JPSL Table of Contents

The Jazz Piano StudyLetter

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Annotated Table of Contents

for all the issues of The Jazz Piano StudyLetter. Articles reproduced on this website are highlighted as links.

Page numbers run consecutively through all issues. All articles, except those marked with an asterisk, are by Darius Brotman.

No. 1

Multiple Appogiaturas1Two moving inner voices in progressions.
The Altered Scale3Discussion of b9,#9, #11, #5 scale. First of a series.
The Jazz Piano Book5Review of Mark Levine's text.
Style Analysis: Kenny Barron5Transcription and discussion of I Love Yousolo.
Playing 3/4 time8Brief discussion.

No. 2

Blues melodic style: the basics9The blues 7th chord, the two blues scales, and blues riffs.
A Note on Reviews10
Jazz Theory11Review of Ken Stanton's text, now out of print.
CD Review: Danilo Perez11
Walter Bishop, Jr. Master Class11Bish's instructional video.
Practicing Scales11General discussion, with suggested pattern of constantly changing starting points.
Six-note scales13Some scales adding a note to the pentatonic.
Style Analysis: Bud Powell14Oblivionsolo analyzed.
Combining Upper Structures17Advanced chord voicings with more than one upper structure.
Great Warm-up Exercise18A 12-key strength and dexterity exercise by George Cables.

No. 3

Substituting Vsus(b9) for V719An awkwardly titled discussion of the sus. b9 chord.
Filling in the Blues Structure20A too brief discussion of the 12-bar blues progression.
A Diminished-scale Voicing21Different ways to use the 3-note chord of a perfect 4th stacked over an augmented 4th.
Dorian minor22Details of this basic scale. Melodic patterns, upper structures, etc.
Good news24Science proves practice makes perfect.
Jessica Williams24A plea for greater recognition for this pianist.
A Chromatic Approach24A skeptical review of David Liebman's text.
The Ultimate Jazz Fakebook25A boost of an underrated songbook.
Style Analysis: McCoy Tyner25Monk's Bluessolo shows Tyner's unique approach to the blues.
A Real 5-Finger Exercise28A Hanon-like exercise by the author, using unaccustomed finger sequences.

No. 4

Typology of Dominant 7th Chords30My theoretical approach.
The Diminished Scale32Its symmetries, patterns; the four triads.
The Case of Stan Getz34A comment on Getz's peculiar position in jazz history.
Style Analysis: Keith Jarrett34So Tendersolo is analyzed and found to be quite inside.
Your Repertoire, and Fakebooks35
Letters37A few raves from readers.
Time and the River37Comments on swing.
The Universal Mind of Bill Evans38Review of this strange old video.
Weight38Relaxation exercise from the old classical school.
*Developing a Voicing Vocabulary (I)39Left hand rootless voicing exercise. San Diego State's Rick Helzer is the author.

No. 5

Reinventing Stella:a Case Study41Reharmonization of standard, based on broad principles.
The Half-Diminished Scale43Another discussion of a basic scale.
Basics: L. H. Rootless Voicings44Fundamental II-V-I stacked-third voicings. "A" and "B" positions. With exercise. First of a series.
More on Mixolydian45A more penetrating discussion of McCoy Tyner's use of this scale in his blues style.
*Developing a Voicing Vocabulary (II)47A further exercise from Rick Helzer.
No Mind49Application of Zen principles to jazz.
Dick Hyman, Piano Pro49A review of a book probably not worth reviewing.
Utterly Unimportant Fact50Meet the mel.
Style Analysis: Bobby Timmons50The Openersolo. Classic bebop lines, though post-1960.
An Oscar Peterson Run51A Tatumesque descending scale.

No. 6

Nonconforming Scale Choices54Using seemingly "wrong" scales over chords.
The Harmony of Bill Evans55Review of Jack Reilly's book. Less than meets the eye.
Salsa Guidebook55Rebeca Mauleon's good textbook is reviewed.
Basics: Shells56The two-note left hand figures used by Bud Powell and his followers.
Style Analysis: Th. Monk57Ugly Beautysolo is studied and found both too hard and too easy to analyze.
Two from Maybeck57CD reviews (Barron and Norris).
Summary of the Melodic Minor System.59A reference chart of the melodic minor modes.
Major 7 #5 chords60A hot chord of recent years.
Triads and Their Added Notes61Using triad arpeggios, with added 9 or b9 or #9 or #11, in improvised lines.
Lydian Dominant62Another basic scale.
*Developing a Voicing Vocabulary (III)63Rick Helzer at it again.

