Jazz Piano

with George Whitty
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jazz-piano
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Welcome Bruce we have some things in common. I have been in IT too and I was also self taught. You'll gain a ton with George and this program!

Hey, Bruce: Welcome to Artistworks! We cover a lot of different styles in this course, but the principles behind what we're studying are applicable to everything; you can even analyze Bach and find the same ideas. Bach ripped me off, in fact! Enjoy the course, see you in your first Video Exchange!

Hi George, I’m new here. I’ve played piano most my life, mostly jazz, some R&B. Was a weekend warrior through my employed years as an IT professional, now retired and playing somewhat fulltime. I’m mostly self taught and have only had a few lessons so looking forward to working with you and upping my game!

Hey, Mikey: Welcome to the Jazz Piano school! I think between Martin and me you'll have an incredible amount of perspective. I'll keep an eye out for your first VE, have fun!

Hi George, I just joined up today and Im really excited to start learning. I'm an existing student of Martin Taylor on the Jazz fingerstyle school and hope I can learn as much from you as I have from Martin. Looking forward to my first VE...nice to meet you..Mikey

Hi, Colleen! Welcome to ArtistWorks; dig right in to the lessons, and be sure to check out the very intro lessons on playing the blues using the F minor pentatonic scale. Amazing how much music can be made with just 5 notes!

Hi, Piyush! Welcome to ArtistWorks; I think you're the first student who's gotten in touch here from India! To start out, I would say focus as much as you can on playing with GREAT TIME, putting your notes, even the simplest phrase, in a grooving place relative to the beat! Check the lesson "Hanons as Jazz" in the first level for a bunch of tips. But if the RHYTHM of what we're playing feels good, that is more important almost than what the notes are! Get it to FEEL like jazz piano and it'll SOUND Like jazz piano even with no "theory" at all!

Hey, WWB! Yeah, Mr. Rogers had a truly great jazz pianist , Johnny Costa, playing behind that show. Which was GREAT, what a cool way to get kids digging JAZZ! Johnny Costa was a heavy Art Tatum fan, as you can hear in his playing. Dig this little clip! https://www.youtube.com/watch?v=2ItgwngqVNw

Hi everyone, I hope you all had a fun weekend. I am a new student and a total beginner to playing jazz piano . I am really looking forward to starting this course and meeting u all.

Hello Mr. Whitty, Hope you are doing great! I am Piyush and I am from India. I am a new student at your school at AW. I am currently a blues guitar student at Mr. Keith Wyatt's school here as well. As a music student, Jazz Piano has always blown me away with its sophistication and intricacies. I have always been blown away by how much there's to pound upon. I have a very basic know- how of keyboards (and have never actually played jazz style), but I am willing to practice and learn with everyone here. Right now I am exploring the very beginning lessons and developing my basic tool-kit before getting to you on a VE. Since I am basically a beginner on the instrument as far as the style is considered, could you please help me with what should I work on as the very basics to get things rolling?? Look forward to hear back from you!! Regards, Piyush

Hi George. Haven't had much of a chance to work on my Jazz Piano lately so haven't been participating in VEs. Hopefully I can get back on the rails soon. It's not all for naught though. I happened to click on a google doodle during lunch today and got into a Mr. Rogers celebratory cartoon. https://www.youtube.com/watch?v=Rd7X0NsOeRk There are some serious jazz piano chops going on in the background of the little "be my neighbor" ditty. I'd have never picked up on that had I not been rattling around in your teaching classes over the past couple of years. Thanks.

Hi, Scott: MANY, MANY variables on the film score thing; depends on what level the film is at. Be aware that there are a LOT of people who will do something like that for nothing but “the exposure”, so there’s a lot of downward pressure on the fees. But if they’re paying, you’re off to a flying start! Think about charging per minute of delivered music, and charge what you think you can get. It’s a lot of work, at my peak I can get out maybe 3 minutes of music written and produced in a long day, so I price accordingly. I use Logic for both my sequencing and scoring; Sibelius is a tough nut to crack (so is scoring in Logic), but maybe take a look at something like Udemy for an inexpensive class. And as far as I know there is no union for composers. Hang on to your publishing with any entry-level film; one that I did paid poorly up-front (my first feature film, what a story...) but I made 3x that money in royalties when it went to Showtime.

I also don't belong to a union yet. Should I do that first? I have friends that do it now in LA but are non union and they say that they don't make as much as union ones do.

