alone. There’s a vast community ready to help.

Online forums and social media groups can provide valuable support. They offer tips, feedback, and encouragement.

Remember, everyone was a beginner once. Don’t hesitate to ask for help or share your progress. You’re part of a global community of learners.

Conclusion: The Future of Piano Education

The future of piano education is increasingly digital. Free online piano lessons are a testament to this trend.

They offer accessibility, flexibility, and a wealth of resources. This makes learning piano more democratic and widespread.

As technology advances, we can expect even more innovative ways to learn piano online. The musical journey is just a click away.

The post Free Piano Lessons for Beginners first appeared on Jazz Piano Blog.

• Download the jazz improvisation crossword puzzle
• Download the jazz improvisation crossword puzzle answer key

Why Jazz Improvisation Crosswords are Helpful

Using different ways to learn can make things easier to understand and remember. Here’s how a jazz improvisation crossword can help you:

1. See and Learn: Jazz Improvisation Crosswords help you see jazz terms and remember them better.
2. Think and Solve: Solving puzzles makes your brain work hard, helping you think better and faster.
3. Repeat and Remember: Doing puzzles lets you see the same important words again and again, making it easier to remember them.
4. Learn in Context: Crosswords show how jazz terms fit into the bigger picture, helping you understand them better.

How to Practice Jazz Improvisation Without Your Instrument

You don’t always need your instrument to practice jazz improvisation. Here are seven tips to help you improve:

1. Listen to Jazz Music:

• Listen to jazz songs and focus on how musicians make up their solos. Try to notice patterns and how they use space between notes.

1. Write Down Solos:

• Pick solos you like and write them down. This helps you understand how great musicians improvise.

1. Sing Scales and Solos:

• Sing different scales and solos. This helps you hear and feel the music better.

1. Read About Jazz Theory:

• Read simple books and articles about jazz theory. Knowing the basics can help you play better.

1. Analyze Chord Progressions:

• Look at jazz songs and study their chord progressions. Try to find common patterns like ii-V-I progressions.

1. Use Apps and Software:

• Try apps like iReal Pro that have backing tracks and chord charts. These can help you practice improvisation.

1. Jazz Improvisation Crosswords:

• Do jazz improvisation crosswords to test and strengthen your knowledge. They’re a fun way to learn and remember important terms.

Conclusion

Using different ways to learn jazz improvisation, like doing a jazz improvisation crossword, can make learning more fun and effective. By seeing, thinking, and repeating, you can understand and remember jazz terms better.

Practicing away from your instrument, like listening to music, writing down solos, singing, reading, and using apps, helps you stay connected to jazz. Try these different methods to become a better jazz improviser!

The post Jazz Improvisation Crossword: A Fun Way to Learn Jazz first appeared on Jazz Piano Blog.

Jobim composed some of the most popular bossa novas, including “Girl from Ipanema,” “Wave,” and “Desafinado.” In this article we’ll be taking a look at the bossa nova style at the piano using our Standards by the Dozen lesson featuring “Desafinado.“

The Bossa Nova Bass Line Rhythms

Bossa novas are usually mid-tempo pieces in 4/4 meter and feature elements of Brazilian music (such as the instrumentation and Portuguese lyrics) and American cool jazz (such as sparse, light comping and percussion). Probably the most important element of playing bossa novas at the piano centers around the bass line, which is played in the left hand. The bossa nova bass line generally features a repetitive rhythmic figure (also referred to as an ostinato) based on the dotted quarter note rhythm. Look at the bossa bass line below. Each measure is the same in terms of its rhythmic placement: beat 1, the “and” of beat 2, beat 3, the “and” of beat 4.

The Bossa Nova Bass Line Notes

The next most important thing to notice are the incredibly simple harmonic tones which construct the bass line – the entire 4-measure phrase above consists entirely of the root and the 5th of each chord. Notice that on beat 1 of each measure we play the root of the chord. On the “and” of beat 2 in each measure we play the 5th of the chord. On beat 3 of each measure we re-play the 5th of the chord (also notice that it does not matter whether you go from the root up to the 5th or from the root down to the 5th – this is a matter of preference).

Anticipation

An interesting thing happens on the “and” of beat 4 in each measure. Here we play what is referred to as an anticipation. An anticipation does exactly what it sounds like – it treats the “and” of beat 4 as if we’re getting to the next chord (and therefore the next measure) a half-beat early. This gives the sense of syncopation and surprise (i.e., anticipation) to the sound of the arrival of the next chord. Notice that for each of the chords below the note played on beat 4 has nothing to do with the chord indicated in that measure, but rather is the root of the chord in the next measure.

