Welcome to JazzSkills for Piano

There a many books which teach the theory of jazz. Learning the theory of jazz is important. However – what many pianists truly need is a method to expand their various jazz skills using that theory. To put this simply:  competent jazz pianists play automatically. They “flip the switch” and the music flows out of them.  They speak the language of jazz.  The main question is . . . “how did they get to that skill level?” Also, is there a more direct way to arrive to that level of excellence?

We know that classical players spend years honing their skills. They work on piano technique, pianistic skills and music interpretation.  The accomplish this by studying with competent teachers who teach them skills of playing piano and guide them through piece after piece. Through years of learning and memorizing classical pieces, the classical pianist eventually develops musical skills, good tone, a fluid piano technique, good timing and rhythm, phrasing, interpretation, and music-reading skills.

The pathway to developing excellence in jazz is more nebulous and more mental than in classical.  In addition to learning the classical fundamentals of playing the piano, the competent jazz pianist concentrates on developing jazz theory, comping skills, developing different grooves, developing great “time”, reading jazz charts, ear training skills, improvising and soloing, and interacting with many different bands and vocalists. The jazz pianist learns through personal development: by studying jazz books; with teachers; transcribing and practicing licks; assimilating jazz theory; listening extensively to jazz; composing lots of tunes and most importantly, by playing lots and lots of gigs.

The issue here is to find specific exercises which help the budding jazz pianist to get from “here” to “there”. That is the subject of this book. This is a book about training the subconscious to perform automatically – on it’s own.  To do this – we need specific exercises, using essential music theory to develop specific skills.  We practice the exercises over and over until the subconscious learns them completely.

Throughout this book, there are exercises in theory assimilation, piano technique, ear training, rhythm development, style development, how to learn a tune, hand (and mind) independence, etc. It is suggested that you go to the area that you want to develop and spend time on the specific exercises that will slowly lead you toward your eventual goal. The subconscious learns best in small digestible chunks. It is suggested that you take one exercise area that you believe that you need to improve. If you need, limit the “learning area” to a digestible bite. Then work on one easily-assimilated area for five minutes or so, until the subconscious takes over the action. When this is accomplished, then move on to another exercise – or, if need be, just part of an exercise for another five minutes.

A good example of this is the development of your piano technique. Good piano technique does not happen overnight. If you practice exercises every day – slowly, you will see improvement. It’s just part of your musical life. You practice technical exercises on your instrument so that you automatically play with ease, good tone, good time, perfection and musicality.

This is a book about the “musical you”.  This is a personal training. Be truthful with yourself – you know the areas that you are comfortable – and the areas which need improvement. I’m sure you realize that when it is time to “perform” – it is your subconscious which will “perform”.  At that point – all of your prior training will come into play. Your success in that moment depends on the prior training. Again – this means being truthful with yourself. Don’t expect the other jazz players to tell you where you need improvement (because they probably be reticent about bringing up the subject). Certainly the listening audience or your friends won’t tell you. Once you (and your jazz teacher) critically analyze the “musical you”,  get started and begin the daily improvement process.

It is recommended that as soon as you feel you are ready, start playing with other musicians.  You need this inter-reaction to develop your skills.  For instance, find a vocalist to accompany . . . or play with a bassist and/or drummer.  Consider sitting in at jam sessions.

Each specific lesson is one skill which should be mastered completely.  The lessons build . . . lesson by lesson . . . exercise by exercise.  Each lesson contains a video (or videos), PDF(s) and text.  Spend as much time on an individual lesson as it takes to learn and play it automatically.  Choose the lessons at your own pace.

This is a life-time process. In each step of your development, you will know that you have accomplished the “change in the subconscious” when the subconscious takes over the activity completely, effortlessly, and without conscious thought. Then, move on to another exercise, another goal. Little by little – you will improve. It will happen!

Assess your jazz skills. Where are you now? Where would you like to be . . . when?

Here are a few skills which have to be acquired by training the subconscious:

• You have to be able to hear what you are going to play before you play it.
• You have the ability to choose just the right harmony at the right moment.
• You can play many styles of music (without thinking).
• You have developed your skill at coordinating with others . . . i.e. in a band, backing a singer, etc.
• You have developed “perfect time” and groove.
• You can flow through a creative solo.
• You can read a jazz chart.
• You can learn (or create) new tunes – in your own style.

Assess your jazz skills. Where are you now? Where would you like to be . . . when?

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