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Beginning Jazz Piano
Book One
By Kerry Politzer
Introduction 4
What is Jazz Piano? 4
Course Objectives 4
Syllabus 7
Module One: The Blues (Major) 8
The Blues Scale 9
Voicings 10
Tunes 15
Extra Credit 18
Module Two: The Blues (Minor) 20
Minor Pentatonic Scale 21
Voicings 21
Comping Rhythms 25
Tunes 26
Extra Credit 29
Module Three: The Mixolydian Mode 31
Modes 32
The Mixolydian Mode 32
Voicings 33
The Swing Feel 38
Tunes 39
Extra Credit 42
Module Four: The Dorian Mode 44
The Dorian Mode 45
Voicings 45
Soloing 47
Tunes 49
Book One
Extra Credit 52
Module Five: The Ionian Mode 55
The Ionian Mode 56
Voicings 56
Playing Over Changes 63
Tunes 65
Extra Credit 68
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Introduction
What is Jazz Piano?
Jazz piano means many things to many people. To some, it brings to mind the virtuosic stride piano
of Fats Waller and James P. Johnson. Others might think of smooth jazz pianist David Benoit. It's
true that there are many, many styles of jazz, from bebop to post-bop to fusion to free.
The kind of jazz piano I aim to teach in this class could be termed "modern jazz." By
"modern," I actually mean the kind that has its origin in the 1940's bebop of Bud Powell. Because
bebop piano, with its horn-like right-hand lines and percussive left-hand accents, was a sea change
from 1930's stride. Stride pianists were human juke boxes; they did everything at once. Bebop
brought about increased rhythmic and harmonic freedom for the pianist (that means you!).
I don't want to solely stick to bebop, however. I want to give you jazz piano you can use on the
bandstand today. I want you to acquire tools to apply to the music you are working on, rather than
just abstract exercises. Finally, I want you to have fun, if possible.
If you are a vocalist, or you play an instrument other than the piano, you might be wondering why
learning jazz piano is important. But no matter what you play or sing, jazz piano skills will con-
tribute immeasurably towards your musicianship. Vocalists can learn to accompany themselves.
Drummers can enhance their knowledge of form. Horn players and guitar players can look at solo-
ing in a new light. And everyone gains an exciting compositional tool; it's hard to beat 88 keys
stacked on top of each other.
So let's get started!
Course Objectives
Modern jazz piano incorporates a variety of skills. It is my hope that after completing this course,
you will be able to draw on these skills in many different musical situations. Ultimately, you should
be able to do three things when presented with a tune:
o play a basic solo arrangement
o comp with the left hand while playing the melody or soloing with the right hand
o comp for a soloist
The course is divided into three parts, each of which consists of five modules. Each module
includes tunes, voicings, and a scale or mode. You will be expected to practice the voicings with
your left hand and the tune heads with your right. I would also like you to solo, hence the focus on
scales and modes. Special topics, such as swing feel, soloing tips, and comping rhythms, will be
addressed throughout the course.
Book One
For the adventurous among you, the extra credit sections feature brief bios of major jazz pianists as
well as transcriptions. It's my feeling that there are no greater teachers than the masters; try to at
least listen to the tracks I've referenced, even if you don't learn the transcriptions.
-5-
Book One
Who This Course is For

If you are taking this course, it is assumed that you can play the piano at a a basic level. You
should be able to read music in treble and bass clefs, and... to be able to count to 13. Not because
we're going to be playing tunes in 13 (we're not), but because we're going to be playing some
ninths, elevenths and thirteenths.
A Note About This Course
There are as many different ways to teach jazz piano as there are jazz pianists. While taking this
course, you might wonder why certain information might be excluded (or included). Although the
theory behind the method will be covered, the understanding of theory isn't our primary objective.
Our goal is to be able to enjoy playing jazz piano.
With that said, I have tried to structure this course in such a way that you will be able to use your
newfound skills almost immediately. Do you need to comp behind a horn player during a blues?
Or is a vocalist requesting solo accompaniment for a standard? Hopefully, after practicing the skills
outlined in this course, you'll be able to rise to the occasion.
If you find that our weekly lessons are not challenging enough, feel free to dig into the extras. Con-
versely, if you find yourself struggling, feel free to contact me at [email protected]. I will try to
help if I can.
-6-
Book One
Syllabus
Module One: Blues (Major)
Voicings (shell, rootless left-hand)

