Jazz Piano

with George Whitty
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Hi, Grant: Welcome to ArtistWorks; see you in your first Video Exchange!

Fiddle legend, Darol Anger, is going LIVE from ArtistWorks Facebook page in 2 hours! (4:00 pm PST) http://bit.ly/DarolLIVE

Hello. Im new here. Looking forward to this course.

Hey, Icrausfire: I think the time is best developed in parallel with our awareness of harmony, melody, and so forth. In fact, if I could grant someone either one, good time and a good, confident swinging feel vs. a bunch of great harmony, I’d start with the time! So I start my practice day with 20 minutes of the most mindless exercises (Honons, scales, my over-under pentatonic exercise) so the notes are a given and I can really focus in on the TIME and my feel and booting up my WIDEST DYNAMIC RANGE. That way, when I move on to working on some actual music, I’ve awakened and fortified that stuff and it carries on to what I’m playing for the rest of the day...

ArtistWorks Electric Country Guitar instructor, Guthrie Trapp, will be going live on our YouTube page in 1 HOUR! Link here: https://www.youtube.com/watch?v=ics-eDK8wjw

Hi all! ArtistWorks Electric Country Guitar instructor, Guthrie Trapp, will be going live on our YouTube page at 10:00 am PST tomorrow! Link here: https://www.youtube.com/watch?v=ics-eDK8wjw

Hey Icarusfire, You know George constantly reiterates that very point as for accenting the off beat ,playing more legato, behind the beat etc. for good reason It actually does drive the line better, I think it is something one should be conscious of when playing and it should actually be apart of one's daily practice regiment.(Hanon, bop scales etc ) I myself should be more disciplined in woodshedding with this issue of importance. Some persons it comes more natural and some have to work at it. It kinda like trying to teach someone to "groove" You can't hold yourself back from continuing on with the course in that it is a gradual process and as you say a " rhythmic feeling that will grow over the years " Thanx for the reminder. That is something I need to work on more than anyone else. Another tip from past experience with this course. I try not to jump around too much in that , it is an accumulative learning process so it makes sense to master prerequisite stuff first.

pastperfectpiano Tony, tnx for sharing. Thanks for the tip about paying attention to fingerings. And did you hold on till you really hammer down playing "behind the beat" and accent beats on that scales before you advance into other lessons? Or you suggest rhythmic feeling will grow over years

Hey, everybody! I don't know what happened, but I'm not getting notifications any more of messages on the message board; I used to get an email whenever a question was asked or a post made, but for some reason I am not getting those any more. So sorry, will get that figured out and hit everything on the message board now!

I think there is such a broad range of proficiency levels with individual s going through this course that most are concerned with their own progress which is fine and perfectly normal. For the most part I do the same. It would be cool if students did interact with each other more so. We can always start....... I've been doing the course for almost 2 years pretty diligently and must say my playing level has improved leaps and bounds....I think. It works what can I say ! So much to learn that I can't see myself getting into that proverbial slump / rut for a long time. One tip I would convey to everyone is to get this exact fingering down in the beginning on the bop and pentatonic scales and be fluid on all 4 of the approach patterns . I've learned that is the key !

I think it’s because George is not on the forum.

Rock school might be an exception. Many music-students seem to be talking through their music only :-) Don't know what keeps them from communicating more, as this is a safe community. Does anybody have idea why this is and what can be done about it?

Actually I registered to the course thinking there is an active community. Questions, discussions with other students. That’s how it was on the Paul Gilbert course. I am a bit shocked how inactive here is.

Busy loving learning I guess

Hmm never noticed. lol

huh! only 10 questions asked in 1 year on the forum!

Another thing that really fascinates me is the vast approaches that reknown jazz pianists utilize as for playing "outside" I don;t think I have talked to two pianists that approach this "outside " thing the same. Jazz piano creativity at it's best !

