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Ejp_endmatter_vol_

Page numbers may refer to music as well as text.
Page references in bold type indicate the main
appearance of a tune, a photograph of a pianist, based on four-note chords in key of F 140 or an entry in Appendix I, ‘Suggested Listening’.
dominant sevenths/ninths 103, 112, 187in left hand 214–217in right-hand improvisation ‘A’ Train Improvisation 66, 68, 69
in walking basslines 25, 70, 96, 118–119 Dominant Seventh Workout #1 119, 120 over minor II – V – I sequence 158–159 practice routine (five main chord-types) 134 II – V Cycle with Dorian Scales 174 Art Blakey’s ‘Jazz Messengers’ (group) Adding II chords to dominant seventh cycle 166 Alexander, Monty 72, 230
Allen, Geri 233
Alternating inversions See: Inversions in major seventh chords 139–140, 176, 215 triads 18, 21, 32–33, 78–79, 84, 87, 88 Autumn Leaves 150, 154–155
Anticipated chords See: Pushed chords Anticipating notes in Autumn Leaves pick-up 151 Avoiding finishing phrases on the fourth 15, 35, 40 Index Avoiding the thumb on black notes 51, 94
Blue third (b3) 13, 14, 15, 19, 30, 63, 116, 125 Blue Trane 106Blues 106 See also: Vol. 2 pp. 158–166, 180–181 influence 171, 201, 230, 232, 233, 234, 237 Barron, Kenny 232
Basie, Count 106, 228, 234, 237
Bass/bassist 153, 167, 171, 192, 198, 212 on CD 9 Bass lines See also: Latin, Syncopated, Two-feel using R and 5 only 42, 47, 64–66, 73, 75, 145, Blues in Fourths 107, 211 See: Vol. 2 p. 266 Blues in Three 211 See: IBP p. 220 Bebop Bridge 166 See: Vol. 2 p. 103 Beck, Gordon 232
Blake, Eubie 228
Bossa Nova Comping #1 145, 147, 148, 161, 203
pianists featured with ‘Jazz Messengers’ Brackeen, Joanne 234
Brand, Dollar See: Abdullah Ibrahim Bley, Paul 231
George Shearing’s 219, 221, 223–224, 230 Blue and White 56, 58
Blue Bossa 176 See: Vol. 2 p. 224 Blue in Green 230 See: Vol. 2 p. 172 Blue Monk 106, 228 See: IBP p. 108 Blue Note (record label) 152, 156, 201, 204, 231 See: Four-note voicings (single-handed) Brubeck, Dave 230
Cloud Nine 54, 195, 196, 198, 207
Cloud Nine Improvisation 199
Bud Powell voicings 153 See also: Shells Co-ordination exercise (chords in left hand) Coda (definition) 237Coda sign (explanation) 236 Coincidence Calypso 28, 30–31, 41
C Jam Blues 106 See: IBP, pp 56 and 216 Cole, Nat ‘King’ 234
Calypso 28, 237 See also: Vol. 2 p. 127 Carmichael, Hoagy 234
Combining bass and chords in the left hand 66 See also: Stride piano, Pseudo-stride Comping 9, 30, 237 See also: Accompanying, for II – V and II – V – I chords 192–193 Charles, Ray 234
with bass line in left hand, chords in right Chord/scale relationships 134 See also: Modes Connick Jr, Harry 234
Corea, Chick 36, 39, 171, 231
Cullum, Jamie 234
Clark, Sonny 228
Cycle of fifths 22, 162 See also: Diatonic cycle Drifting 131Funky Two-Five 191 Double notes (right hand) See also: Top harmony Down the Line 103, 104, 213
Dr John 234
Dream Improvisation 185
Dream On 92, 95
Drifting 130
Diminished fifth 71, 111, 236 (definition) Ear-training 15, 19, 20, 80, 85, 90, 170, 191 Dominant ninth chords 187–193, 203–206 Electric piano (on records) 231, 232, 234 Elias, Eliane 234
