![]() ![]() Information - Concerts, News,FAQs, Archives. Organs - Electronic (B3 etc.), Pipe, Theatre. Who's Who - Professional Pianists on Piano World Member Recordings - Non Classical Pianist CornerĮVENTS! Piano Concerts, Recitals, Competitions.įun Stuff! - Parties, Tours, Projects & More.įorum Members Parties, Tours, Cruises, & M. MY NEW PIANO or KEYBOARD! - Share Your Story! It can be good fun to try though.ĭigital Pianos - Electronic Pianos - Synths &a. Other parts may not be conceptually hard but to play them with the groove that Jarrett does is almost impossible. To play it like that you have to have the technique of a concert pianist. I have never heard anybody play it and sound even remotely like Jarrett. Jarrett says exactly this this …."If someone transcribed the solo concert (in Vermont) onto sheet music, and another pianist played that music, there would be no conceivable way in the world that that person could play it and mean what that music meant."Īs far as difficulty goes even the first part is VERY difficult. It ceases to be an improvisation and becomes a recreation of an improvisation. Not that there is anything wrong with playing Koln as piece of 'classical' music but the whole meaning of the music is changed as soon as it is reproduced like this. How to add Keith Jarrett Voicings and Chords to your own Hymns & Songs. I guess the reason is that you can't learn to improvise by playing other peoples improvisations. In fact I don't know many jazz pianists who would actually learn one of these type transcriptions note for note as a learning tool. I think having a broader knowledge of jazz harmony and being able to feel how the music rhythmically flows and then doing you're own thing on that particular piece or perhaps even an orginal composition or improvisation based on it, would be much more beneficial from a musical standpoint.fwiw of course. I would analyze his voicings in the places that caught my ear and then transpose those little sections to all twelve keys. What they are good for is to check out the voicings and lh accompaniment Keith uses. I've worked on sections of Fats Waller and other stride type pianists transcriptions just to get more of that particular vocabulary but never worked on it like I would learning a Classical piece of music. With these kind of transcriptions I would let your ear be the guide as you mentioned. But you could probably get pretty danged close by just using the music as a guide as to the notes to be played and then just mimic the rhythm and timing by ear. I can tell that whoever did the transcription was working hard to make it exactly faithful to how it was played. But the transcription itself is a horror show. The music didn't SOUND all that hard on that first part, which is why I even dared buy the book. ![]()
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