So let’s break this down into a nice easy formula for building our own bossa nova bass lines:

First, use the rhythm indicated in the example above which uses dotted quarter notes and 8th notes;

Second, find the root and 5th of each chord. Start with the root on beat 1, the 5th on the “and” of beat 2, the 5th again on beat 3, and;

Third, be ready to anticipate chord changes on the “and” of beat 4.

Putting It All Together

This bass line will work whether you’re using your right hand for comping or – as demonstrated in our Standards by the Dozen lesson featuring Jobim’s “Desafinado” – playing the melody in the right hand as featured below. It takes a lot of practice to be able to maintain the bass line while playing the melody over it, so be sure to break down your rhythmic understanding and practice slowly!

The post How to Play Bossa Nova Bass Lines at the Piano first appeared on Jazz Piano Blog.

His music is great for players who want to get better at jazz and have a repertoire that will appeal to many people. This is a great choice for people looking to improve their jazz skills.

Let’s check it out!

What is the Whole-Tone Scale?

The whole-tone scale has six notes, unlike major and minor scales that have seven. The term “hexatonic” refers to a musical scale or system that contains six tones. This means that the scale is made up of six different pitches or notes, which gives it a unique and distinct sound.

Hexatonic scales are used in different types of music to make unique harmonies and melodies that are not typical. By having six tones, hexatonic scales offer a different set of possibilities for composers and musicians to explore, allowing for a wide range of musical expressions and emotions to be conveyed. Overall, the hexatonic scale is a versatile and dynamic musical tool that adds depth and complexity to compositions.

Unlike major and minor scales, which have 12 unique scales with their own key signature, there are only two whole-tone scales. The whole-tone scale is constructed by moving exclusively in – you guess it – WHOLE steps!

How To Create a Whole-Tone Scale

Let’s create an example. First choose any starting pitch. We’ll start on the note ‘C.’ Now move upwards, always by whole-steps, until you reach ‘C’ again.

If done correctly the notes of the scale will be: C, D, E, F#, G#, A#, C. There are only 2 unique whole-tone scales because starting on any note will result in the same notes in a different order.

For example, start the scale on F# and you’ll see that the same notes are used: F#, then G#, A#, C, D, E, and back to F#. Same exact notes because we are only moving in whole-steps. So the only other whole-tone scale will consist of all the notes we did not use, i.e., C#, D#, E, F, G, A, B, C#. 

That’s what the scale is, now let’s check out how Stevie uses it. The intro to “You Are the Sunshine of My Life” begins with a bright and uplifting sound created by the combination of two chords – B major and F# dominant 7. The B major chord sets a warm and inviting tone, while the F# dominant 7 chord adds a touch of tension and anticipation.

This chord progression sets the stage for the rest of the song, creating a sense of joy and happiness that perfectly complements the lyrics about finding love and happiness in someone special.

The smooth transition between these two chords helps to establish the overall feel of the song, drawing listeners in and setting the mood for the heartfelt message that follows. Overall, the intro to “You Are the Sunshine of My Life” is a perfect example of how a simple chord progression can set the tone for a beautiful and memorable song.

For those who like to think in Roman numerals this is a simple and common “I” to “V7” chord progression.

Remember how I mentioned that Stevie uses jazz harmonies?

Well, on that F#7 chord, he treats it as an F#7 with a sharp 5, a natural 9, and a sharp 11. Let’s aggregate those notes:

F# (root), A# (3rd), D (#5) E (7th), G# (9th), C (#11). Now let’s put those notes in order starting with F#: F#, G#, A#, C, D, E. 

Lo and behold, it’s an F# whole-tone scale.

Still not convinced this is what Stevie was thinking when he played this chord? Well then check out the actual notes he played: 

Notice in measures 3 and 4 that Stevie Wonder plays major 3rds in the right hand, up the whole-tone scale, starting with the notes ‘D’ and ‘F#.’ That’s a cool sound, right?

So what have we learned from this?

First, the whole-tone scale consists entirely of whole-steps.

Second, that there are only 2 unique whole-tone scales.

Third, that the whole-tone scale can be played over a dominant 7th chord and will contain the extensions natural 9, sharp 11, and sharp 5.

Fourth, that the whole-tone scale can be used – as Stevie used it – to create major third pairs that can be played up and down the scale.the scale.

The post Stevie Wonder and the Whole-Tone Scale first appeared on Jazz Piano Blog.