Hey George, I'm with you all the way, It is interesting that though the 8 note bop scales is not exactly a hidden unknown concept but it is not really utilized as much as one would think, Of course , now I kinda understand the concept in application, I can tell immediately when someone is playing bebop, whether or not like you said ,"they get it or not" . I am curious as for whether or not the acclaimed jazz curriculum institutions Berklee, Texas State , University of Miami etc. etc. teach it. My friend Terry who is a reknown jazz pianist in L.A. told me he is aware of it but he personally doesn't teach it. All I know is that it works for me so far. Like I've said previous mastering all the approach patterns with fluidity as in musical is the key. I'll get there eventually.

Hi, Tony: Your friend doesn’t quite get it! As I often discuss in the VEs, if we get our bop scales, pentatonics, approach patterns and so forth under our fingers well enough, we can fire a cascade of, say, 8 notes by just firing one synapse, instead of firing one synapse per note. We have “macros” that we can trigger at these high tempos that let us sit back and be more the director than the technician. It’s like if we wanted to build a building out of legos; we could build it out of the little single-dot ones, or we could use bricks that have 16 dots on them. It is not just possible, but examples abound of people tearing it up, improvising for real at 320 and above. But then, of course, there’s the famous Miles quote: “If I play one new thing a day, I’m happy”...

Hey, Scotty: good on ye! I am WAY overdue for a tuning, but I live in the mountains and it’s tough to get a tuner there. Enjoy it!

Hey George Question: I got into a discussion with a jazz pianist the other day him claiming that it is not possible to think what scales one is gonna utilize in a high bpm solo. Him claiming that playing Cherokee at 250 bpm was not possible to think ahead. I listened to Clifford Brown and Charlie Parker @ 365bpm soloing over Cherokee. I can hear the bebop scales though super fast they are still there. Is it that one not wtilizing the bop scales is going to have an extra hard time playing bebop at that high bpm level or ? Just curious

Hi everyone! Complete this survey for ArtistWorks & have your voice heard: https://www.surveymonkey.com/r/L7KHT9D

Ukulele Instructors Craig & Sarah are going live in < 1 hour. Tune in here: https://www.youtube.com/watch?v=d2NvBJPRBUo

Happy Easter!!! and April Fool's Day:)

I plan on renting mics too until I find what I like. Thanks!

Hello George: I just got my piano regulated and tuned. What a difference! The action is so much better now! I am going to start recording in my bands with it and I was wanting to pick your brain about about different mics, placements, etc. Also I heard taking the top off can have better results. Any thoughts?

Peter Erskine, our Jazz Drums instructor, is live on Facebook now: https://www.facebook.com/ArtistWorks/videos/1726087400745307/

I have used the QSC KW152 for years as my keyboard speaker and love it. If you can get the matching sub too you'll be rocking! My guitar player/singer bought a KW 152 too.

Hi, Artecon: If you have the budget, every keyboardist I know who has them (and me too) says the QSC line of powered monitors is the best. Incredibly loud, incredibly clean, accurate, with surprising low end even on the smallest ones. Personally I like my Yamaha powered monitors; piano sounds, particularly, play great through them with no EQ. To hook up to the PA, most often the FOH guy will take direct boxes out of the Nord, and there's a "direct out" jack on those that you can use to connect to your own speakers.

Hey, John G: Yes, that's where it would be! To be honest, it's more fun to practice in 3 with the beat on 1 and the "and" of 2, but there's no way to get your metronome to cooperate, since the and-of-2 is a swung note, so the beats aren't quite even. And yes, let's lay back ALWAYS!

Which powered speakers do you recommend for a Nord Electro 5 D for live performance and how do you connect them to FOH system?

Thank you for sharing the Oscar Peterson interview. I have loved him for a long time!