Hi George, I'm working up my next video exchange. A pretty classic jazz tune that I'm sure you'll know very well. I have been getting very cool opportunities lately too. I got offered to do soundtracks and movie scoring but I don't know what to charge, I don't have any contracts to use, nor do I even know what to charge, and they want to know right now what my rates. Last but not least I don't use Sibelius but I do use Protools and RME converter stuff. Do you know where I could learn how to score and use Sibelius in a hurry? I found a good online course but wanted to Ask you first;) Any help is appreciated. Thanks!

Hi, Jim: Good to have you here! The guitar, of course is a completely outdated instrument, something like the medieval sackbut, whereas the piano is just hitting its stride! So welcome, dig in and yes, it's amazing how much we can get done with just the Pentatonic scale. I just got back from a bunch of clinics and workshops in China where I spent most of my time saying "just get those 5 notes to FEEL GOOD and you'll be playing like a genius!

Hey, Scott: Thanks for the kind words, and sorry about the melted face! We should reserve that fate only for movie Nazis!

Hey Jim , Follow George's approach concepts in this course and you can REALLY learn to play . A commitment to practice is always the key!

Hey gang, Jim here. Never played a piano in my life. So, here I am. After years of blues guitar with Keith Wyatt's stuff; rock with Paul Gilbert's stuff, and classical with Jason Vieaux...I'm totally excited to start this new journey. And I get to start with the minor pentatonic! Way too cool.

Honestly I say more words that would take us out of a PG rating. lol

George your my giant too of course. That video of you playing in your studio that's on your profile page melts my face off! I still visit it again and again. Any chance of going over your thoughts of how you do it sometime. Like Charlie Brown I say "Argh!!!!"

I gave Peanut's theme a go last night. Thought for sure I'd do better than I did. Vince has always been a giant for me. Gonna keep working at it. Maybe by Christmas I'll have it closer.

Thanks George! Yep I got it and working away at it. I just got back from Lake Tahoe for some Phish shows and vacationing. I missed playing my piano for sure! Knocking the dust off and back at it! Yours sounded great too Tony! Thanks!

And Scott, yours is uploaded as well...

Hey, tony: Got it fixed!

Hey George You accidentally loaded Scott's video exchange resposce for "Peg" on my latest video exchange of Brecker Bros, " Nothing Personal" No big deal ! When you get a chance. I know you are super busy

ArtistWorks Jazz Bass instructor, John Patitucci is going live from ArtistWorks Youtube tomorrow at 1:00 pm PST to talk about his tour with Chick Corea and his interview with Bass Musician Magazine. Tune in here: http://bit.ly/JohnLive

Hopefully I didn't miss George video exchanges. Been pretty busy but working on getting another video put up today. Thanks!

ArtistWorks instructors Eric Marienthal (Jazz Saxophone) and George Whitty (Jazz Piano) are going live from our Facebook page at 1:30 pm PST! They'll be answering the most googled Jazz questions! Tune in. ⏰ https://www.facebook.com/ArtistWorks/

George do you always usa bob scale on the 4th tone of the minor scale your in going down?

coool. Thanks!

The basic idea is that if you put a chord tone on the beat, either as the first or second note of the phrase, and you’re then going to play a chunk of scale, the bop scale will keep you “in sync” (putting chord tones on the beats), whereas a regular “mode” will eventually get you out of sync, and this is a “banana peel” in the harmony that’s very familiar to people who work with jazz soloing...

Thanks George. So When I plyaying I’m not running up and down the scale of course so I’m a little confused as to why the 8 note scale is considered to keep the chord tones on the beat. We have rests etc, and playing scale fragments does the bop scale just tend to keep you hitting the chord tones?

Hi, John: Yes, absolutely, they're good on anything! The principle behind them, putting chord tones on the beat, can be found in great music all the way back to Bach; if he didn't have a chord tone on the beat it was an intentional design to create a bit of tension. But part of the reason we can hear his harmony so clearly even when there are no "chords" playing in the music is his adherence to the same principle. The only thing is whether the bop scales are IDIOMATICALLY good with what you're trying to do; maybe for hard-core blues tunes they'll sound a little "jazzy", or whatever, but to me, if we sound like Robben Ford playing the blues, or Mike Stern playing the blues, that's cool too!

Hi, Dave: You're welcome; hopefully it's some good use to you!

Thank you George for posting the 4/4 footprints!

George, do you the bop scale even over non-bop tunes? Does it matter ? Thx

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

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