Ellington, Duke 228
See also: Augmented dominant sevenths Dominant Seventh Workout #1 118, 173 Don’t Get Around Much Anymore 228 Don’t Stop the Carnival 29 See: Vol. 2 p. 127 Dorian mode (definition) 129, 134, 176–177 Dorian scales 130, 141, 143, 154, 161, 173 as two minor seventh chords a tone apart 132 Evans, Bill 198, 224, 230
pianists influenced by 175, 231, 232, 233 Foot tap on ‘one’ and ‘three’ 109 Four On Six 157Four-bar phrases 199 Feldman, Victor 230
Fender Rhodes 231 See also: Electric piano Four-note voicings (single-handed) 134–136, 139 Fifths (double notes) See also: Perfect fifths Fills (right-hand) 110, 207 See also: Ending fills for sixth and minor sixth chords 148–149 for II – V – I chords (all inversions) 143 First and third inversion chords (alternating) in left hand (root position or 2nd inversion) minor ninth chords 195–196, 199, 203–206 in improvised line See: Perfect fourths Fragments, three-note (935) 198–199, 209–210 Five-note voicings See: Block chords Flanagan, Tommy 230
Funky Two-Five 188, 190, 191, 192
Galper, Hal 232
minor seventh See: Half-diminished chords Garland, Red 106, 194, 229, 230
Garner, Erroll 155, 228, 232
Flattened fifth chords See: Flat 5 chords Fly Me to the Moon 144, 146, 148, 149, 161
Hawes, Hampton 153, 155, 228
Index Gilberto, Astrud 144
Hines, Earl 22, 228
Horace Silver’s piano solo on Song for My Father 204
b3 (blue third) 12, 13–14, 19, 63, 86, 197 Horizontal improvisation (in the key) 29, 38, 235 Green, Benny 230, 232
in The Theme (‘Rhythm Changes’) 123, 218 over minor II – V – I chords 147, 155, 235 over I – VI – II – V chords 218, 221, 222 over II – V chords 84, 87, 172, 189, 190 with harmonic minor scale 74, 76, 147, 215 with minor pentatonic scale 82, 84, 87, 235 Hancock, Herbie 231
Hot and Cold 75 See: Vol. 2 p. 31 Happy Blues 29 See: IBP p. 40 Hardin, Lil 233
Harlem school 228Harmonic minor scale 76, 77 in melody of White Russian 214, 216 Ibrahim, Abdullah 59, 60, 231
I Got Rhythm 122, 124, 157, 166, 218, 229 Harris, Barry 229
I Wish I Knew (How it Would Feel to be Free) 229 Harris, Gene 230, 232
Impressions 231 See: Vol. 2 p. 38 Improvisation See also: Horizontal improvisation, samples 25, 27, 30, 40, 41, 47, 52, 63, 69, Just a Closer Walk with Thee 88 See: IBP p. 194 tips 15, 63, 100, 127, 141, 212using notes of the chords (arpeggios) 27, 47, 69, 105, 120, 133, 147, 158–159 Improvising Blues Piano (book) 8, 106 In a Sentimental Mood 218, 220, 222–225, 227
Keezer, Geoff 232
Kelly, Wynton 125, 155, 229, 230
alternating first and third (rootless shapes) Kirkland, Kenny 171, 232
definitions and notation 17, 95, 198, 236 Krall, Diana 234
of dominant seventh chords 105, 107, 117of half-diminished chords 148–149 Ladybird 88, 157 See: Vol. 2 p. 78 It Don’t Mean a Thing (If It Ain’t Got That Swing) 167 Latin comping 42, 145, 180, 196, 203Latin music 18, 29, 39, 188, 231, 237 Latin rhythms (right hand) 73, 75, 94, 145, 203 Jamal, Ahmad 155, 194, 230, 232
Jarrett, Keith 89, 155, 231
