Stylistic Ii V7 I Voicings For Keyboardists

"...So much of the jazz harmonic language deals with the ii V I chord progression...[Students] have learned to play a lot of sophisticated voicings, but sometimes there is a lack of harmonic awareness and inner voice leading as well as a weak sense of how chords resolve in a ii V I progression as a unit...This book will give the jazz keyboard student and teacher a basic foundation for playing ii V I chord progressions and provide some lessons that can be used in the classroom or in private study...Knowing many different kinds of chords is fine, but it is equally important to know how to play one chord many different ways..."--preface.

Jazz Improvisation for Keyboard Players is a straightforward, no-nonsense improvisation series. It deals with creating melodies, using the left hand, pianistic approaches to soloing, scale choices for improvisation and much more.

'Transformational analysis in practice' is a Must-Have for everyone working in the field or aspiring to develop their music-analytical and theoretical skills in transformational theory. This co-authored book puts together a plethora of analytical studies, diverse both in the repertoires covered and the methodologies employed. It is a much-needed anthology in this sub-field of music analysis, which has been developing and growing in recent years, reaching ever wider outlets in English-speaking countries and beyond, from dedicated conference panels to YouTube videos. The book is divided into four parts based on the repertoires under discussion. Part I encompasses four analytical studies on familiar composers from the European Romanticism of the nineteenth century. Part II analyzes the music of less familiar composers from Brazil and Turkey. Part III offers four contrasting ways to adapt the analytical capabilities of neo-Riemannian theory to the post-tonal music of the twentieth century. Catering to the interests of jazz performers and researchers, as well as those into popular music production, Part IV offers transformational analytical approaches to both notated and improvised jazz, emphasizing John Coltrane’s performance. Providing an invaluable synthesis of a wide range of analytical studies, this book will be an essential companion for many musicology students, as well as for performers and composers.

Anyone with basic keyboard skills (equivalent to Alfred's Basic Piano, Lesson Book 2) can dig right in and begin learning jazz right away. Spanning from the major scale and basic triad theory all the way through 7th chords, pentatonic scales and modulating chord progressions, this book features a full etude or tune demonstrating every new concept introduced. Beginning Jazz Keyboard breaks the age-old tradition of dry, intimidating and confusing jazz books, and provides an actual step-by-step and enjoyable method for learning to play in this style. The DVD demonstrates examples and offers opportunity to play along.

The Classroom Guide to Jazz Improvisation dispels the misconception that one must be a jazz expert to give students a solid foundation in jazz improvisation. Authors John McNeil and Ryan Nielsen argue that all individuals possess an innate ability to improvise and that, given sufficient exposure and repetition, anyone can improvise in music as successfully as they improvise in life. Drawing on their shared 54 years of teaching experience and extensive work as professional jazz musicians, McNeil and Nielsen offer classroom-tested lesson plans for music educators of all backgrounds, removing the guesswork and mystique along the way.