If you want to sound like Bill Evans, you have treat the “classical” end of the spectrum with equal respect and time as the jazz process. When you do this, You can learn to play from the same basic framework as Bill yet sound completely individual.
“Plopping and Dropping” left hand voicings can only get you so far. Developing architectural left hand chord lines creates a beautiful backdrop for your right hand to improvise over. In today’s podcast we will break down some key techniques to creating your own left hand chord lines!
In the classical piano world, it’s all about how you play the notes. Players like Bill Evans and Keith Jarrett applied classical voicing techniques to jazz piano to create beautiful sounding melodies. You can do the same with these exercises!
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If you’ve been looking for a way to spice up your chord progressions, try this fun harmonization exercise! This podcast will show you how to take the simplest melodies and give them a more interesting underlying chord structure. Your harmonizations won’t be the same after this!
A pedal point is when you keep the same note in the bass while changing the chords on top. Doing this for a series of measures creates a sense of both connection and tension. Using pedal points builds energy so that when the bass note finally changes, the harmonies of the tune seem to burst forth like a waterfall breaking through a dam. This lesson explores how to incorporate pedal points into your own playing.
This jazz piano podcast tutorial series will show you how to mix things up and keep your left hand voicings sounding fresh. In this episode, we discuss chords you can use with structures made from fourths and clusters. After this video, you will have the sounds of McCoy Tyner and Bill Evans in the palm of your (left) hand!
On one of his most iconic trio tunes,”Waltz for Debby,” Bill Evans takes a left turn from the ordinary waltz and goes into 4/4 meter after the first chorus! Check out this week’s lick as Bill opens his solo with a beautiful melodic sequence, demonstrating quintessential characteristics of his own style improvisation. The rest of […]
In this lesson we’ll continue learning how to play “block chord” voicings in the style of George Shearing. We will be working on minor voicings in the key of F, specifically with the tune “Lullaby of Birdland.” George Shearing often played this tune with these very voicings, so it is a great model from which to start!
In this lesson we’ll learn how to play “block chord” voicings in a jazz style. This technique was made famous by George Shearing, and used by other pianists such as Oscar Peterson and Bill Evans. You can use it to harmonize melodies and achieve a fuller soloistic sound when playing in a group.
Learn how to shift and move extensions in your voicings with this quick method to create a more modern jazz piano sound! With this method you’ll be create that complicated inner voice movement that you hear Bill Evans achieve, not to mention many other huge jazz piano giants. Jazz Piano School has taught thousands of students to achieve jazz piano freedom using methods and strategies exactly like the one you’ll learn in this video.