Scale: Blues
Tunes: Billie's Bounce, Straight, No Chaser
Extra Credit: Monk's Straight No Chaser Solo
Module Two: Blues (Minor)

Scale: Minor Pentatonic
Tunes: Mr. P.C., Equinox
Extra Credit: Flanagan's Mr. P.C. Solo
Module Three: Mixolydian Mode

Scale: Mixolydian
Tunes: All Blues, Bessie's Blues
Extra Credit: Tyner's Bessie's Blues Solo
Module Four: Dorian Mode
Voicings (shell, quartal)

Scale: Dorian
Tunes: Impressions, So What
Extra Credit: Kelly's So What Solo
Module Five: Ionian Mode (Major Scale)
Voicings (shell, rootless)

Scale: Ionian
Tunes: I Could Write a Book, My Romance
Extra Credit: Jarrett's My Romance Solo
-7-
Module One: The Blues (Major)
The Blues Scale
Now that we've learned this module's voicings, it's time to think about soloing. There's no better
starting point for the blues than the blues scale. It doesn't contain a lot of notes, but each note
sounds good when you play it. The defining feature of the blues scale is the flat 5, which gives the
scale its unique character. Much has been written about this special note.
Another great thing about the blues scale is that it sounds good over all the chords in a blues. So,
you don't really have to worry about "the changes." You can play an F blues scale throughout all
12 bars of an F blues, or a Bb blues scale throughout the whole Bb blues. You don't have to vary it
when you get to the IV chord, the VI chord, etc. We will be practicing the blues scale in F and Bb,
the two most common blues keys.
One pianist whose playing is saturated with the blues scale is the great Wynton Kelly. He was a
big influence on Herbie Hancock.
Book One
The Blues Scale in F and Bb
Voicings
On the piano, the left hand often delineates the harmony that we play. For example, if a lead sheet
begins with a Dmin7 chord, our left hand will play some permutation of this chord.
Some beginning jazz piano books instruct the student to include the root, third, fifth, and seventh in
a left-hand voicing.
This may be good from a theory standpoint, because the student quickly learns to identify the inter-
vals in a chord. However, most modern jazz pianists do not usually play this type of voicing. And
when placed low on the keyboard, it tends to sound muddy. So let's try a different tack.
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Book One
Shell Voicings
We're going to begin our study of voicings with the shell voicing: a chord voicing that leaves out
one or more notes. There are several advantages to this type of voicing: 1) it is easy to learn; 2) it
falls easily into the hand; and 3) it is extremely versatile.
The first shell voicing we are going to learn consists of the root (first note in the scale) and the flat-
ted seventh. Here it is in all keys.
This particular voicing can be used for dominant 7ths, minor 7ths, sus7ths, and minor 7b5s. (See,
I told you it was versatile!) It's a perfect starting point for the blues. And we can use it to fulfill our
first objective, that of playing a basic solo arrangement. The bass note and seventh are a perfectly
respectable backdrop for the right-hand melodies we will learn.
Blues in F, Shell Voicings
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Book One
Blues in Bb, Shell Voicings
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Book One
Rootless Voicings, Left Hand

Now we're going to get a little fancier. While the shell voicing is a perfectly respectable voicing for
the solo piano style, in many situations we will be playing with a rhythm section. The bass player
will holding down the fort with a lot of roots, so we will be playing the two notes that are crucial to
establishing the harmony: the third and the seventh. These two little notes, in their various per-
mutations, are extremely powerful. Here's how they change the changes:
Thirds + Sevenths
Thirds Sevenths Chord Result
major major major 7*
flat 3 flat 7 minor 7**
major flat 7 dom 7
flat 3 major 7 min-maj 7
Note: *Add the sharp 5 and you have an augmented chord.

