To apply "jazz interpretation" effectively requires, at a bare minimum, the ability to hear and actually play JUST the basic structure of the songs. I am often surprised at students that study advanced jazz theory and composition, that would have a very difficult time simply hearing and playing a song, by ear. Just melody and chords. By ear. It seems such a fundamental and absolutely essential skill, to hear the Key-Chords, the Secondary Dominant Chords and the underlying Chord Progressions with basic chord extensions, before even considering "jazz interpretation". I promise that if you get this together, your musical life in jazz and improvisation will be seriously empowered. And you will enjoy the process as an added bonus as a musicological journey.
As a basic Jazz Piano Lesson I suggest going back in time, as far back as the 1890's and listening to the Popular Songs of the day ( Rhapsody.com is a terrific resource ) and learn to play songs by ear - just the song, without concern for interpretation, style, jazz-soloing, altered chords, etc. . I'm not advocating the wholesale LEARNING of pop songs ( though that can be immensely helpful and will happen in the process ) but to LEARN the general skill required to play songs by ear. To recognize the progressions
( there aren't really all that many variations) and be able to play melodies and chords in all keys is a necessary skill if one wishes to be an improviser. This FOUNDATION will support any efforts to interpret and improvise in any style but without it, all efforts are labored and cumbersome. Improvisation will be unnatural and forced if this foundation skill is not in place.
How to actually do that?
1. Find songs that are simple enough for you to play by ear that still challenge your abilities a bit --- everybody's at a different level on this. Listen to early popular music, early folk music and find a few songs to play - pay attention to the sound of the chords, sing the melody. If something confuses you, look it up to check the chord. Play in other keys. Do simple songs at first that match your level. It might be Mary Had a Little Lamb or it might be Do That To Me One More Time or Take Me Out To The Ballgame. If you have trouble hearing a certain chord progression - practice it. Learn the art of designing your own exercises - there will not always be a teacher there telling you what to practice. You know where your weaknesses are. Learn the words to songs, be inspired by the songs and engage in the process and the sound.
2. Learn all the Key-Chords in each key and experiment with all of the Secondary Dominants ( see below if you don't know what those are )
Play SONGS a lot, and make it a top PRIORITY because if you can't do this, the other stuff just never really makes any sense.
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Crash course in Secondary Dominants
These are harmonic landmarks or signposts in popular songs - they are very common in these chord progressions and are important to recognize every time you hear one. A red flag should go up in your head - on it should read "Wow - THAT was a secondary dominant!". They stand out from the crowd and are distinctive moments in chord progressions because they are NOT in the key of the song or of the surrounding phrase. A secondary dominant chord is usually a V7 OF a key chord other than the V7 chord that occurs naturally in the key. It is a 7th chord that is a Fifth UP from the key chord.
For example A7 is a 5th up from Dm, which is a Key-Chord in the key of C ( it is the ii chord ).
The key chords in C are:
C Dm Em F G Am Bdim ( they are all white keys, all derived from the C major scale )
The secondary dominant chords LEAD to the key chords but are NOT in the key of C. Learn to recognize these. Each key, of course, has its own set of secondary dominants.
D7 ( resolves to G)
E7 ( resolves to Am)
A7 ( resolves to Dm)
B7 ( resolves to Em)
C7 ( resolves to F)
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| 1895 Prediction that failed. |
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