Drop-2 voicings are used by many jazz musicians such as Duke Ellington, Bill Evans, George Shearing, George Benson, etc. If you know these names you also know that they are not all pianists. That’s because drop-2 voicings are not exclusively used by pianists but by any harmonic player or arranger – so pianists, guitarists, vibraphonists, as well as arrangers, orchestrators, and composers can all employ this voicing technique. But what is a drop-2 voicing? 

Put simply, a drop-2 voicing typically starts as a 3- or 4-note chord in closed-position and then the 2nd-highest note of the chord is dropped down an octave lower to create an open (or spread) voicing. For example, this is a typical 4-note jazz voicing in closed position (i.e. within the interval/space of an octave):

If we drop the 2nd-highest note of this voicing down an octave lower, what happens?

Well, a couple important things happen. Firstly, the voicing is no longer a closed-position chord but is now a spread (or open-position) voicing, meaning that it occupies a space larger than an octave. Secondly, dropping the 2nd note from the top creates more space at the melody. Notice that in the first example the melody (the ‘A’) was harmonized tightly with the ‘G’ just a whole-step below.

But in the drop-2 voicing the melody is separated by more distance between it and the next closest harmonic tone (now the ‘E’), which means the melody will stand out and be heard with more sonic space. When playing an entire melody or phrase with this style the effect will be something like the sound of big block chords with the melody clearly heard. These chords are almost always played across both hands (so anyone thinking they have to play giant intervals in a single hand can breathe a sigh of relief). 

Now let’s take a phrase from “Ain’t No Sunshine” and apply our drop-2 voicings. Here is the original melody:

Next, we harmonize the melody in 4-part closed-position voicings. The result looks something like this:

And lastly we drop the 2nd note from the top down an octave lower, which results in this:

Notice that the left hand now plays the dropped note in the bass clef. Also notice that the final chord of the phrase resolves to a straight-up A minor triad (not a drop-2 chord) in order to create the sound of resolution. Play through this example to hear the difference between the closed-position and drop-2 chord options, and check out the complete lesson to go even deeper!

The post “Ain’t No Sunshine” and Drop-2 Voicings first appeared on Jazz Piano Blog.

Here’s Annika tickling those ivories. Actually the Kanabe doesn’t have ivory, it’s a plastic-based key which I’m not 100% sure of its makeup. But, it feels good to the fingers!

Even though the Kanabe has served me well over the years, I felt I needed a better quality instrument for my Jazzedge studio.

Time for an upgrade…

Jami encouraged me to go take a look at pianos, and in October of 2020 we took a ride up to Steinert in Boston and I fell in love with this Boston piano. Thank you Jami for encouraging me to get it!

Quick story about Boston pianos.

I’ve always loved their pianos since I did a gig about 20 years ago on a Boston piano. It was a private house party in which the hosts had a gorgeous Boston piano in a room away from the guests. I was hired to play cocktail piano for a few hours and it was like a wonderful practice session just sitting at this beautiful instrument, being able to play whatever I wanted for hours.

Needless to say, I was hooked on Boston pianos. So, in October 2022, I took the leap and purchased the GP-193 Performance Edition II by Boston.

The Grand Piano Move

Moving a 6’4″ 824 lb piano is never an easy job. Luckily being close to Boston we have some great piano movers in this area.

The movers needed to bring the piano up to the 2nd floor where the Jazzedge studio is located. Plus, they needed to make a pretty tight turn.

Take a look at some of the pictures from that day:

Studio Upgrade

Now that Paul is back with Jazzedge, I’ll be focusing on my new Jazzedge Academy program.

I wanted to have a new studio look for this new program, so I was lucky when the office condo next door came up for sale. I quickly grabbed it and got working on a studio revamp.

Here you can see the studio being torn apart to be rebuilt:

‘Midifying’ The Grand Piano

MIDI, which stands for Musical Instrument Digital Interface allows you to connect devices to your computer. Basically a MIDI interface on a piano means that I can plugin in my piano to my computer to record, write music, and trigger the Jazzedge Virtual Keyboard.

To do this, I’m using the PNOScan product from QRS music.

My piano technician, Larry Brown can be seen below installing the light sensors for the MIDI application.

Now that I have MIDI installed on the piano, I can do fun things like trigger the Jazzedge Virtual keyboard to “light up” keys making it easier to see what I’m playing.

What Does The GP-193 PE2 Sound Like?

The piano has a beautiful, rich tenor and bass due to the fact that the soundboard of the piano is so wide, plus it is 6’4″ long.