**Add the flat 5 and you have a min7b5 chord.
When we play a third and a seventh with the left hand, we have two options: 1) play the third on
top or 2) play the seventh on top. As you'll see, in the interest of voice leading and hand comfort,
we will often alternate the two. Here are the rootless two-note voicings in all keys.
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Book One
Blues in F, Rootless Voicings
Blues in Bb, Rootless Voicings
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Book One
Tunes
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Book One
Billie's Bounce (Charlie Parker)
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Book One
Straight, No Chaser (Thelonious Monk)
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Book One
Extra Credit
- 18 -
Book One
Thelonious Sphere Monk (1917-1982)

Thelonious Monk is known for his percussive style, surprising har-
monies, and memorable compositions. This week, since we are learn-
ing his famous blues "Straight, No Chaser," here is a transcription of
the first chorus from the Blue Note Sessions, 1947-52 version.
Notice the varied rhythms. It's always good to listen to the track when
you're learning a transcription, as the phrasing and rhythmic feel vary
greatly from player to player.
Take a listen at www.youtube.com/watch?v=ujChUYkPvec and see if
you can play along.
- 19 -
Module Two: The Blues (Minor)
Minor Pentatonic Scale
In this module, we're going to focus on the minor pentatonic scale. This scale is just as versatile as
the blues scale, and it can be used over both major and minor blues. Pentatonic scales were often
employed in the 1960's, the era of modal jazz. Pianist McCoy Tyner, who played a major role in
the recordings of saxophonist John Coltrane, uses pentatonics a lot. Tyner played on Coltrane's
tune "Equinox," which we will learn in this module. The introduction to "Equinox" is entirely
based on the minor pentatonic scale.
In this scale, which comprises five notes, the first interval is a minor third. Since we're going to
play the blues in C minor and C# minor, we will learn our minor pentatonic scale in these two
keys. Let's go up and down the scales with each hand.
Voicings
In this module, we will be playing the blues in a couple of minor keys. A common key for the
minor blues is C minor. You might notice that in the eighth bar, the harmony goes to the bVI
chord; this is a change from the major blues, which usually goes to the II minor chord.
In our first lesson, we learned dominant 7th and minor 7th chords. Now, we will also play minor
chords without the 7th. Our shell voicings will incorporate the root and the 5th, while our rootless
voicings will include the minor 3rd and natural 6th.
Here are the root-fifth shell voicings in all keys. (The rootless voicings are identical in shape to
those of the last module.)
Book One
When we voice a chord without the minor 7th, we have another harmonic possibility at our dis-
posal. While soloing, we are no longer limited to using the minor 7th; we can also play the minor-
major 7th.
Blues in C Minor, Shell Voicings
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Book One
Blues in C# Minor, Shell Voicings
Blues in C Minor, Rootless Voicings
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Book One
Blues in C# Minor, Rootless Voicings
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Book One
Comping Rhythms
Following are some simple rhythms that you can use to comp behind a soloist. Practice them with
your voicings.
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Book One
Tunes
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Book One
Mr. P.C. (John Coltrane)
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Book One
Equinox (John Coltrane)
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Book One
Extra Credit
- 29 -
Book One
Tommy Flanagan (1930-2001)

Detroit-born Tommy Flanagan, a prominent bebop pianist, was known for his trio
work and his sensitive accompaniment for vocalists like Ella Fitzgerald and Tony
Bennett. Here we get a chance to scrutinize his elegant lines over John Coltrane's
Mr. P.C. on Giant Steps. https://www.youtube.com/watch?v=Jv5j_Lx2R4g
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Module Three: The Mixolydian Mode
Modes
As you probably know, there are seven modes built on the major scale:
l Ionian: 1st scale degree
l Dorian: 2nd scale degree
l Phrygian: 3rd scale degree
l Lydian: 4th scale degree
l Mixolydian: 5th scale degree
l Aeolian: 6th scale degree
l Lochrian: 7th scale degree
For example, if you played a C major scale, the Ionian mode would be built on the C, the Dorian
on the D, the Phrygian on the E, etc.
Here's what the modes look like:
The most commonly used modes in jazz are:

l Mixolydian - for dominant 7th and suspended chords
l Ionian - for major chords
l Dorian - for minor chords
l Lydian - for major chords with a sharp 11
l Phrygian - has a "Spanish" flavor
The Mixolydian Mode

