'By Oscar Peterson. Hal Leonard keyboard instruction. Jazz, Instructional and Studies. Instructional book.
Fingerings and introductory text. Published by Hal Leonard'(Piano Artist Transcriptions). By Oscar Peterson. By Duke Ellington (1899-1974). For solo piano. Artist Transcriptions. Jazz, Standards and Bebop.
SMP Level 6 (Late Intermediate). Standard notation, chord names, discography and introductory tex(Piano Artist Transcriptions). By Oscar Peterson.
Artist Transcriptions. Published by Hal Leonard(Piano Signature Licks). By Oscar Peterson. Signature Licks Keyboard.
Instructional book (softcover) with CD. Published by Hal Leonard'(Transcriptions, Lead Sheets and Performance Notes). By Oscar Peterson. Artist Transcriptions. Published by Hal Leonard'By Oscar Peterson.
Arranged by Paul Read. Choir Sacred. For SATB choir and piano accompaniment (SATB choir). Choral (Sacred); Choral Octavo; Worship Resources. Choral Octavo. Choral, Sacred and Americana. Published by AlfreBy Oscar Peterson.
Choir Sacred. Women's Choir. Choral (Sacred); Choral Octavo; Worship Resources. Gospel; Patriotic; Sacred.
Choral Octavo. Published by Alfred Music PublishingBy Oscar Peterson. Artist Transcriptions. Published by Hal Leonard'(A Step-by-Step Breakdown of the Piano Styles & Techniques of Bill Evans, Oscar Peterson, & Others).
Signature Licks Keyboard. Softcover with CD. Published by Hal Leonard'By Oscar Peterson. Artist Transcriptions. Published by Hal LeonardBy Oscar Peterson. Artist Transcriptions. Published by Hal Leonard(A Step-by-Step Breakdown of the Piano Styles and Techniques of a Jazz Virtuoso).
By Oscar Peterson. Signature Licks Keyboard. Softcover with CD.
Published by Hal LeonardBy Oscar Peterson. Artist Transcriptions. Published by Hal Leonard'(Keyboard Play-Along Volume 19). By Jazz Arts Trio, Oscar Peterson, and Various.
Arranged by Frederick Moyer. Keyboard Play-Along. Softcover with CD. Published by Hal Leonard'(Artist Transcriptions - Piano). By Oscar Peterson.
Artist Transcriptions. Published by Hal Leonard(Jazz Play-Along Volume 109). By Oscar Peterson. Jazz Play Along. Softcover with CD.
Published by Hal Leonard'By Jimmy Smith, Duke Ellington, and Oscar Peterson. Jazz; Standards.
Published by Hal Leonard - Digital Sheet Music'(Jazz Icons DVD). By Oscar Peterson. Jazz Icons #2119010. Published by Jazz IconsBy Oscar Peterson.
Piano Bebop Licks
Published by Hal Leonard - Digital Sheet Music.
You should check out the licks but also try to isolate small phrases and make your own licks with them. That is how it really becomes a part of your vocabulary. 1 Inserting 2nd voice and using trillsIn the example below I am using two voices in the Dm7 line. The 1st voice is on beats 1 and 3 and in between are the counter-point melodies.
This way of adding extra melodies is a great way to add surprising skips and have short changes of direction in the lines 2 Using a chromatic enclosure to resolveChromatic enclosures are a great way to create suspensions and movement in a line. In this line, the Dm7 line is first suspending the F with a 4-note enclosure. I am also using chromaticism to move from the G7 to Cmaj7. 3 Adding Arpeggios in Scale-runsInserting arpeggios in scale melodies is a good way to change things up.
This is what is happening with the Am triad on the Dm7 chord.The G7 line is using a G augmented mixing it up with an Abm triad. 4 Arpeggio Patterns to get large intervalsUsing Arpeggios played in inversions and patterns is a great way to have melodies that are closely related to the harmony and add larger, more surprising, intervals.On the Dm7 I am using a 1531 pattern of the F major triad.
The triad of the 3rd. The G7 line has a Bdim arpeggio, again the arpeggio from the 3rd. 5 Voice-leading ideas as great bebop lines.Many great bop lines are made from voice-leading concepts. This example is turning a Dm7 – DmMaj7, Dm7 Dm6 into a great super-imposed bop line.Notice how the Dm to DmMaj7 uses basic arpeggios and introduces a large range. 6 2-note enclosure and motivic chromaticismThe line on the Dm7 is starting with a 2-note enclosure. The G7 line is using the G augmented triad and adding octave-displacement.The last half of the G7 bar is a chromatic phrase that is moved and repeated on the Cmaj7 to develop the melody.
7 Moving phrases on the G7 chordAnother way to move phrases is illustrated on the G7 line in this example. The motif uses a maj7th interval that really makes it stand out. 8 Chromaticism and Maj7 inversionsChromaticism as a means to suspend the sound of the chord is a good way to keep the line moving forward and also a way to add an outside phrase to a line.The line below opens with a double-chromatic enclosure resolving back into the chord on beat 3. 9 Extended arpeggios in Bebop SoloingUsing 9th arpeggios is also a good option for bebop lines.
The line here below is using a DM9 arpeggio and playing the last part of it as an 8th-note triplet.The G7 line is using a Bdim arpeggio and breaking up the 8ht note flow with a trill. 10 Triplet and embellishing dim arpeggiosThe Dm7 line is using the Fmaj7 arpeggio, again the arpeggio from the 3rd of the chord. This time it is played as an 8th note triplet.The entire line on the G7 is based around a pattern of a B (or Abdim) that is embellished with passing notes and played in an inversion. Level up your Jazz Phrasing.
Jazz Bass Licks Pdf
The PDF!You can also download the PDF of my examples here:Email AddressFirst NameLast Name SubmitIf you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts, and releases.This entry was posted in, and tagged, on.