NEGATIVE HARMONY. If we have negative harmony do we also have negative counterpoint? Negative scales and negative chords? Negative intervals? Negative everything and anything! Positive
Know in advance where to go? It’s usually easier to get there? How does that work with pianism? With improvisation? Where do we want to go?
To transcribe or not to transcribe? For many musicians–aspiring, accomplished, or both–that’s the question. On the one hand transcription is for everyone regardless of skill
There’s always more to say about experiential learning and improvisation, the subjects I addressed previously in Jazz piano lesson #4. So this post is a
Experience learning jazz piano How do we induce experiential learning—the learning that comes from experience? I raise the question because aquiring lessons from learning is
Off I go to the piano. That means taking a look and a think at Oscar Beringer’s exercises, Grieg’s lyric pieces, and an amazing fake
I found a great interview with Simone Dinnerstein where she discusses why Bach Inventions are as wonderful as they are. So I followed up and downloaded her
Recipe for a jazz piano lesson: Gather questions, formulate answers, expose underlying philosophy of said questions, leave space for more questions, and allow room for natural
You want to play jazz at the piano. Or, jazz piano, as it’s usually called. In so doing you’ll be moving from the written page
Paul Bley passed away a little over a year ago on 3 January, 2016. However, a postscript, at least for me, which is: Paul Bley
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