No. 7

Turnarounds66A fraction of what could be said. Four good transcribed examples.
Neighbor tones68A basic melodic device.
Book Reviews69Jazz Anecdotes; From Birdland to Broadway; Handbook of Chord Substitutions; Ways of the Hand.
Style Analysis: Stephen Scott70A fast rhythm changes solo (Crazeology).Devices to sound hip at fast tempos.
Basics: the Circle of Fifths73A detailed explanation.
The Whole-Tone Scale74Another in the Scale series.
Descending from bV(mi7b5)75A common descending progression in reharmonizations of standards. Examples.
Using Visualization in Practice77A well-known modern practice concept.
A Cedar Walton Flourish77A fascinating little descending run.
Altered-scale exercise77

No. 8

A b13 Scale78An invented 8-note scale (phrygian with added maj. 3, or lydian with added #9, are two modes.)
Correct Ending to Blue Monk79Monk's own ending, that nobody uses.
Parallel So WhatChords79Moving stacked-fourth voicings in parallel.
Basics: Alterations79Detailed discussion of b9, #9, #11, and #5.
The Tonic Minor Scale81The "minor-major" or "melodic minor" scale.
The Lydian Chromatic Concept83A summary and review of George Russell's well-known theoretical text.
Thinking in Jazz84A dissent from the chorus of praise for Paul Berliner's massive study.
More book reviews85The Jazz Improvisation Series by John Mehegan; The Augmented Scale in Jazz by Weiskopf & Ricker; Latin Jazz Piano Techniqueby Olegario Diaz.
Style Analysis: Mulgrew Miller86Solo on Without a Song.
Dan Delaney 86Note about a teacher who offers personalized video lessons by mail.
Diminished-scale exercise89

No. 9

Notes on Inner Urge91Discussion of the modern harmony of Joe Henderson's tune.
Classic Album92The album in question is Night Dreamer (Wayne Shorter).
Two-chord Jams93An excellent way to work with students.
Deep Thoughts94Different ways of focussing on music.
Basics: Upper Structures94Those triads from another key in the right hand.
Style analysis: Horace Silver97Solo from The Opener.
Lenny Tristano Scales100Lenny's weird scale exercises, with a page of examples.
Joy Spring intro100Everyone should know the authentic intro to Clifford Brown's classic.
Shpfltnat100A superior music font for your computer.
Think Lydian100Using the lydian scale as a basic resource.

No. 10

Deconstructing Stars Fell on Alabama.103An analysis of the tune's progression and ideas for reharmonization.
My Philosophy106A summary of my ideas about studying jazz improvisation.
Style Analysis: Kenny Kirkland107His Ana Mariasolo. Modern, but straightforward.
Playing Rhythm Changes Today110
Basics: the Chord/Scale Concept111Scales are chords, and chords are scales.
Complex Intro Vamps112Examples of carefully composed introductory vamps, by Geri Allen and Allen Farnham.
Melody is King113A reminder of what's really important.

No. 11

Progression Fundamentals (I)115Circle of fifths progressions.
1 2 4 5 Scales116These 4-note scales are a good right hand resource.
The Jazz Theory Book117Review of Mark Levine's newer work.
*The Contemporary Jazz Pianist119A long review of Bill Dobbins' 4-volume instructional work, by contributor Roger Smook.
Basics: Walking Bass Lines120
Letter121From Dieter Feldkamp, a jazz teacher in Germany.
Reflections: the Early 60s122The classic Blue Notes of Shorter, Mobley, etc.
Style Analysis: Jessica Williams123Her unique lush style on Dear Lord.
"Coltrane Changes" exercise126Left hand rootless voicings for a Coltrane-style progression.
Corrections126Errata from previous issues.

No. 12

V11127Using the unaltered 11th with dominant chords.
An Exotic Scale Revisited128More on the "b13 scale" introduced in No. 8.
Good Reads130Seven jazz books I like.
Basics: Chord Voicings in Two Hands130
Style Analysis: Jim McNeely132Sipping at Bell's,a good F blues example.
Close-position Pedal Point Progressions136Voicing turnaround progressions within an octave's space.
Two Resources137Ekay Music's transcriptions; the Encore/Coda music camp.
Jazz Zen (Further Thoughts)137
Slow Scale Practice137Ideas from The Art of Piano Playingby George Kochevitsky.

No. 13

Progression Fundamentals (II)139Stepwise progressions.
Charlie Parker Omnibook141Essential in your library.
Charlie Parker's Bebop Lines141Some of his melodic devices.
Style Analysis: Bill Evans143From Sareen Jurer.My longest transcription.
Basics: Harmonic Rhythm148An important and neglected subject.
*On Motivation149By Dieter Feldkamp.
Jazz Primer on the Web150Never mind—this web page exists no longer.
Ninths150Making bell-like voicings with ninths.