We're going to begin our study of modes with the Mixolydian mode. Like the blues and pentatonic
scales, it's a great tool for playing over a blues. Both of the tunes we will learn this week, "All
Blues" and "Bessie's Blues," feature Mixolydian-based heads.
Book One
It is a good idea to learn the Mixolydian mode in all keys, but especially the keys of our tunes this
week: G and Eb.
Voicings
In this module, we will play our shell voicings in two new keys: G and Eb. Since our G blues is in
6/8 time, we will practice that series of shell voicings in that time signature.
After we work on the shell voicings, we are going to practice our trusty two-note voicings, but this
time we will add a third note to make them sound even more appealing. Our new three-note
voicing incorporates a fancy extension.
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Book One
Extensions
Now is probably a good time to review upper extensions, or, those important notes which lie above
the octave in which a basic chord is located. In many cases, the use of extensions (ninths, elev-
enths, and thirteenths) distinguishes jazz from other types of music.
In the introduction of this course, I mentioned that a prerequisite was the ability to count to 13. So,
in order to find an extension, simply count the notes above the root of your chord.
Here's a brief demonstration of how extensions are used in common chord changes. As you count
up the scale, you'll see the root, third, fifth, seventh, ninth, eleventh, and thirteenth.
The dominant 7th chord has the most possibilities for alterations. We can alter (flat or sharp) these
extensions. (Our "All Blues" chart includes the #9 alteration in bars 11 and 12.)
Dominant 7th Extensions and Alterations
Extension Alteration
9th b9, #9
11th #11
13th b13
Major 7th chords often use a natural ninth and sharp eleventh, while minor chords use a natural
ninth, eleventh, and thirteenth.
It should be noted that we do not have to play all of these notes all of the time. Just as we often
leave out the root or fifth, we can play the thirteenth without playing, say, the ninth.
In some cases, our alterations might clash with our third and seventh. So, we wouldn't play a b13
at the same time as a natural fifth, or a #9 directly below a natural third.
If you don't already know all of this information, I don't expect you to memorize it right now. But
it may be helpful to refer back to during the duration of this course, in case you are wondering why
certain notes are used in the voicings.
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Book One
Blues in G, Shell Voicings
Blues in Eb, Shell Voicings
- 35 -
Book One
Rootless Voicings, Three Notes
Let's take a look at our dominant 7th voicings again. Just like we did before, we will alternate
between the third/seventh and seventh/third configurations. But this time, we'll add our third note.
When our third is on the bottom of the chord, our ninth goes on top. For example:
But when our seventh is on the bottom of the chord, the extra note will be a thirteenth:
Now you can go back to your series of two-note voicings in every key, this time adding the third
note. These voicings are very, very common in modern jazz piano.
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Book One
Blues in G, Rootless Voicings
Blues in Eb, Rootless Voicings
- 37 -
Book One
The Swing Feel

The study of jazz harmony as it relates to the piano seems almost endless. Nevertheless, it's import-
ant not to forget about rhythmic feel, although it's not something that can be taught like the notes of
a scale. But jazz doesn't sound like jazz without a certain rhythmic feel.
The swing feel is almost impossible to notate. Some people try to do it with triplets, others use a
dotted eighth note and sixteenth note, while others think of it as eighth notes with accented off-
beats.
A swing feel, which gets its character from accents and note placement, is as personal as a fin-
gerprint. Some musicians, like McCoy Tyner, tend to play on top of the beat; others, like Wynton
Kelly, play behind the beat. Chick Corea plays rather evenly spaced notes without a lot of strong
accents, while Herbie Hancock varies his accents and note placement.
The best way to develop a swing feel is to play along with albums. To start developing your feel,
you might open up YouTube and play with the transcriptions in this course.
- 38 -
Book One
Tunes
- 39 -
Book One
All Blues (Miles Davis)
- 40 -
Book One
Bessie's Blues (John Coltrane)
- 41 -
Book One
Extra Credit
- 42 -
Book One
(Alfred) McCoy Tyner (1938 - )

