![]() ![]() The trio-Jarrett's " Standards Trio"-features rhythm section Gary Peacock and Jack DeJohnette.įilmed footage of the concert was originally released as Trio Concert 1996. Tokyo '96 is a live album by American jazz pianist Keith Jarrett recorded at the Bunkamura Orchard Hall in Shibuya, Tokyo on Maand released on ECM in April 1998. Jarrett / Peacock / DeJohnette chronology Information - Concerts, News,FAQs, Archives. Organs - Electronic (B3 etc.), Pipe, Theatre. Who's Who - Professional Pianists on Piano World Member Recordings - Non Classical Pianist CornerĮVENTS! Piano Concerts, Recitals, Competitions.įun Stuff! - Parties, Tours, Projects & More.įorum Members Parties, Tours, Cruises, & M. MY NEW PIANO or KEYBOARD! - Share Your Story! This is a ballad solo piano style.ĭigital Pianos - Electronic Pianos - Synths &a. One more thing you should put in your arsenal to practice is to play these same notes but arpeggiate them. What you've learned here, LH 1/5/9, RH 3 7 3, can also be used for comping and in that case you actually do keep playing the double 3 in 3 7 3 or double 7 in 7 3 7 and it will work. There are many ways to play a tune and sometimes you will have to experiment which voicing style works the best. You always do 1/7 or 1/5/7 - again the reason is that the 3rd is already being played on the RH. In this alternate approach, you don't shift from 1/7 to 1/3. The reason it works here is that the 3rds are in the melody so they get a lot of attention anyway, thus the important notes are always sounded (root, 3 and 7). This same tune works nicely with the LH 1/5/7 shell voicings as well and is good to do when soloing. I hope you can see here the different ways of playing solo piano. This means, as I said before, that the pinky may have to stretch past an octave. This is OK.īefore you add the melody to the finished product here, just make sure you're paying attention to the orchestration of all the voices underneath the melody. Now the LH was not playing 1 5 9 and I know you will add that but in order for the LH to line up nicely with the RH, make sure to move the root down appropriately.Īt times it is ok for a little overlap between the hands, especially when you do the V chords (because the 9 will be over the 7 played by the RH thumb). On the internet, our ability to crosscheck what you've done is limited to a "day" wait. Unfortunately this is a lesson that's easily explained when seen. This is also ok, just as long as your hands maintain less movement and more control over the voicing. In some cases the 9 will go past your RH thumb so the two hands will overlap. ![]() On some of the chord changes you make, I would go down, not up. One more thing I noticed: Part of your problem may be that you play the LH too high. Your hands need to remember this constant shape, with the 2 thumbs close by and the stretch being almost constant. In most cases, this will not alter 3 7 3 as you know. The left hand is pretty fixed and I think that's ok in your playing.Īs a next step, I want you to add only the melody note on the 1st beat of the chord. The pattern of the hand is very consistent with this. I want your fingers to get used to the span of 3 7 3. There will be cases (when melody is added) where to play the pinky requires a stretch of greater than an octave but I just want to make sure that you are on a solid harmonic base on the chords below it, where all the chord tones are sounding evenly (that you're not pulling up early, which I saw a lot of). This is an octave stretch so I hope it's comfortable. If you're playing this without the melody, make sure to double the 3rd or 7th, 3 7 3 to 7 3 7 with the pinky being the last note and the thumb being the first note. ![]() When I play this with melody, my fingers don't disappear from the chord. I think you should do this first without the melody. You're pulling out the third of the chord and just working with the 7th and the melody. What I'm seeing is that the melody is low. ![]()
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