I'm a classically trained musician who has been learning jazz piano for a while now - I usually put in about 2 hours per day, missing maybe 1 day every week due to work. But that's me on the "come up".

I'm wondering how much and for how long "established" jazz musicians practice - musicians who can charge for their music basically.

Hi all,

I feel like every time I post here, I'm seeking some kind of validation. "Am I okay? Should I quit? Is it okay to like what I like?"

And I see similar posts from other players, learners, beginners, etc.

I appreciate your indulgence and support.

I recently joined a jazz combo at a local community college, and I find myself really struggling. Not only with understanding the music itself (we're doing a lot of post-bop stuff... not that I even understand what that means, but it's how the instructor refers to it), but also the notion that if I *can't* understand/play/enjoy this stuff, then I may as well give up on playing the things that I actually enjoy listening to and aspire to play. And that maybe I'm a little bit of a simpleton for not being able to get into the "harder" stuff.

I adore a lot of the things I've heard from Bill Evans, and even modern players like Edward Simon, or a lot of the people I hear playing behind singers like Gretchen Parlato and Veronica Swift. Is it wild of me to assume that those players have a lot of other chops and styles in their back pockets, and that if I don't start enjoying the stuff that seems so inaccessible to me, I may as well give up?

I know that this all seems like there's an easy answer: "Play what you like. No one is judging you for not liking post-bop, or hard-bop." But it sure *feels* like I'm being judged by those around me. I feel like the direct audience of comedian Paul F. Tompkins's great bit on jazz.

So, if anyone here has ever felt this way, please let me know. Maybe so I just don't feel so alone, and that there might be a path out of the mire and weeds I feel caught in? I'm not doomed to be "not cool enough to play jazz," am I?

Thank you again, JazzPiano community, for your support and time.

I have been learning jazz piano for about a month now and in my previous lesson. My teacher told me to accent the offbeat. Maybe I have a bad sense of rhythm but I can’t seem to do it consistently.

What is the best way to practice this?

Everything out there is for soloing in bebop style. I want to know voicings that John Lewis, Russ Freeman etc played in the 40's and 50's, and what their lead sheets looked like. I have a pretty good ear, but not nearly good enough to pick out piano voicings on those old recordings.

Another fantastic resource would be photos of the actual lead sheets they used back then, I'm guessing they don't exist. Every modern transcription is an over analyzed chord symbol trying to spell out the voicings, and usually only on the solo sections, but I know that's not what their lead sheets looked like.

I’m a teacher with a classical background. I can play off lead sheets with boring voicings but that’s about it, I played in some combos in college but wasn’t very successful. I’ve got an advanced student who wants to learn jazz well enough to play with people, so I’m taking the opportunity to learn along with him. He can already play ballads beautifully so we’re focusing on voicings, comping on uptempo tunes, and improvising. Taking him through Mark Levine’s book.

Question: this week to supplement the voicing and comp stuff, I had him transcribe the first 24 bars of Wynton Kelly’s solo on Freddie Freeloader (off Kind of Blue). When you transcribe, is it useful to also learn the solo? Or is it better to focus on some licks you like and learn them in different keys?

Such a beautifully muted and patient collection of performances. Does anyone know of similar albums? I’ve looked into other Oscar Peterson records but most of the other records I’ve found feature some noticeably more up-tempo tracks the playing is busy and not as sparse as I’d like. Pastel Moods is such perfect background music. The Bill Evan’s stuff I have is great too but again, sometimes the drumming is too present or the playing is frenetic and commands too much attention. A record of sparse and tuneful playing with minimal accompaniment (maybe even just some double bass) is what I’m looking for. Thanks in advance!

I've really started getting into playing more jazz piano lately (I'm primarily a guitarist) and i got the bill Evans Omni book and i absolutely love this style of playing. I want to listen to more pianist that play in this style. Obviously that's very broad and i know could just listen to all the jazz giants, but i wanted to know if you guys had any personal suggestions of some pieces that you find special when it comes to solo jazz piano!

Hi everyone. So I’ve been listening to a lot of jazz piano in the past year and I want to start to learn to play it. I know a little bit of piano but I don’t know much music theory. What’s the best way I can use to self teach? Any recommended books or online courses? Thanks a lot for your help

Anyone know of a jazz piano teacher in Delaware (preferably Sussex or Kent County)? I have been playing piano for 30+ years, classical background (though I’m now primarily a blues/funk/soul player), and I love jazz. I mostly understand a lot of the concepts in playing but I’m looking for a teacher or mentor who can help guide me to be able to play how I’d like to play. I know there are a lot of online options and I’m exploring those as well. But I feel like I learn more effectively in-person. I’d prefer to take private lessons, not through a store like music & arts or similar. Thanks!

With the Pareto Principle (or 80/20 Rule), what do you think is that 20% of practice that’s getting you 80% of the results?

For me right now, it’s A&B voicings and shell voicings. Curious to know what’s been working for you all.

Hey all,

I play in a entry level community big band, and we're playing Happy Go Lucky Local this year, and I have the daunting task of those booming, crunchy piano chords and I don't really know where to start.

Any tips on how to get that rumbly sound you hear in the recording? I don't necessarily need a full transcription (but it'd be nice if someone has one!), more just some guidance on how to get that type of sound.

Thanks in advance!

I can do it, but I don't know how I do it! I am teaching a friend to play a few jazz standards, and he asked me this today. How do you know what's the right chord?

I'm told I am an "intuitive" player.

I mostly play blues and don’t know a ton of jazz theory but I know that if I want things to sound a bit jazzier I can play the blues scale of the dominant, eg G blues scale in key of C. Why is that? Is that hitting notes of a particular jazz scale?