Here’s a sample from the Jazzedge homepage of me playing the piano:

This is not the best recording, but it does highlight the beautiful range of this piano.

New Studio Coming This April

The new studio will be reading this April, 2022 and I plan on releasing many more performance videos once complete. I’ll also be releasing early access to my TheTotalMusician program as well.

Right now, the piano is waiting for the action to come back…

Conclusion

Well, that’s my new piano.

How about you?

Do you have any piano stories to share? If so, leave them in the comments area below!

The post Jazzedge Academy Studio Upgrade & Grand Piano first appeared on Jazz Piano Blog.

Jazz Improvisation Tutorial – Breaking Down the Chords

Let’s say you’re working on soloing over the ‘A’ section of Autumn Leaves (the first 8 measures, which repeat). At first glance it looks like a lot of chords, right? One chord per measure, so every four beats you encounter a new chord.

Some players (and teachers, and books, and jazz theory classes, etc), look at these chords as requiring a new chord scale for each new chord (a “chord scale” is a scale that corresponds to a particular chord, making it a great scale to choose when improvising over that chord). So you might get a very dense and confusing answer like this:

“For Am7 you can solo using an A dorian chord scale, for D7 a D mixolydian scale, for G major a G ionian scale, for C major a C lydian scale, for F#m7b5 an F# locrian scale, for B7 an E harmonic minor scale starting on B, and for Em an E aeolian scale.”

WOW! That’s a mouthful to say AND to write. The chord scales mentioned above (referred to as “modes”) are accurate, and in the hands of a good player will sound really good when used for soloing. But, there is an easier an to break these chords down.

Jazz Improvisation Tutorial – An Easier Approach

Let’s remember that almost ALL of these chords are found in the key of G major. These chords (below) are referred to as diatonic chords because they are all found in the key of G major.

Why is this important? Because if these chords are all built by using only the notes from G major, then we can solo over ALL of them using just one scale – G MAJOR! Why try to remember 7 different chords scales and their names when all 7 of those scales are simply a G major scale that starts on a different note? For example, A dorian is just a G major scale starting on A. And an F# locrian scale is just a G major scale starting on F#.

Jazz Improvisation Tutorial – One “Outlier” Chord

There is one chord in the progression (B7) for which a G major scale is not the best choice when improvising. Why? Because a crucial note in a B7 chord is the D# (the 3rd of the chord) and D3 is not found in a G major scale. We need to make sure we have a scale to play that includes the D# when soloing over B7. We can simply play a G major scale with a raised 5th, which is the same as an E harmonic minor scale. That’s it, just change that one note and now we have a scale that “works” over B7.

The post Jazz Improvisation Tutorial For Beginners first appeared on Jazz Piano Blog.

Funk chords refer to some of the slick, pro-sounding passing chords that can be used to improve the sound of your playing. These chords often make students stop and ask “Wait – what was that you just played?!”

Often these funk piano chords sound too advanced or complex for intermediate students, but in truth these chords only sound difficult. In practice, they can be quite easy to learn, practice, and play. In this article we’ll show you a simple chord trick – referred to as planing – and show you some examples of this trick in practice.

How To Play Funk Piano Chords: Planing Example 1 (Easy)

Planing is a simple concept. In advanced music theory, a lot of time is often spent on chord substitutions, tritone substitutions, altered upper extensions, etc. But planing avoids all of that.  It refers to the idea of moving an entire chord up or down by a half-step. That’s the key – movement by half-step. Why might you want to do this? You might want to use planing as a simple yet effective way to get from one chord to the next.

Let’s check out an example. Below we have a basic and easy chord progression.

Notice that the chords move simply on downbeats. The Em7 chord in measure 1 moves to Dm7 in measure 2. In between these two chords we will add a passing chord, an Ebm7 chord. Inserting this passing chord is referred to as “planing” because we are moving from Em7 to Dm7 by half-step. In order to do this, we simply bring all of the notes in the Em7 chord down by half-step (to Ebm7), and then down by half-step again (to Dm7). We also can add a little bit of rhythm to spice things up a bit.

Funky Chord Tricks: Planing Example 2 (Moderate)

In this example we’ll take the same chord progression as above and tweak it a bit further, still using the same idea of planing. In the above example we used only one planing chord (the Ebm7 chord). In the example below we will again use planing, but this time we will plane up and then down to the target chord of Dm7. Again, notice that we are maintaining the original Em7 chord shape and moving it up and then down by half-step to the target chord (Dm7).