‘Jazz Messengers, The’ (group) See: Blakey, Art chord rhythms 118, 131, 133, 146, 199, 200, 217 Johnson, James P. 228, 234
Jones, Hank 230
relationship with minor pentatonic 82, 235 Left-hand tenths See: Tenths in left hand over I – IV left-hand chords 32–33, 97 over II – V – I chords 141, 161–163 Long and short II – V sequences 161–169 See also: II – V – I sequences Lower neighbour note 151 See also: Vol. 2 p. 218 avoiding the thumb on black notes 94two octaves 94 Major Seventh Workout 95, 96
Major sixth chords See: Sixth chords based on fifth of major chord 182, 185, 235 Major third interval (definition) 20, 236 In a Sentimental Mood (bridge) 221, 222 over ‘Rhythm Changes’ ‘A’ sections 125 Major Triad Cycles 24
Major Triad Workout 32, 35, 80
Mannenberg 29, 59, 60, 231
relationship with half-diminished chords 149 Minor third interval (definition) 20, 55, 236 McKenna, Dave 230
Mehldau, Brad 175, 232
Melodic minor scale 77 See also: Vol. 2 p. 249 Metronome 15, 37, 147 See also: Vol. 2 p. 200 Middle section 13 See also: Bridges Miller, Mulgrew 171, 228, 232
Minor blues 211 See also: Vol. 2 pp. 264–273 in bridge of A Night in Tunisia and Minor five-finger position 56–58, 74, 76 Minor Δ7 or Δ9 chords 213, 214, 217, 220, 236 Minor modes 177 See also: Aeolian, Dorian, and Misty 85, 222, 225 See: Vol. 2 p. 106 Mixolydian mode (definition) 110, 134, 176–177 in melody of In a Sentimental Mood 223 in melody of Song for My Father 203 relationship with major pentatonic scale Mode (definition) 77 See also: Modes See also: Aeolian, Dorian, Ionian, Locrian, Monk, Thelonious 103, 111, 113, 152, 153, 228, 237
On Green Dolphin Street (part 1) 42
solo on Straight No Chaser 114
Montoliu, Tete 233
Montuno 73 (definition) See also: Vol. 2 pp 31–32 On-off chords See also: Vol. 2 p. 82 Montuno for Monty 67, 73, 77, 83
Moore, Dudley 232
Morton, Jelly Roll 228
I – IV – V – I sequences 28–29, 76 in bridge of In a Sentimental Mood 222 Open Triad Workout 83, 84, 88
Open triads 83–88, 151
Open Up! 138, 144, 153, 160, 192
See also: Tenths, Two-handed voicings Natural Minor Workout 77, 78, 81
Mary Lou Williams’ ‘salon’ in 103, 233 Newborn Jr, Phineas 230, 232
Orinoco 176, 209, 210
Ornithology 156, 170, 228
See also: Dominant, major and minor No Problem 18, 40
Passing notes 116 See also: Blue third, Patterns See: Scale patterns, Pentatonic scale Powell, Bud 142, 152, 153, 156, 228, 237
pianists influenced by 128, 228, 229, 233 Pentatonic scales 231, 235 See also: Major, minor Practice routines See also: Vol. 2, pp. 282–283 four-note chords based on major scale 136 double notes (right hand) 36, 37, 38, 207 Practising in two- and four-bar sections 160 Peterson, Oscar 155, 230, 233
Pullen, Don 232
Petrucianni, Michel 233
Pure minor scale 77 See also: Natural minor scale short and long 35, 81with forward motion 47, 196, 207 Raising the fifth of minor triad 216–217 Rosnes, Renee 234
across II – V – I sequence 141, 161–163 based on chords from scale of F major 140 Rikki Don’t Lose that Number 203 in III – VI – II – V sequence 158, 169 in bridge of In a Sentimental Mood 222 See also: Major, Minor, Dominant and Seventh Heaven 176 See: Vol. 2 p. 202 Shearing, George 219, 223, 230
