Learn professional LH chord voicings and RH Improvisation for the 12 Bar Blues. Sign Up for a free 30 minute lesson with Mark Miler, Professional Jazz Instructor/Pianist

I have updated this recently with a version with comments and notation at au.youtube.com Go to web.newsguy.com for a version with comments embedded with the video. Also there are other videos, midi files and mp3s. This was recorded using my still digital camera – audio was recorded first as midi, then added as audio to the video using Windows Movie Maker. Bass and Drums were pre-sequenced and the improvised piano was filmed live over the Bass and Drums. The midi file of this and many others is at home.wanadoo.nl

Learn Salsa Piano: www.hearandplay.com Also, download this software that allows you to play along and practice with tracks: www.hearandplay.com You can find me on: Facebook: www.facebook.com/latinpianist Twitter: www.twitter.com/latinpianist You can contact me through: Text or Voice: 515-428-0002 Email: Latinpianist@gmail.com Website: www.AnointedMusicians.org where you can learn how to play by ear. Video Description: Bad sound quality i know. I belong to Church “Cristo Viene” in Perry, IA. where God gave me a talent to play piano for his glory. This is a little of something that i know and hope you can enjoy.

www.learnjazzfaster.com Visit now to get your free copy of The Monster Jazz Manifesto. How do I know what to practice? That’s by far the most common question asked by students of jazz. After all, learning jazz is no small feat. There’s a ton that goes into it. There are thousands of books, articles, lessons, DVDs and websites dedicated to learning jazz. Whether you’re studying jazz improvisation, jazz theory, jazz guitar or jazz piano, there’s just simply a mountain of information to go through. Let’s talk about a few ways to make this seemingly difficult decision much easier. Now, there are several things you wanna consider when you’re putting together your jazz practice routine. First of all, your present abilities will weigh heavily on these choices. As a general rule you want to make sure that whatever you are practicing is challenging but doable. In other words, success with the practice topic needs to be within the realm of possibility, if you dig. If you are a relative newbie to jazz improvisation you don’t want to be working on ridiculously hard tunes like Coltrane’s Giant Steps or Count Down, or working on some wacky odd time signatures, or blazing up-tempo jazz piano playing, etc. On the flip side if you’re an advanced intermediate player you don’t want to be practicing the same stuff like etudes or exercises you’ve already got nailed. You want to be sure that the material is pushing you out of your comfort zone. But not by too much. Again, challenging but …

Excellent latin jazz piano by Eliane Elias.

This is a Chick Corea tune that is haunting and spare. The modal changes interest me the most with this song. His duo with Burton on vibes is amazing. I play it out of time and without swing to maximize the feel, but it is improvised. If I were to do this over, I would not do this as slow and would put more energy into it, but I was thinking “tranquil” at the time.

Here’s an example of the Bill Susman teaching jazz piano from his collection of piano instructional videos. This is from his Holiday Collection – jazz arrangements of 12 great Christmas songs. wowzak.com

Petrucciani plays caravan

Berklee College of Music piano faculty Robert Christopherson and Ross Ramsay present their online course with Berkleemusic: Jazz Piano. Learn to play jazz piano online from anywhere in the world. Strengthen your command of the melodies, harmonies, and rhythms that make up this rich art form. Find out more about this course at: www.berkleemusic.com

This Hancock tune is usually played in a restrained, laid back style, ie with a “west coast cool jazz” feel. The brilliant and unusual chord changes give this piece a floating feeling that does away with the usual dynamic arcs of tension and resolution found in more traditional “I-VI-II-VI” type jazz compositions. In order to make it sound a little bit different, I decided to play it slightly uptempo and to play the changes as if it called for the same dynamic rise and fall of more traditional tunes, even when that is not what the chords changes are calling for, at least from my perspective. Something else I try to do in order to switch it up a bit is to vary my comping between light and dense voicings. I play two or three notes that imply a chord without explicitly stating it, or I try to go really dense, with lots of color tones to obscure the underlying chord. That is pretty much what I was thinking when I played this piece.