Often imitated but never duplicated, Philadelphia-born pianist McCoy
Tyner was a major figure in 1960's modal jazz. He is especially known
for his work with John Coltrane.
Tyner makes ample use of pentatonics and voicings based on stacked
fourths. He often repeats a phrase, shifting it to different areas of the key-
board. His touch is crisp and sparkling, and his solos are always exciting.
Here is a bit of his solo on "Bessie's Blues" from John Coltrane's Cres-
cent (1964).
Listen at https://www.youtube.com/watch?v=XMC2bvHk0Bo.
- 43 -
Module Four: The Dorian Mode
The Dorian Mode
The Dorian mode, which is based on the second mode of the major scale, can be used over minor,
minor 6th, and minor 7th chords. So, together with our minor pentatonic scale, we now have two
options when faced with minor chord changes.
Let's practice our Dorian scales in D and Eb, the keys in this week's tunes.
Voicings
In this module, we will focus on a new concept. After we play our shell voicings in the left hand,
we will learn how to play three-note quartal voicings. These type of voicings are commonly
employed by players like McCoy Tyner and Chick Corea... and just about any other modern jazz
pianist. Quartal voicings are essentially stacked fourths that are built on modal scales.
Our tunes, "So What" and "Impressions," employ very simple chord changes - just Dmin7 and
Ebmin7. So, let's learn our voicings in these keys.
Book One
Quartal Voicings
Quartal voicings are a great tool for playing modal jazz - the style popularized in the 1960's by
Miles Davis and John Coltrane. In contrast to bebop tunes, which are often reharmonized stand-
ards, modal jazz tunes tend to use simple chord changes that stretch out over many bars. This lets
the soloist "stretch out," since he doesn't have to think about "making the changes."
Here is our Dorian scale in bass clef:
And here it is with two layers of stacked fourths (I've included the treble clef here so as not to use
too many leger lines):
The great thing about these modal voicings is that they are interchangeable. Pick one or pick
another; they all work over minor chord changes.
We are first going to practice these voicings in the left hand. Then, we will play them with our
right hand while putting the root in our left hand. After we have mastered these voicings in both
Dmin7 and Ebmin7, we will be able to comp for both ourselves and others over "So What" and
"Impressions." (And, of course, just like with our other voicings, we should learn the quartal
voicings in every key.)
Dmin7 and Ebmin7 Shell Voicings
- 46 -
Book One
Dmin7 and Ebmin7 Quartal Voicings, Each Hand
Soloing
The topic of soloing could cover many volumes. There are many factors in a great solo: melodic
inventiveness, thematic structure, etc. But in this course, a great solo is not what we're after. We
just want to solo, period.
Why aren't we after a great solo? Because many people feel intimidated when asked to sit down at
the piano and improvise. What do we play? We have a mode or scale, but which of the notes
should we use?
While it can take years to assimilate jazz vocabulary and develop a personal style, here are some
simple tips for practicing the art of soloing:
l Know the Tune. This might seem like a no-brainer, but it's essential. If you truly know a
tune, you don't have to worry about how many bars or which changes it has. And the head
of a tune provides a great starting point for your solo. As Monk entreats,
"PLAY THE MELODY!"
l Take Your Time. Soloing is like talking; you always want to breathe between phrases.
(Horn players should have no problem with this!) You don't have to play all the time. Make
a statement, breathe, and let the next statement come to mind. Play with intention!
l Write it Out. Is a tune giving you trouble? Write out a solo. Composition can be like slowed-
down improvisation; you can practice both skills at once if you write out a solo.
l Don't Stress. It's not the end of the world if you don't play exactly what you meant to play.
l Borrow Ideas. Are you stumped for ideas? Listen to recordings of other pianists. If you like
what they're playing, try to see if you can transcribe a phrase or two. Then, try these ideas
out over different chord changes, keys, and tunes.
l Sing, Sing, Sing. Singing is a great way to train your ears. It also helps you play more melod-
ically. Practice singing a solo without playing your instrument. Then, sing along with what
you are playing.
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Book One
- 48 -
Tunes
Book One
Impressions (John Coltrane)
- 50 -
Book One
So What (Miles Davis)
- 51 -
Book One
Extra Credit
- 52 -
Book One
Wynton Kelly (1931-1971)
The Jamaican-born Wynton Kelly, who left us much too soon, has influ-
enced legions of pianists with his lilting swing, melodic clarity, and triplet-
filled lines. His joyful sound is immediately recognizable.
Kelly may be most well-known for his "Freddie Freeloader" solo on
Miles Davis' Kind of Blue. Here he is on "So What" from a 2008 Sony
Miles Davis compilation. Listen at https://www.y-
outube.com/watch?v=zqNTltOGh5c.
- 53 -
Book One
- 54 -
Module Five: The Ionian Mode
The Ionian Mode
The Ionian mode is the major scale. It can be used over major, major 6th, and major 7th chords.
However, since it has a natural fourth, it is not played over major 7 chords with sharp 11's; that job
goes to the Lydian mode, which we will cover next term.
You should be able to play the Ionian mode with both hands in every key. We will work on two
tunes that use this diatonic scale: "I Could Write A Book" and "My Romance." "I Could Write A
Book" uses notes from the C Ionian mode with one exception (an F# instead of an F), while the
melody of "My Romance" only uses notes from the Ionian mode.
Voicings
In the interest of keeping things simple, I have modified the changes for this module's tunes. Right
now, we're just working on dominant, minor, and major chords, so I have taken the liberty of omit-
ting some of the other changes that are often played in these two tunes.
We are going to work on shell and rootless voicings, except we will add one new technique: we'll
shift our rootless voicings to the right hand while playing the roots in the left hand. This will help
us begin to develop solo piano comping skills. If we can play the right bass note and chord
changes, we can accompany a horn player or vocalist (or our own voice, of course).
We began working on rootless three-note voicings in Module Three, but in this module we'll play
two-note voicings. This will make the tunes easier to learn. After you've become comfortable with
playing thirds and sevenths on tunes with faster harmonic motion, you can add in the ninths and
thirteenths.
(A note about the shell voicings: since they are all root-seventh, you might find your left hand jump-
ing around a lot. If you were performing these tunes, you would probably add in some rootless
voicings. However, it's a great exercise to familiarize yourself with the roots and sevenths of each
chord change.)
Since we're focusing on the Ionian mode this week, we'll be playing a lot of major chords. We are
going to learn a common major 6/9 voicing that is based on fourths (a quartal voicing).
Book One
I Could Write a Book, Shell Voicings
- 57 -
Book One
My Romance, Shell Voicings
- 58 -
Book One
I Could Write a Book, Rootless Voicings (Left Hand)
- 59 -
Book One
My Romance, Rootless Voicings (Left Hand)
- 60 -
Book One
I Could Write a Book, Rootless Voicings (Right Hand)
- 61 -
Book One
My Romance, Rootless Voicings (Right Hand)
- 62 -
Book One
Playing Over Changes

