Jazz Piano From Scratch: A How‐To Guide for Students and Teachers

Horace Silver, ‘Song for My Father’

Duke Ellington, ‘C Jam Blues’

Swing Groove

Straight 8s Groove: Josef Zawinul, ‘In a Silent Way’

Scat Rhythms

Straight 8s and Swing Feels

Ten‐To‐Ten, Swing

Backbeat, Swing

Backbeat, Straight 8s

Swing Groove, Swing Feel: Milt Jackson, ‘Bag’s Groove’

Rock Groove, Straight 8s Feel: Billy Taylor, ‘I Wish I Knew (How It Feels to Be Free)’

Latin Groove, Straight 8s Feel: Antonio Carlos Jobim, ‘The Girl From Ipanema’

Placing Each Beat

Placing Each Quaver (Swing)

Placing Two‐Quaver Phrase (Straight 8s)

Feeling a One‐Bar Space

Feeling a Two‐Bar Space

Question and Answer Rhythms, Swing Groove: Benny Golson, ‘Killer Joe’

Question and Answer Rhythms, Medium Tempo Rock

Question and Answer Rhythms, Fast Latin

Question and Answer With Pitches, Swing

Question and Answer With Pitches, Swing

Question and Answer With Pitches, Rock

Question and Answer With Pitches, Latin

Twelve‐Bar Blues in G

Chord Progression: I‐IV‐V7

Chord Progressions: I‐V and I‐II‐V‐I

I‐II‐V‐I Progression: Roots, 3rds, 5ths

7th and Major 7th Chords

All Types of 7th Chords

Twelve‐Bar Blues in C

Twelve‐Bar Blues in G

II‐V‐I in C

Doodling: Some Hooks or Openings

Doodling: Vaguer Exploration

Doodling: Exploring Extremes

Doodling: Sonorities—Block Chords

Doodling: Sonorities—Melody and Bass‐Line

Doodling: Two Parts—Fixed Left Hand

Doodling: Two Parts—Fixed Right Hand

Phil Peskett, ‘Prove You Groove’: Left Hand Ideas

Polyrhythms

Rhythmic Placement: Two Notes, on the Beat

Rhythmic Placement: Two Notes, Off the Beat

Alternating Swing and Straight Grooves

Harry James, Duke Ellington, Johnny Hodges & Don George, ‘I’m Beginning to See the Light’: Opening 16 Bars, 2 Feel and 4 Feel

Billy Taylor, ‘I Wish I Knew (How It Feels to Be Free)’: 8‐Beat Rock Groove

Paul Jackson, Harvey Mason, Bennie Maupin & Herbie Hancock, ‘Chameleon’: 16‐Beat Rock Groove

Terry Seabrook, ‘Mambo Country’: 3 + 2 Clave

Moises Simon, ‘Peanut Vendor’: 2 + 3 Clave

Antonio Carlos Jobim, ‘One Note Samba’

Improvisation Using Stepwise Movement

Improvisation Using Wide Leaps

Melodic and Harmonic Intervals Played and Named

Various 7 Chords

II‐V‐I in C With Inner Lines Played

III‐VI‐II‐V‐I in C With Inner Lines Played

II‐V‐I in C in Different Voicings

Example of Chord Inversion

Examples of Diminished 7ths

Billy Strayhorn, “Take the ‘A’ Train’: AABA Form Demonstrated

Billy Strayhorn, “Take the ‘A’ Train’: 3 ‘Minus One’ Choruses

Improvisation Contrasting the Dorian and Mixolydian Modes

Range of Voicings for Mixolydian on D

A Well‐Known Tune Played in the Dorian, Mixolydian and Lydian Modes

Extended Solo Demonstrating a Range of Blues Techniques

Twelve‐Bar Blues With Rich Bebop Substitutions