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The Jazz Piano Book (Anglais) Couverture à spirales – 1 janvier 1989

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The most highly acclaimed jazz piano method ever published. Over 300 pages with complete chapters on Intervals and triads, The major modes and II-V-I, 3-note voicings, Sus. and phrygian Chords, Adding notes to 3-note voicings, Tritone substitution, Left-hand voicings, Altering notes in left-hand Stride and Bud Powell voicings, Block chords, Comping ...and much more!

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Format: Format Kindle Achat vérifié
En complément de cours de piano bien sûr !
Il faut comprendre l'anglais et déjà avoir quelques bases.
Il y a de la théorie et aussi des petites techniques à pratiquer.
Le tout est bien accompagné avec de vrai morceaux de Jazz à travailler.
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Format: Couverture à spirales Achat vérifié
Bible précieuse, mais il faut savoir aussi s'en jouer comme on joue à la marelle. Livre très sérieux !
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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 4.5 étoiles sur 5 141 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A MUST-HAVE! 24 juillet 2016
Par Ben Wiley - Publié sur
Format: Format Kindle Achat vérifié
I wish I could give MORE than five stars, seriously. If you want a lifetime companion book for piano, this is IT. There's so MUCH here for a person to LEARN, really. There are other jazz piano books - I just bought "Voicings for Jazz Keyboard" and it's an excellent book - but "The Jazz Piano Book" is the most comprehensive, covering some of what the "Voicings" book covers (mostly fourth voicings), as well as everything else. Seriously, this is the most complete book you can get.

The author is also an accomplished jazz pianist, having played with some of the greats and even losing a Grammy award, which is an accomplishment in itself.

You start out in this book with a review of your basic triads in all intervals and in all keys. You next move on to the ii-V-I progression and a simple three-note voicing, which is followed in the next chapter by adding notes to the three-note voicing. The point is that you start basic and you progress. Levine also includes tunes in these lessons, so that you can apply what you're learning to actual tunes. There's no holding your hand in this book, either. You're simply told to practice in all 12 keys or given suggestions of tunes out of your Real Book that you might us to apply the concept to. If a person took their time with this book, I'm sure they'd wind up being a decent jazz pianist. I've never taken any lesson on piano but I've devoted much time to this book and I can say that even though I'm still into just the ii-V-I three-note voicing chapter I've learned a lot about the keyboard itself, learning it all in all 12 keys. When you get to the part of the chapter where you apply the voicings to actual music, you have a chance to play the melody on top of the chords - even if you have no pianistic skill, if you stick to it and play what's written, you can't go wrong, you WILL develop the hand independence. I often read ahead just out of intellectual curiosity, though, and I've read much of the book in advance - there's a LOT in here, easily enough to last a lifetime. This book is a must-have.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 I would buy this book again just to frame it and hanging it on the wall. The best! 8 août 2013
Par Erick Bolivar - Publié sur
Format: Couverture à spirales Achat vérifié
I have purchased at least six jazz piano books before this one. I have wanted to study jazz for a long time and I just got bored with every single book that I have tried to study with. The thing is that most authors write endless pages of chord progressions without actual song applying method. I have fake books of course but I have no way of knowing how to voice the chords written in them.
I got frustrated for the longest time. I tried to study with a few teachers who recommended me to practice more inversions and exercises without any musical reference, just drills. I got bored and stopped.

Finally, this amazing book was recommended to me and I smiled again. Here's the thing: Levine talks about theory, as he should, and teaches you little by little how to apply that small portion of theory towards a chord progression. Then, he adds a nice standard and teaches you how to apply that voicing to the melody in two or three different ways. For instance, he'll show you the melody of "Infant Eyes" by Wayne Shorter with basic 7th chords in a lead sheet style. Then, he'll remove the melody and writes a three voice harmony. Next page he'll add that voicing to the melody and encourages you to come up with your own voicing. Next, the same melody with voicing that includes 13th, b9, #4, and suspensions.
He notates where the 9th, 11th, and all 5th are so you know what is happening. This is very helpful when you read 7 different notes in an inverted chord. He explains why he is doubling the melody or how to substitute the 7th for the 9th or the 5th for the b13, how to play the same voicing in rootless position, etc. It's a complete study on how to approach a song from different angles. Then, he continues with more harmony and standards. This is the best approach because you are learning to voice along with actual songs and not just endless drills. You are forced to think how to add the 9th or whatever according to the inversion you are playing and what the melody is doing rather than just chord progressions without any musical context.
This is the best way to learn anything, period. You don't learn a new language by memorizing every verb in that language. You learn a little bit and then try to write it, pronounce it, say it slowly and then fast, etc.
You'll learn a lot from this book.

Before studying from this book: you must have a very SOLID understanding of music theory. You must know how to read music.
I hope you enjoy it as much as I am.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Bible of Jazz Piano. 1 juin 2016
Par Joshua Glenn Wilson - Publié sur
Format: Couverture à spirales Achat vérifié
In tandem with Levine's "Jazz Theory" book, this massive tome is a perfect Bible for beginner-to-intermediate jazz pianists. It gets you from theory to polychords, builds off of voicings and stylings by artists like Mulgrew Miller, Chick Corea, McCoy Tyner, Bill Evans, Wynton Kelly, Keith Jarrett and more, and approaches everything in bite-sized chunks that you can practice and build off of.