Hi all,

I'm not sure if this is a thing, but I wouldn't be surprised if some people's brains work this way.

I'm pretty new at jazz, but to explain by way of example:

When I play pop music, and a chart says "Am" or "A-7," I don't play an A-7. I play a C major triad over an A. (C/A). And it works.

I understand why it works, of course. Relative minor, the C major gets the 7th in there because of the G... but I don't think about any of that when I'm playing. I just play C/A, and everything sounds great.

Similarly, if I come across C7alt, sometimes my brain will just say "Great! A major triad over a C shell voicing in the left hand! A/C, comin' right up!" Or, really I'll be thinking "C shell voicing, and then whatever chord is a 3rd lower." (I may be a little off here, since I'm not sitting at the piano at the moment)

Edit: I thought of another one. At least as a beginning player, I find that I think of "tritone substitutions" as "just a half step above the I chord." At least if I'm going from a V7 to a I.

Is this confusing, or does this kind of thinking resonate with anyone? I would love to hear your "shortcuts" for how your brain translates things.

Thanks in advance for any responses!

How to make rich/ lush chord sounds for tiny hands cause I can't even reach from 1st to 7th scale degree comfortably.

If the voicing position can be easy to remember that would be even better.

Thank you.

Let me start by acknowledging that I know there’s no replacement for a teacher. I had a good one, but it was $100/hr (Australia) with 1.5hrs return commute and I have a busy life that made that a difficult commitment.

Any suggestions on where to start as far as self teaching materials? I just bought Oscar Peterson’s book but any other recommendations?

I was just pulled into a gig that takes place in a month because the band’s keys player had a conflict.

I have to learn about 55 songs that I’ve never played before. They’re primarily 70s-90s covers, so some are just chord based where I can go with the flow and fill space, but others have specific parts that I need to have down with some combination of piano, organ, synth sounds, and I have a few solos as well (gulp). And they have no sheet music/chord charts for me. (Ideally I wouldn’t need them come performance time because nobody else will be using it, but I can find the charts if I need to)

I’ve been practicing a lot in the few days since I signed on (largely playing along with recordings they have of about 1/4 of the required songs), but my first practice session with the band a few days in did not go how I’d hoped based on what I expect from myself. I know that we’re often more self-critical than is necessary, but I’m also sure that there are ways I could better practice to prepare more effectively and efficiently.

What are some of y’all’s favorite practice tips that I could use to get a handle on this much material in such a short time?

Edit: wording

I’m sure I’m not the only one in this situation: over my life I’ve played piano, guitar, violin, reaching intermediate levels.

Now in middle age I’ve decided to focus on piano, trying to be practical and maximize my chance of getting good with the one short life we have

However, in truth when I listen, pretty much all my favourite albums and artists are not pianists. Eg KoB (sorry I know), a lot of Coltrane etc. yes I love the piano on those albums (some of the piano on the album Crescent by Coltrane is sublime), but it makes me think: am I playing the wrong instrument? Should I abandon ship and take up Sax or Trumpet? Most of the sounds I gravitate towards have those instruments as leader.

Anyone else felt this way? For now I’m continuing with my jazz piano journey.

I guess I’m just talking out loud.

Hi everyone!

Looking for a new jazz piano teacher, and after a few experiences with trying to learn and stopping, I’ve realized that the best way for me to learn is through very rigid exercises that get the basics internalized very deeply. Just learning by ear/“trying things out” doesn’t seem to work for me as much, so I’d love to find a teacher that matches that style. Does anyone have any names of people to check out (or any self-promotion) that might make sense?

Thanks!!

Hi all,

Wondering if anyone has any opinions on whether or not you should write down what you transcribe. I remember hearing this anecdote of story tellers in some oral tradition who were able to store massive amounts of information and, when they began to write things down, their memory became less functional. As if their brains were relieved to have another place to store the info. I wonder if that idea has any bearing in learning jazz and if people have experience/opinions with either one. If you write down your transcriptions do you forget them more easily?

edit: posted this on another sub and someone quoted a book on the neuroscience of learning that disproved the anecdote i was thinking about. The post if you’re interested

Hello everyone, I practice scales by doing 2-5-1 progressions (maj and min) in all scales with LH while playing the corresponding scale on RH. My goal is to be able to impovise over chord progressions more effectively.

My question:

is it better 1) to figure out the scale for each chord separately or rather 2) to know the source scale and play same tone material, just emphasizing the tones on current chord.

I see pros and cons to each.

Pros 1): better for playing non-diatonically, say, an altered chord on the 5th instead of mixolydian (2-5-1 major) or phrygian (2-5-1 minor)

Cons 1): need to figure out the scale for each chord independently

Pros 2): only have to think about the tone material of the source scale

Cons 2): need to figure out the source scale you're at. Also, not straightforward to play non-diatonically

Just curious how you guys go about it. Also curious about other approaches to practice scales for helping with your impro.

Thanks for reading!

My teacher and I are working on sight reading tunes out of the Real Book. Right now, all I'm doing is playing the chord and melody note on each chord change and neglecting all other melody notes as a simplified method of sight reading.

So far, I've worked through about 20-30 tunes in the Real Book that didn't look terribly complex. I'm definitely getting better at it, but I have to really slow the tempo down for some of the tunes.

My teacher told me that after a while, I'll be able to sight-read tunes on command. He said that it'll just take some time, but that it's totally doable. How good are you all at sight reading? Can some of you really open the Real Book to a random page and sight read the tune, melody and all?