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The old adage still applies, perhaps more than ever: you can't polish a turd. The reason why jazz musicians don't play pop songs is that unlike the blues and American Songbook, pop songs do not have well constructed melodies which naturally suggest sophisticated harmonies. Over the past 50 years I have written well over 1000 arrangements. Some of which I ...


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No a chord does not come with its own key change. What it does come with is its own set of notes that will define the chord regardless of what key you are in. A Bb7 will always be spelled Bb-D-F-Ab. Assuming those naturals are suppose to be there they could be curtosy accidentals there to remind you the A is natural even though the overall harmony at that ...


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Tried listening to several recordings, and the only one I caught actually went to Gb/F# instead of A ! Making the chord closer to Bb7 aug 5. Might be worth while doing the same. Answering your lead question - a chord does not imply a change of key sig. In this case, if it did, there would need to be an Eb as well in the key sig. to get to Ab, thus stating 3 ...


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This looks like a variation of "stride piano", where bass notes are rhythmically alternated with chords some distance away. Idiomatic stride piano is usually pretty technical due to the sheer velocity of playing -- you'd want to look up Fats Waller and Art Tatum as early pioneers of the style,and more recently people like McCoy Tyner and Hiromi Uehara have ...


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I've seen this quote from Charlie Parker in many places... "I was working over 'Cherokee' and, as l did, I found that by using the higher intervals of a chord as a melody line and backing them with the appropriately related changes, I could play the thing I'd been hearing. I came alive." The part "higher intervals of a chord as a melody line" catches my ...


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put quite simply, Jazz is based primarily on modern modal structures, other than just major and or natural minor, which is the case for most of classical music. The primary difference between the two is that classical music tends to resolve dissonance, while jazz tends to avoid it. Jazz music basically has a mode for every single extended chord and is not ...


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There are several things that come to mind here. Disclamatory Edit: As pointed out by Todd Wilcox, I should specify that my answer is rather narrow in some ways. My answer is based on "traditional" Jazz and does not include much of the more modern Classical. There have been many innovations in both genres that have led to music that does not meet my ...


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Nothing does. See, e.g, : -- Creation du Monde -- Rhapsody in Blue -- Sonny Rollins playing the theme from Tschaikovsky's 6th symphony Yeah yeah I know purists claim a 'swing rhythm' or a lack of free improvisations, but there simply is no objective dividing line.


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If I had to compose a piece to be jazz as opposed to classical. I would incorporate the blues scales in the piece and use a swing feel for the rhythm. On a classical idea I would stay in the key without the use of a blues sounding scale by avoiding accidentals that would sound bluesy. The rhythm feel would be straight for the piece. I would say that my ...


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If you're playing solo, a strong bass line is much more important than chord fill-ins. If you're in a band, the best thing to do with your left hand is very likely nothing. If LH comping IS appropriate, you MAY develop a "library" of stock chord voicings. But probably you shouldn't!


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There's really not one answer to this as there is a lot that goes in to what you want to do with the pieces you play. If you're trying to play along like or with a recording then yes you'll want to have exact voicings planned out. However this is not the typical case as most of the time you'll want to do what voicings you like. Remember, Jazz standards are ...


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That second video has some Jamal Hartwell appearances.. he has a great video on Neo Soul keyboard playing as well as a great Rhodes suitcase virtual instrument called Neo Soul Keys. Check out gospelmusicians.com for info on all this.



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