Best advice I can offer though: take it slow, and be okay taking it slow. This is a DENSE book. You can spend a month mastering a page of material. When it comes to getting voicings, riffs, chordscale relationships etc under your fingers, there's no shortcut. There's a lot in here.
5 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Approaching Jazz via Known Pop Music Theory Using, In Part, Mark Levine's Book as an Aid 30 juillet 2016
Par Cool Hands Luke - Publié sur
Format: Couverture à spirales Achat vérifié
I started from page 1 and worried about the ambiguity of the chord notation. Being a pop-, rock-, folk-,classical-type player, I feared not being able to navigate the book because of this. What is G7 to a jazz person? It is not explained, it seems. Does it use the B natural or the B flat? Can one of the four notes, even the root, be eliminated and it is still called a G7 in jazz? Why does Levine say 'voicings' are the same as 'chords' in jazz? To me, they are entirely different concepts.

But I did not get discouraged.

I went on to play the different two-chord combinations created from various of the masters of jazz and taken from their songs wherein halfsteps down and halfsteps up were being illustrated.

I went into ecstasy! My Baldwin Acrosonic became a supersized jazz vehicle immediately.

For each combination, I wrote down the "basic" chords that they were related to as I knew it. For example, the first such two halfstep-melodied chords, in my 'pop-rock-folk-classical' way of thinking, were simply 'jacked up' (or 'jazzed-up') versions of G7 (by which I mean a chord with G, B, D and F in it in any position) moving to C major. Or perhaps D diminished moving to C major. In the end, the chord combination, by Bob Haggart from his "What's New?", is first an F diminished with the note "E" added, followed by a C6-9, without the root note C (!) both carefully 'voiced' (in my words) using two hands.I guess the bass player plays the note "C" here, right?

So far , this approach has worked for me. I am NOT playing the exercises rote! I am understanding the 'simpler' versions of chords from which they are 'derived', the chord of my 'old' world of music. I write this down. Then I write down what the given sheet music is chords (without burdening myself by also writing the voicings down, since they are already in the 'sheet' music given by Levine). Then I notice how perturbing and voicing the 'simpler' chords yields the 'jazzed-up' chords!

THIS WAY IT ALL MAKES SENSE!! I am thrilled to tie my 'new' world of jazz, at least so far, to my 'old' world, of shall we say, more 'standard' music.

I have a teacher, but he's like us all.........eccentric. In this case, hard to nail down for lessons. I'm listening to jazz. I'll see how far I can go. But I won't drop my pop, country, Beatles, rock, ballads, boobie-woogie and other styles at all. I'll try to simply (hah...not simple!) ADD jazz to my list.

So far, then, I am grateful for this stairway to jazz, and I thank Mark. The lingo seems loose and variable. After all, the jazz pros probably grunt anything they can to one another about where, in general to go next, and somehow those grunts are seen as formal terms? Or they may write down fake sheets in any notation that makes sense to the four or five guys with them. Not sure about that. But this journey is heaven! Thank you again Mark!

Jazz is cool, hot, and beautiful!
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 You can't get everything with a shape-shifting art... 31 mai 2012
Par D Jensen - Publié sur
Format: Format Kindle Achat vérifié
It seems by glancing through some of the reviews for Levine's book, one would get the impression that it's a rather cold and ultimately unrewarding travel through chord changes and extensions, but that is a rather perfunctory view on this interesting approach that Levine's taken. First of all, you've got to give the guy credit for presenting his opinion that jazz "theory" is a bit of an oxymoron, given the subjective nature of the music itself. He clearly tells you that experiencing the music itself is of utmost importance. This is simultaneously the most repeated and most ignored piece of advice that musicians, pedagogues and listeners seem to throw out there without really having the listener embrace this important idea. For instance, when one becomes interested in a certain form of blues, jazz, pop, European or Eastern music, there really is no substitute for digging through and gathering the tunes that drew you to the form in the first place. Levine's approach may accentuate the post Bud Powell form of jazz, but with the extremely unorthodox shape of the book you can use it as a template to be used over many different idioms. His grasp of this slippery subject is extremely solid and (more than anything else) prepares aspiring players for delving into different idioms without hitting some of the roadblocks one may find by simply getting into a more general "Learn to Play X"-style collection or CD/book combination that seems to be the preferred quick fix for many. For example, I have often recommended to students the Homespun series by Dr. John covering New Orleans Rhythm and Blues where they're able to really get the feel of the music, not just "licks" (a term I avoid at all costs) although the immediate satisfaction that one gets from reading through a transcription and then hearing themselves playing it at least keeps there interest intact. But just like Levine's book clearly states, there really is no substitute for the music itself. So, why not have a book about the subject that clearly provides the effect that a book can provide: text and theory about the music that also encourages the player to really immerse him/herself into the music, whichever style he or she prefers.

Unconventional layout that, yes, requires patience but in what seems at first jumping ahead then back again only to make the subject notice that difficulties haven't reared their head later when trying to fit together the various ideas combined within. This is invaluable, you just can't beat that approach save sitting with a professional on a bench where practical ideas can be fleshed out for you. All students can't have their hands held constantly.

Make sure your record collection is healthy or you have the means to do so, Levine doesn't pull any punches when emphasizing this and frankly, really shouldn't.

It's a little trial by fire, but, just use your head and you'll benefit greatly from this.
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