Hey George can you talk a littl on playing in 3/4? I take it metronome clicks on all three beats and we still play behind the beats in 3/4? Thx

Hi All! We will be hosting an ArtistWorks Live event with Electric Country Guitar instructor, Guthrie Trapp, a week from today! Tune in next Monday (3/5) at noon PST for a chance to win 3 free months at ArtistWorks! https://www.youtube.com/watch?v=CNnEgd3o_Vg

I broke two reeds at the Yacht club gig. found this white gorilla tape to tape down the keys of the broke reeds so I didn't try to play them. Retro linear is out of stock but I have friend with lots of used ones thankfully. Chicago Electric Piano rules!! Ask for Max:)

If you're looking to do it live, use Mainstage, which is CHEAP, only about $30, and pretty slick, and includes this organ and a damn good rhodes and clavinet to boot...

Sadly I don't use Logic (at least not often), so I need to look far something I can open in Dig Performer.... I have used the Logic organs here and there, I wish DP had all those built-in instruments!

Hey, Herb: I am using Logic's built-in B3 simulator and loving it. I spent a few hours tweaking away on all the parameters, but this one is really good. I have it running, as of just yesterday, in Mainstage (I've been using Logic's environment as my VI host for the last 20 years, believe it or not). But the new one, as of Logic 10, works great! Let me see if there's a way I can upload a quick Mainstage concert with that and my tweaked Giant piano onto the site somewhere...

Hey George, got the Giant piano - beautiful! Very rich and full. Just to continue the bug George about VI's thread, what Hammond VI are you into these days? thanks, Herb

My piano tech came over yesterday to tune and did a little regulating . Crazy how easy it comes apart. He is coming back over in a few weeks to spend the day on it. I knew it didn't play as well as the C3 when I got it but he said I made the right decision to get this one a newer but played more C7. He said it the key hole and bushings are not allowing most of the keys fall back in place properly and is part of the reason it doesn't play as well as it should. The other is it needs more regulating. I guess he is a certified Yamaha tech and they are his favorite. He is coming over every three months for the next couple of years and in a couple years the new strings will settle in and really sing. He said it sounds great now but in two years it will sound amazing and play amazing. Evidently action work is a constant progress that keeps getting better. Kinda like us always working to improve I guess LOL

Here you go folks! Some humorous jazz theory ! https://youtu.be/mi-Z2pZZPoY

Hey, Herb: Yes, if you keep an eye out you can get a 50% discount on various versions of Native Instruments' "Komplete" package. All you need for this, though, is their Kontakt sampler and the Giant piano (which comes, along with a bunch of others, in Komplete)

I'm gettin it

Hey, Herb! I believe that piano is the Ivory Italian Grand (the only Ivory piano I like); it might possibly be the East West Platinum Steinway. BUT, these days for that kind of spacious Keith-Jarrett-y sounding piano my preferred one is the Native Instruments Giant. So nice you play fewer notes on it and just let the cool sound of it carry the day!

Hey George - I've been listen to Third Rail - Ignition lately. Really beautiful and artful music! I love the tune "Goodbye Flash Superboy" - I remember the story you told about it and it reminds me of when my 2 kids used to come leaping into the living room and sliding across the wood floor, striking a pose in their Power Ranger outfits.... Anyways I love the piano sound you get on that tune, is it a VI? What piano? thanks

I think Bob did say it best. "One Love One Heart" happy belated B-Day Bob.

never mind the video didn't load. It is very cool how many of us in this forum have to offer each other too. Thanks too Tony, George did say your the man.

I wish I would've played more in way that would have shown better. I uploaded this video on FB yesterday in better quality. It's sounds messed up here a bit for sure with a lower bit rate. to fit it under 500mb We got totally dumped on with 4-6 inches of snow so I thought it was a perfect time to record skating and Linus Lucy with all the snow coming down in the background, the squirrel is funny too.. I've played both these tunes awhile now, still not right though. Oh well, still funny and a great chance to wear my bird outfit:) What kind of bird is Woodstock? LOL

Ah cool, check out my Linus and Lucy video on my page and you can hear it.

Just so you know Scott Mapes only winds the copper wound bass strings. The steel wire on most quality pianos is German Roslau. Believe it or not Yamaha uses Suzuki stainless steel wire which is excellent. We buy the Suzuki wire in huge factory spools from my Japanese connection.

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