Do you hear how much more advanced this chord progression sounds simply by adding these planing chords, moving the original Em7 chord up and then down by half-step, on its way to the target Dm7 chord?

Funky Chord Tricks: Planing Example 3 (Challenging)

This last example combines this idea of planing (sliding chords up or down by half-step) with a subtle but effective chord change. The starting chord is Em7, and the target chord is still the Dm7 chord in measure 2. But now we will put a ‘G’ in the bass for all of measure 2. This creates a Dm7/G chord (which is really a G7sus4 chord). We will now plane a series of chords up to this G7sus4 chord to create a funky, advanced sound:

The post How To Play Funk Chords At the Piano first appeared on Jazz Piano Blog.

Synthesizer Basics – Know Thy Sounds!

Perhaps the biggest reason a funk, rock, or pop musician plays a synth is because he/she needs access to a variety of sounds (sometimes called “patches”). There are many different keyboard instruments – piano, Rhodes, Wurli, organ, clavinova – but unless you have a rock-star budget and a moving van, you’re not going to own all of these instruments. You’re going to use a synth which allows you to play ONE instrument that contains all of these sounds.

Synth players frequently play a variety of other sounds, too. For example, it’s incredibly common to have a synth player play string, brass, woodwind, percussion, or synth (electronic) sounds. For obvious reasons, synth players need to be adept at quickly locating these sounds on their keyboard (referred to as programming) and know how to play them effectively (meaning, convincingly – more on that in a moment).

Synthesizer Basics – When Are These Sounds Needed?

The answer here is – ALL THE TIME! Live concerts, radio performances, musical theater productions, recording studios, film scoring, cover bands, educational institutions… the list goes on and on.

But “why,” you might ask, “don’t these venues simply hire REAL string or horn players?” There are many reasons:

1. Every production has a budget. And every additional musician means more people to pay. Synths have the ability to create huge orchestral sounds and require only one player. That’s a big cost saver (and good news for us keyboardists, I suppose).
2. Practically speaking, an entire string section needs someplace to sit. Have you ever been to a musical theater production? They don’t call it “the pit” (where the orchestra musicians perform) for nothing. Synth players save space (which also costs money).
3. Synths sound great. The technology has advanced so much that synths sound virtually identical to many of the instruments they mimic.
4. Synths make programming (saving sounds and adding effects) very easy. Playing the synth is a combination of playing a piano instrument and having some computer-related knowledge.

Synthesizer Basics – Capturing the Essence

Since synths are so good at sounding like the instrument they are copying (strings, for example), it’s up to the player to know how to bring that sound to life. For example, strings have a particular range. If a synth player ignores that real-life range then the sound begins to appear unrealistic. Below is an example of a pop tune in which a synth player might play the background horn parts.

Check out our lesson on synth technique for a detailed breakdown on how synth players go about fine-tuning this kind of approach.

The post Synthesizer Basics first appeared on Jazz Piano Blog.

Rock Organ Soloing: Eric Clapton’s “Layla”

We’ll begin with a classic rock song – Eric Clapton’s “Layla.” The intro and chorus of this song are built around only 3 chords: D minor, Bb major, and C major. Here’s the opening riff. It’s usually played on guitar (in the original) but sounds awesome when played or doubled on rock organ.

These are also the same chords used for the chorus, including the gritty rock-heavy guitar solos (the chords for the verse are different). Since soloing over this tune usually happens on the chorus, we’ll focus on these chord changes.

Rock Organ Soloing: What Does the Left Hand Do?

Ok, this is a pretty important tip. Real rock organs usually have two manuals, which means an upper and lower keyboard. Usually the organist will have one sound preset for one manual (perhaps a loud gritty sound for soloing) and another sound for the other manual (for comping – i.e., playing chords). However, most of us don’t gig with real Hammond B3s, so we mere mortals end up using synthesizers with organ sounds. If this applies to you, here are some “do’s” and don’ts”:

1. Don’t comp with your left hand in the same way you would in a jazz piano context. The organ has a completely different sound than the piano. Chords need to be voiced for the organ’s particular sound and range.
2. Don’t play bass lines with your left hand if you have a bass player in the band. Playing bass lines is his/her job. If there is no bass player then playing bass lines is fair game;
3. Do play chords and comp with your left hand. But consider simple structures (like triads), register (too low or too high can sound bad), and sound/timbre (perhaps if you’re playing a synth, this might mean splitting your keyboard to have a comping sound in the left hand and a lead/solo sound in the right).