In this module, we will be playing more complicated tunes than in weeks past. We began our
course with simple blues and modal tunes, over which we used only one scale for soloing.
But from now on, we will be learning tunes that include a variety of different chord changes. At
first glance, these tunes might seem rather intimidating with their constantly changing chords. How
do we figure out what to play?
One thing we can do to simplify the improvisation process is to use as few scales as possible, even
over multiple chords. Making a harmonic decision at every single chord change takes too much
mental energy.
Here's where our modes come in especially handy. Below are all of the root-seventh shell voicings
in C Ionian with their associated chord changes. The C Ionian scale works over all seven chords.
So, how can we use this information within the context of a tune?
Let's say that we have a song that ends with a II-V-I in C (three different chords):
Now, we could conceivably use a minor pentatonic scale over the Dm7, a blues scale over the G7,
and the Ionian mode for the C chord.
But it would be much simpler to play one scale over the whole phrase. The C Ionian scale uses
notes that each chord change has in common (common tones). (Of course, you can substitute
Lydian, Mixolydian, or any other mode as long as you stay in the key of C. Just start on a different
scale degree.)
The modal approach is a good starting point for learning to play over changes. As we progress
through this course, we will learn about a variety of other concepts such as chromaticism and
- 63 -
Book One
polytonality. However, we will continue to work on the skill of mapping out groups of har-
monically similar bars. In the meantime, here's a tip: remember that the head of a tune points us
towards a harmonic strategy for soloing. It's safe to say that if a melody contains only the seven
notes of the C Ionian scale, we can use those seven notes to solo over the entire tune. (And that's
what we'll do for I Could Write a Book and My Romance.)
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Book One
Tunes
- 65 -
Book One
I Could Write a Book (Rodgers/Hart)
- 66 -
Book One
My Romance (Rodgers/Hart)
- 67 -
Book One
Extra Credit
- 68 -
Book One
Keith Jarrett (1945 - )