No. 14

X#9151A dominant 7th with 9, #9, #11, 13.
*Before We Go On152More ruminations of Dieter Feldkamp. Articulation of Straight, No Chaser.
Rock 'n Roll153Back to basics.
Marantz Field Recorder154The Cadillac of portable tape recorders.
Style Analysis: Chick Corea154Upper Manhattan Medical Group.
Comping159General comments on this important skill.
The Art of Comping160A lukewarm review of Jim McNeely's instructional CD and workbook.
The Barry Harris Workshop160Four hours of video and a workbook explain Barry's tried and true teaching system.
Ending to 'Round Midnight162The familiar samba-time coda is rarely written down.

No. 15

Counterpoint163Moving inner voices. They arise from harmonic ideas.
*A Threefold Way of Learning165Dieter Feldkamp discusses the "centers" of the mind.
Barry Harris melodic exercises166My own piano version of some of his beginning workouts.
*Development of Blues Form167By Duncan Burgess.
Style Analysis: Gene Harris167The bar-room style Blues for Rhonda.
Basics: Suspended chords171
My System17322 chord types, with my own system of symbols.
Dept. of Amplification173More comments on comping, and on chains of dominant 7ths.
Tea for Twoby Tatum174A harmonic variation.

No. 16

The Augmented Family175Augmented 7th, augmented with 9th, whole tone, and altered chords. An unusual chord substitution is suggested.
*Listening177Dieter Feldkamp on real listening.
Crush Voicings177Voicings with semitones in them.
Transcribing178Tricks of the trade.
Style Analysis: Herbie Hancock179Dance Cadaverous.
Basics: Passing Diminished Chords183Filling space harmonically with diminished chords.
Two Hands185The left and right hands have different natures.
Up 1-4-5, Down Bop b9 Exercise186

No. 17

Moment's Notice:Turnarounds187The progression of Coltrane's tune is analyzed, and variations of turnarounds are discussed.
The Improvised Line189The most basic devices of right-hand melody.
*Reviews190Feldkamp recommends two recent works, Key Jazz Rhythms,by Fred Lipsius, and Jazz Conception,by Jim Snidero.
*Thoughts on Learning Jazz191Dieter Feldkamp favors listening to the masters instead of practicing exotic scales.
Style Analysis: Wynton Kelly192Groovin' Highand Well You Needn't.
Long-term Musical Development195Music students dream of mastering their shortcomings, but rarely do so.
Groovin' High:original arrangment196Dizzy's intro, breaks, and coda.
Eurhythmics196The "Dalcroze" method of studying rhythm, and integrating the body and mind, should be better known.
Arpeggio-rest exercise198

No. 18

Progression Fundamentals (III)199Progressions in 3rds; the "leading-tone" dominant; "Coltrane" changes.
Effortless Mastery201Kenny Werner's recent book on spiritual development is recommended.
*Technique201General discussion by Dieter Feldkamp.
Style Analysis: Jimmy Rowles203An elegant Sophisticated Lady.Bass line too.
*Fast Jazz Improvisation206Feldkamp once more, with some serious bebop exercises and practice recommendations.
Me, me, me209I'm sorry already I took up space with this autobiographical entry.
New Scale Exercise209A more evolved form of the scale method in No 2.

No. 19

Introductions211A discussion of "intros" with 4 great examples.
*Basic Rhythmic Sensibility213Dieter Feldkamp discusses some profound basic rhythm exercises.
Style Analysis: Walter Norris215Crazy She Calls Me,an unusual standard, is given Norris's special harmonic treatment.
Rhythmic Identity220Different beats of the measure have different meanings.
Pentatonic Scales221Whole books have been written on this subject, but I have just a few comments.
Still More Thoughts on Scales222I must be obsessed with this topic.
American Popular Song222Alec Wilder's very worthwhile history is written from a musician's point of view.

No. 20

The "Other" Dom. 7 Substitute223First there was bII7, then bVII7, and now III7.
Ballad Time224Playing ballads involves feeling time on many levels. Time After Timeis the example.
Improvisatory approach to line facility226Building free improvisation skills from simple gestures.
Style Analysis: Cedar Walton226For All We Knowreally swings.
Going for the Dance230Communicating rhythm is the great thing.
*Practice231Dieter Feldkamp discusses practicing, and gives some exercises for sharpening your focus.
*Cross-rhythm232Feldkamp on a resource that's used in just about every jazz solo.
Voicing Ideas for Prelude to a Kiss233Duke's classic becomes a showcase for my wacky voicing ideas.
*Oscar Peterson Exercise235A rhythm exercise, left out last issue.
Short Takes235Seven ideas that might have been articles, if there were any more issues.
IAJE Convention237Themeeting of the jazz world.
New Sleeping City237A valedictory offering--one of my own tunes.

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