solo piano BY FRED HERSCH Very Early Now that were into @ new yea, like to deal with an issue that llkey- and jazz compositions contain steightforwaid sories of 1H progies- board player face with increasing frequency, which show to improvise sins and are nominally based in one ke. Yt thee are many other nays Over changes that don't confum to traditional pattems. Most standards to constuct a tune; one leok at john Coltane’s "sient Steps” should be Ex 1. Here single aangeren ofthe fist 76 bare of "ery Emp by Bil Cans lay te melody by ht un youre rely cmfotable wi and tenspose io other ‘es Nu edit the ats ots eo you cn heer haw a mela baxmny a oa htc. yet ou tra hs vag, youl have kes cay menor ‘he une aon. The nxt ip is oad hepa 0 the wengeet out mal ebis Ebmaz abnaha Dbenaiz ois ccm brits oma an? For arabe Em7 Abia Opmai7 ‘G7sus Gaug7 Bmaj7 Ei 2 Belo you sto ingrid te comet tones thal cometh changes When yeu ge sick ty moving the op vie upc down ate. Tis may bo aca lenge wn this ne, deo the ts and tame hepogiesion Coay Bs bmi? abtshe—chmayy coca? mar { : 5 : aho convince you ofthat! Though based the cycles move by so qucety and such unexpected Keys thet i’ areal to Solo over. rane took this concept her with “Countdown,” which takes standard progression of “Tune Up" by vis and adds “Giant Steps”-style jayne Shorter’ “Miyako,” “is,” ESP” eri” are also great examples of th ther ovin intemal loge. n oder to on them with any degree of flven- has to really analyze them, practice hard to hear and remember; its the aural equnolenc ota tongue-wise. ei tackle he fst half ofthe tune this month, andthe se ond half next month first eam the tune, make a bassline, and adda thid voice asin xample 1. Before you leave the melody behind and stat mprovsing lines, approach the progression as chords; afte that you can “unfold” the cords into sin le note lines and voicings (see Grample 2) Then practice eunning the changes using asin ale tytn or pattern (Examples 3 ané 4). Tis le with them fora pend af time ray sound more mechanical at fest, ut even will pay big dividends forthe extra tually you will get ito the flow. Dot stop, p putt fever IF you sue up — i may eal you Fronts example ofa tune with aéi- some unconventional nate choices, and you! ist “Very Ea” by Bll ans. OF stetch your ears in the process. Is also a ans was one the gat inerpeeters eat technique builder ad chord progressions, but he was I hope youl take your time with each of pe composer. AS wh “wlan steps,” these steps a5 you len is tune. uF course, fs melody is more orless an cutline of you can Uy this approach over any set of yession, However, the melody lands changes: t should be helpful for untangling unexpected chord notes, making it any kelly progissions you encounter. you dt your rt hand go wit single rota Ina, ck a sgl yt (uate ots, eightroote connate) pater ampeppted tsi tar) and sk th conical fr 4 eNOS OF isan infra and sel pat og you stare. Ebel Abisho omar Bbis Ebmai7 Ef the MooG™ pecial Edition Gift Set Signature Series MOOG-TBAS 1000" Ethernave ‘Theremin Amalie Ae swage YBa eer oy og "Sa tk roe sane ont $99 ‘Seca hon $399 he moat ‘musical theremin Ive ever played. Ge m9 ee = (os) 251-0000 800-948-1990 www.bigbriar.com READER SERVICE NO, 74 Synthesis Plug-In from BIAS ‘Works with any Powermac & BIAS Peak™ * Peak LE” * Deck™ Premiere” © Digital Performer Vision” # Logic Audio™ Check out he cool demos» fon our wab site at sree cr) 6d SE 1-800-775-BIAS oF +1-415-467-9446 [READER SERVICE NO. 75, uanuary sa98 | xeveonrn 133