Rock Organ Soloing: Less is More

Are there many scales you could use for soloing over these simple three chords? Yes. But does that means that some exotic scales are going to sound better or more advanced? No.

Allow me to introduce the minor pentatonic scale – 5 simple little notes. You can (and should) play this scale over all three chords in the chorus when practicing and soloing. After all, Eric Clapton does. (And if you want to use the blues scale, that will work and sound great, too). Below shows the D minor pentatonic scale and how it relates to each of the 3 chords.

The post Rock Organ Soloing first appeared on Jazz Piano Blog.

Rock Piano Soloing: Common Characteristics

First let’s explain a common misconception. There is a big difference between a rock piano solo and a solo piano section. For example, when asked to name some famous rock piano solos players sometimes say “Layla,” or “Don’t Stop Believing.” But these are examples of tunes with solo piano sections. Tunes like “The Way It Is” or “Jessica” feature piano solos. What’s the difference? A solo piano section features the piano prominently, perhaps without any other accompaniment. It is a scripted part of the song (like the ending to “Layla”).  Piano solos generally describe a portion of the song where the pianist is permitted to improvise by navigating the chord changes (such as Bruce Hornsby’s solo in “The Way It Is”).

Unlike jazz, rock piano soloing does not usually involve lots of chord changes. In rock the chord changes are often largely diatonic and do not use as many chord substitutions or extensions as in jazz. Knowing whether the chord changes are diatonic is an important consideration, because if the chords are diatonic it means they all come from the same key. And if they all come from the same key then we can usually use one scale to solo over all of the chords.

Rock Piano Soloing: “The Way It Is”

Let’s look at a couple excerpts from Bruce Hornsby’s famous piano solo over his hit “The Way It Is.”

What information can you gain by looking at this solo? First, the solo is in the key of G major. Second, all of the chords in these 4 measures are diatonic chords (meaning all of the chords come from the key of G major). Third, all of the notes used in the solo are from a G major scale. Because these are diatonic chords, the notes of a G major scale will “work” (sound good) when used to solo over all of these chords.

Now let’s look at the next four measures of Bruce Hornsby’s solo.

Again we notice that the chords are diatonic, as are the notes used in the right hand solo. The right hand solo has a very apparent rhythmic idea that is being used. Notice also that the left hand is simply playing the roots of the chords, not the actual chords. This is an approximation and not exactly what Bruce Hornsby played in his left hand, but it demonstrates how simple the left hand can be in a rock piano context.

The post Rock Piano Soloing (with Bruce Hornsby) first appeared on Jazz Piano Blog.

Building an Arrangement – The Basics

It may seem obvious, but an important first step in building an arrangement is to listen to the song. Listen repeatedly and to different versions played by different artists. Listen at the gym, in the car, at work, in the shower, while eating dinner, etc. “Summertime” has been recorded by many artists, so there are a number of various interpretations of the song.

The goal is to become very familiar with the song before you ever even start to play the song. With repeated listenings you should start to get familiar with the melody, tempo, meter, form, and chord progression.

Building an Arrangement – Chord Shells

Here are the first 4 measures of “Summertime”:

As a first step, let’s simply play the melody in the right hand and add in some chord shells in the left hand.

Building an Arrangement – Inserting Chords

A general rule of harmony in jazz is that we can precede dominant ‘V’ chords with the ‘ii’ chord. Look at measure four and notice that we have an A7 chord. Since this A7 is a ‘V’ chord, we can precede this chord with a ‘ii’ chord which will be an E minor 7 chord.

Building an Arrangement – Tritone Substitutions

Tritone substitution is a device used quite often in jazz. The rule for tritone substitutions is that you can substitute one dominant chord for another dominant chord a tritone away from the first. As we look at our arrangement we notice that we have two dominant 7th chords – Bb7 (in measure 2) and A7 (measure 4). Using our tritone substitution rule, we can substitute Bb7 with an E7 chord, and A7 with an Eb7 chord. Just because we can do this does not mean that we have to, or even should, do this. Sometimes tritone substitutions sound great. Other times they don’t really sound appropriate. The idea is to try them out and listen to the options, then choose whichever sound you most prefer.

Building an Arrangement – Expanding the Chords

In the example above our right hand is still just playing a single-note melody. We can start to flesh out the melody by filling in (or expanding) the harmony. Below is one possible example which was created by simply filling the chords in with chord tones.

Building an Arrangement – Adding Some Rhythm

As a final step we can add some rhythmic variety to our arrangement without having to change any of the notes or harmonies that we have created.

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