Lennie and Ornette. Techniques to create harmonic tension. Although Tristano experimented with odd. I found of Lennie Tristano’s music, a transcription.

Contrapuntal Improvisation By Neil Olmstead '75 Professor Neil Olmstead, an active pianist, composer, and educator, holds a bachelor's degree from Berklee and a master's from New England Conservatory. His book Solo Jazz Piano: The Linear Approach is available through Berklee Press. Among the many pianists who have contributed to the art of pure linear improvisation, Lennie Tristano, Dave McKenna, Alan Broadbent, Kenny Barron, and Brad Mehldau stand out for their extraordinary abilities in contrapuntal improvisation. Whether used in a solo piano, duo, or trio setting, this contrapuntal technique involves forsaking chordal accompaniment in the left hand and playing independent, moving lines instead.

In the cases of Lennie Tristano and Dave McKenna, the left hand plays pure walking bass lines while the right improvises freely. Brad Mehldau's left hand is an integral solo voice that often complements complex melodic material played by the right hand. Ufc Undisputed Free Download Android. To learn this technique and improvise up to four lines (bass line, melody, and two guide-tone accompaniment lines) between the two hands requires an oraganized approach. The Concept This approach to improvisation amazed me when, in the 1970s, I first heard Lennie Tristano's 'C Minor Complex' from The New Tristano LP. In that piece and on much of the album, Tristano's left hand plays unrelenting, driving bass lines, while his right hand plays fascinating, complex improvisations.

Later, I heard Dave McKenna's deep, warm, swinging style on jazz standards as he played hip walking bass lines with his left hand. I became intrigued with refining my teaching of this method of playing and introduced a Berklee course called Contrapuntal Jazz Improvisation. I have codified its principles in a book just issued by Berklee Press called Solo Jazz Piano: The Linear Approach.

It examines contrapuntal improvisation beginning with very simple motives and explores motivic development, metric modulation, and multivoice improvisation. The best way to begin learning the technique is to play left-hand motives which are worked out and memorized just as one would memorize stock chord voicings. This provides a left-hand line to play against a melody and/or improvisation. It's easiest to start with half-note motives involving roots and fifths. In musical examples and, these motives are applied to a ballad (in two) and swing (in four). As you learn the notes, you are also learning about time and groove—two integral elements of jazz.

To really get the swing feel, start working on stepwise motives in quarter notes. Ye Maya Chesave Mp3 Download. These, combined with the root, fifth, and chromatic approach motives provide a variety of choices for the left hand, resulting in colorful walking bass lines (see ). Once some basic motives are learned for 4/4 and 3/4, explore tunes that offer possibilities of developing the bass line with pedal point, eighth-note embellishments, compound lines, and inversions. All these techniques increase the left hand's linear vocabulary. How To Edit Runescape Files Minecraft.