Sheet music 151, 170 See also: Lead sheets Shells 153 See also: Two-handed voicings Starting scales on the upbeat 78, 126, 154, 172 Stenson, Bobo 233
Silver, Horace 153, 201, 202, 229, 237
Still Dreaming 179, 180, 182
solo on Song for my Father 204, 207–208
Singing 10, 191 See also: Ear training Straight No Chaser 65, 106, 108, 110, 213
Monk’s piano solo 114, 116, 153
Summertime 157 See: Vol. 2, p. 130 Sustain pedal 83, 85, 110, 132, 155, 214, 215, Svensson, Esbjörn 233
Syncopated bass lines 28, 29, 36, 42, 60, 74, 181 Smooth Blues 88 See: IBP p. 93 Softly as in a Morning Sunrise See: Vol. 2 p. 236 Solal, Martial 233
Solar 213
Take the ‘A’ Train 64, 161, 233
left-hand styles 67, 149–151, 214–215 Someday my Prince will Come 229, 230 Song for My Father 201, 202, 229
Tatum, Art 22, 142, 155, 183, 228
Horace Silver’s piano solo 204, 207–208
Song for Sally 40, 85, 86
Taylor, Billy 229
Taylor, John 232
for II – V chords 172–173, 187–189, 193 Tenths in Shearing block chord voicings 224 Three-note fragments (minor ninth chords) The Lost Valley 48, 53
The Theme 122, 157, 166, 218
Thelonious Monk’s solo on Straight No Chaser 114, 116, 153
Threesome 12
Thickening the melody See also: Top harmony Timmons, Bobby 128, 229, 233
Things Ain’t What They Used to Be 106 Third of chord See also: Blue third Tracey, Stan 232
Traditional style left-hand accompaniment 67 Transcribing solos 10, 15 See: Vol. 2 p. 220 Triads 11 See also: Major, Minor, Augmented and See also: Tenths in left hand, Triads Trill Blues 85 See: IBP p. 35 Two-group fingering (scale in thirds) 208 Tumbao bass line 75 See: Vol. 2 pp. 31, 32 Tune Up 166 See: Vol. 2 p. 183 Turnaround Workout #1 218 See: Vol. 2 p. 112 Twelve-bar blues 106–116 See also: Blues Tyner, McCoy 106, 132, 183, 184, 231
II – V Cycle with Dorian Scales 172, 193
II – V – I Arpeggio Workout 163, 164, 193
cycle 162, 164four-note inversions practice 143 in minor keys 144, 147, 149, 155, 157, 166 in Straight No Chaser (blues in F) 108, 112 over chords of Autumn Leaves 154–155 over chords of Song for my Father 207 for Take the ‘A’ Train 70–71 with chords in right hand 25, 96, 118, 119 Index Waller, Fats 167, 228, 234
Walton, Cedar 230
Waltz for Debby 231
Ward, Carlos 231
Washington, Dinah 231
Watermelon Man 231
Watts, Jeff 232
Wave 166
‘Weather Report’ (group) 231
Webster, Ben 228
West Coast jazz 228, 237
Weston, Randy 231
What is this Thing Called Love 157, 230
What’d I Say 234
Wheeler, Kenny 233
When Harry Met Sally (film) 234
Whispering 157
White Russian 54, 77, 174, 213, 214, 216
Whole-tone scales 65, 110, 111, 116, 225
Wilbur, Bob 230
Williams, Jessica 234
Williams, Mary Lou 103, 233
Williams, Tony 232
Wilson, Cassandra 232
Wilson, Teddy 183, 228, 229
Windows 231
Winstone, Norma 232
Women jazz pianists 102, 233–234
Woods, Phil 232
World music 234
Y
Y Todavia La Quiero 36
Yancey, Jimmy 29Yardbird Suite 157Yesterdays See: Vol. 2 p. 230 Z
Zawinul, Joe 231, 232

Source: http://www.timrichards.ndo.co.uk/ejpindexvol1.pdf

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