Complementary jazz piano

INFORMATIONS

  • Objectives and content

    To enable non-pianist students to develop an effective approach to the instrument: harmony, voicings, keyboard management, technical exercises, grid reading, theme reading, knowledge of a classical and contemporary piano repertoire (adapted to each student's level).

    This course also gives non-pianists the opportunity to use the piano as a complementary harmonic and orchestral instrument in their composition/arrangement work, as well as for improvisation.

    • Learning jazz voicings, from the simplest to the most extensive. These voicings are to be transposed in all keys.
    • Extension to II/ V/ I sequences and substitutions.
    • Excerpts from standards (4/8 bars) to be transposed in all keys ("recreational" approach to learning harmony and keyboard management).
    • For the right hand, technical work on fingers and phrasing based on themes by Charlie Parker or Bud Powell.
    • Performance of standards in three forms: simple approach version, enriched version (9th, 13th, 11th chords, sus 4, internal voices, substitutions), version with left-hand voicings without bass (The choice of repertoire may include more contemporary compositions).
    • Work on the different forms of Blues and Anatole (I got rhythm).
    • Work on accompanying soloists.
    • Classical scores of low or medium difficulty (Bach, Satie, Debussy, Bartok etc), work on reading, sound and MD/MG independence. Linear, polyphonic and horizontal approach to the instrument. Work on interpretation.
    • Ear training. For example, exercise: sing the melodic line with the right hand while playing a second line with the left hand.
    • Memorization games (intervals, chord colours).
    • Improvisation work on jazz standards, as well as other material (classical music, folk songs, etc.).
  • Programme
    <p>Learn jazz voicings, from the simplest to the most extensive. These voicings are to be transposed in all keys. </p> <p> </p> <p> Extension to II/ V/ I sequences and substitutions.</p> <ul> <li>Excerpts from standards (4/8 bars) to be transposed in all keys (a "recreational" approach to learning harmony and keyboard management).</li> <li>For the right hand, technical work on fingers and phrasing based on themes by Charlie Parker or Bud Powell.</li> <li>Performance of standards in three forms: simple approach version, enriched version (<sup>9th</sup>, <sup>13th</sup>, 11th chords<sup>, </sup>sus 4, internal voices, substitutions), version with left-hand voicings without bass.</li> </ul> <p>(The choice of repertoire may include more contemporary compositions).</p> <ul> <li>Work on the different forms of Blues and Anatole (I got rythm).</li> <li>Work on accompanying soloists.</li> <li>Classical scores of low or medium difficulty (Bach, Satie, Debussy, Bartok etc), work on reading, sound and MD/MG independence. Linear, polyphonic and horizontal approach to the instrument. Work on interpretation.</li> </ul>
  • Assessment terms and conditions

    Year2 exam: Play a standard or theme from the Be-bop repertoire and a classical piece of low difficulty.

    Year3 exam: Play a standard or a theme from the Be-bop repertoire accompanied by a rhythm section (bass/drums), a classical piece of moderate difficulty, a deciphering (15-minute dressing room before the exam), a piece of the student's choice (all styles) in agreement with the teacher.

    The pieces will be announced 6 weeks before the exam (except for the deciphering).

  • Duration of studies

    3 years

  • Reward
    Certificate
  • Erasmus
    Yes

ENSEIGNANTS

Paul LAY
Enseignant

Paul LAY

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