Duke Ellington. Jazz Piano. Seventeen classic tunes in authentic. Ellington style. New piano solo arrangements by Stephen Duro based on the original big-band. In this free Master Class, pianist Martan Mann presents Developing Solo Jazz Piano Technique, a step-by-step approach to developing solo. Music: Richard Rodgers / Arrange: ma The score is in the book ” Korenara hikeru!! Jazz piano”, which is written by Haruhata.
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Free Standard Sheet http: Sheetmusic, midifile, tips and advice in english here: Showing 3 Left Hand techniques for the song: Previous video for the song here: It is said that Francisco’s father played flamenco and several other music styles on his guitar; when his father was away working as a watchman at the Convent of San Pascual the child would take his father’s guitar and attempt to make the beautiful sounds he had heard.
Francisco’s nickname as a child was “Quiquet”. August 12, Tracklist: Fuji Jazz Festival with Blue Note. Alto sax solo by Jackie McLean. To purchase or for more info go to http: The style is medium slow swing, and the saxes present the theme first followed by the entire ensemble.
Master Class: Martan Mann – Developing Solo Jazz Piano Technique – Kuumbwa Jazz
Solos are only jaza sections with easy chord changes. Lee Morgan Tenor Sax: Please see website for free music downloads and to view my book. I listened to a CD by Eldar Djangirov recently which had this tune on it. I really liked how he approached it. He would go big, then go small, then go big again. He plays it with a happy Oscar Peterson vibe.
I thought it would be fun to copy his approach. I didn’t copy his notes, but I tried to get the same feel and same musical arcs. This was a lot of kofenara to do.
It was a bit of a stretch because it is jikeru than my usual style. It also gave me the opportunity to explore GarageBand a little bit more. The backing tracks were done before I recorded the piano track.
The keyboard is a Yamaha CP I hope you enjoy listening as much as I enjoyed doing this. I want to make love to that bari.
Much love for Charlie and his work in general. Here is my arrangement of Moanin’.
Moanin’ Bobby Timmons + Sheet Music by Just Old Music
Ajzz was originally recorded by Art Blakey and the Jazz Messengers in The song is built on this format: A 8 bars A 8 bars B 8 bars A 8 bars Chorus 2: A – Emphasize the 6th. One non-tonal slide from the upper to the lower manual, a number of grace notes, a few keyboard ‘thumps’ on the lower manual. A – Solo one octave lower, a few thumps on the lower manual. A number of grace notes. This part ends with a ‘machine gun’ tremolo. B – Upwards palm glissando.
Down and upwards palm glissando. Pedal tone with the piaho under a chorded figure. Then a chorded triplet riff. A one octave thumb upwards thumb glissando followed by a pedal tone phrase, another short upwards thumb glissando and yet another pedal tone phrase. A – Four downwards thumb glissandos in a row.
Hiekru few solo phrases. This part ends with a small pedal tone figure.
Moanin’ [jazz][piano solo]
A – Higher and higher up on the keyboard until the highest C note. On my way up I use my right wrist to play two keyboard ‘thumps’ on the lower korwnara while I’m holding notes on the upper manual. A short downwards triplet staccato palm glissando. Four upwards index finger glissandos in a row. A – A triplet phrase upwards. Working my way up to the highest C again.
I’m using one wrist keyboard thump on the lower manual while holding a note on the upper manual this time. Three downwards thumb glissandos. Then a ‘machine gun’ tremolo phrase. B – A few solo phrases, then a chorded pedal tone phrase the little finger is holding the pedal tone. A small block chord, and then ending this part with a blues phrase.
A – Pedal tone phrases all the time, except for one down and upwards palm glissando. The bass line during my two solo choruses is in this format: Solo chorus 1 A – Two-times-on-the-same-note bass line A – Two-times-on-the-same-note bass line B – Quarter note walking bass line A – Two-times-on-the-same-note bass line Solo chorus 2 A – Quarter note walking bass line A – Quarter note walking bass line B – Two-times-on-the-same-note bass line A – Quarter note walking bass line Chorus 4: Then the B part is repeated one more time.
I play the main riff two times, then slowing it down in the lower register of the upper manual. I play a few left hand phrases and end with a downwards left thumb glissando to the lowest F. Then I play a F5 chord with my right hand while changing the speed of the Leslie simulator from Stop position to Fast, with the half-moon switch.
When the Leslie sim is up to speed I switch back to the Stop position. When the Leslie sim is close to a stop I switch back to Fast position and play the lowest F on both manuals.
Nord C1 Registrations and Settings: Upper 88 Percussion On, Soft, Fast, Third. Lower 80 Bass lower manual Leslie simulator Stop position except during the ending. Tonewheel mode Vintage 2 high level of tonewheel crosstalk and cable leakage artefacts. The sound is recorded line out from the organ. No additional external effects, external amplifiers or speakers are used. Kitajima The score is in the book “Korenara hikeru!! Jazz classic by Bobby Timmons. Get the video sound track on CD http: The 7th in a series of 10 tutorial videos that show you how to use free notation program MuseScore.
MuseScore is available for Windows, Mac and Linux and can be downloaded from http: Learn this jazz standard with the play along backing track.
Follow us on https: Throughout his career, Bobby Timmons was typecast as a soulful and blues-oriented pianist due to his hits Moanin ‘,This Here and Dis Dat. But as he shows on this trio date with either Sam Jones or Ron Carter on bass and drummer Connie KayTimmons was actually a well-rounded player when inspired. The repertoire on his album ranges from bop to spirituals, from three diverse originals to “Born to Be Blue.
His album is worth picking up Born to Be Blue M. Know Not One Bobby Timmons The Sit-In Bobby Timmons Often Annie Bobby Timmons Bobby Timmons – piano 2. Connie Kay – drums. Much more at http: Currently a professor of jazz studies at the University of North Florida, Barry has an extensive background in performance and instruction.
He has played all over the United States and Europe and has garnered praise from some of the most influential guitar players in the world.
Take the opportunity to study with one of the finest educators of jazz guitar. Also check out one of Emily’s most inspired live performances of Moanin’ recorded in Kansas City but at a different venue, The Fitzpatrick – audio morenara about half way down the page: This medium tempo swing chart also features a nice ensemble chorus before returning to the head.