Jarrett's singing tone, inspired improvisations, and lush chord voicings make him one of jazz's liv-
ing legends. Although he is most famous for his trio with Gary
Peacock and Jack DeJohnette, he first cut his teeth with trumpet
player Don Jacoby, saxophonist Charles Lloyd, and drummer Art
Blakey.
A true virtuoso of the piano, Jarrett has released critically
acclaimed recordings of Bach, Handel, Mozart, and several other
classical composers.
Here is Jarrett's solo on "My Romance" from Keith Jarrett at the
Blue Note (1994). I've chosen this solo because it is pretty simple
and very melodic (it also uses the C Ionian scale a bunch). Listen
to Jarrett's phrasing. Does it strike you as unique?
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Book One
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Beginning Jazz Piano

Who This Course is For

Voicings (shell, rootless left-hand)

Voicings (shell, rootless left-hand)

Voicings (shell, rootless left-hand)

Voicings (shell, quartal)

Voicings (shell, rootless)

The Blues Scale in F and Bb

Blues in Bb, Shell Voicings

Rootless Voicings, Left Hand

major major major 7*

flat 3 flat 7 minor 7**

major flat 7 dom 7

flat 3 major 7 min-maj 7

Note: *Add the sharp 5 and you have an augmented chord.

Blues in F, Rootless Voicings

Blues in Bb, Rootless Voicings

Billie's Bounce (Charlie Parker)

Straight, No Chaser (Thelonious Monk)

Thelonious Sphere Monk (1917-1982)

Blues in C# Minor, Shell Voicings

Blues in C Minor, Rootless Voicings

Blues in C# Minor, Rootless Voicings

Mr. P.C. (John Coltrane)

Equinox (John Coltrane)

Tommy Flanagan (1930-2001)

The most commonly used modes in jazz are:

The Mixolydian Mode

Blues in G, Shell Voicings

Blues in Eb, Shell Voicings

Rootless Voicings, Three Notes

Blues in G, Rootless Voicings

Blues in Eb, Rootless Voicings

The Swing Feel

All Blues (Miles Davis)

Bessie's Blues (John Coltrane)

(Alfred) McCoy Tyner (1938 - )

Dmin7 and Ebmin7 Quartal Voicings, Each Hand

Impressions (John Coltrane)

So What (Miles Davis)

Wynton Kelly (1931-1971)

I Could Write a Book, Shell Voicings

My Romance, Shell Voicings

I Could Write a Book, Rootless Voicings (Left Hand)

My Romance, Rootless Voicings (Left Hand)

I Could Write a Book, Rootless Voicings (Right Hand)

My Romance, Rootless Voicings (Right Hand)

Playing Over Changes

I Could Write a Book (Rodgers/Hart)

Keith Jarrett (1945 - )

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