I've been and am a professional pianist comping singers/actors/etc. Excellent work, Jazzwee, I can see myself coming back to this thread as reference for years to come! I would also like to say to you - and to you others if you are worrying about - not catching up - not getting "it" in time - not being "good" enough - there's no finish line to this. I turn away a few days and this thread is up to 17 sigh, I'm never going to catch up at this rate. We haven't been doing this for that long yet. Serge, you're working pretty hard here as I can sense continuous improvement. I think you could even come up with an alternate melody in the middle. Don't be afraid to vary it more since you know how. I was most impressed with your improvisation in the middle. It's really getting to know the quarter note triplet feel on the LH. Once you can play a Charleston Rhythm on the LH, the LH will develop a mind of it's own and you'll be able to swing it even with different patterns. I just want to make sure you practice it. But do do it with a Metronome.Ĭombining a Charleston Rhythm with a swinging melody is like a puzzle so give it some time to get your brain acclimated. This will take more time so don't worry about not being able to do it yet. Use Chris Bell's comping example as that's the simplest. The next step to improvement is to do a Charleston Rhythm on the left hand. Anyway, this should be easy to implement. In general, read the section on Jazz phrasing which summarizes this. I think you've heard me say this same tip to just about everyone now. Now accent the first eight note, and then cut the 2 following quarter notes down so they're not legato. Stick to this melody format because it swings better. And I also notice that you changed the melody to a more swinging version. Serge88, that's great! The harmony on LH + RH sounds fantastic. Remember that his version is very fast so it's harder to get a sense of this. There's a triplet feel to it that comes from the Charleston. You might want to also compare against the timing of Jarret's LH comping which are not timed exactly to the beats. On the left hand comping, read the comments regarding the Charleston Rhythm, and also Chris Bell's music examples of LH comping. Your method of learning (listening to the masters), is the most sophisticated way of learning because you'll be picking up these little things that we can describe in words only so far. BTW notice that Jarrett's accents are subtle and he plays straigher eighths but the swing is still there and it is there even with the melody.Įven from just studying his melody there will be so much subtlety to learn. Then listen over and over again to see if you can recognize what his phrasing is about. This is what gives it that swing feel.Īfter you read our long discussion on swing and phrasing you'll have a good sense of the issues. They should be quarter notes but with a noticeable rest (maybe a 16th rest) from note to note. But they are not eighth notes which is what it sounded like in your recording so lengthen them a tad. Quarter notes are played shorter than full value, which I see you correctly detected. If you count while you listen to Jarrett, you'll see that he's playing an uptempo version and the melody is being played as quarter notes. You'd learn a lot.īTW - There are some corrections that you need to make there, mostly related to the length of the notes and the swing feel that I want you to pay attention to when re-listening. If you have an ear for transcription, you should make a project of transcribing the whole thing. You did a great job there! You're on your way to great jazz playing. Wow Barb, that's almost an exact transcription of Jarret.
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