1. Intermediate Solo Piano Series Part 8 – Overview and Bass
Lines (“Autumn Leaves”) a. Steps to build foundation – Combining all of our tools in order to make
something sound good is always the hardest part of soloing. Here’s an
overview of some of the concepts we have gone over.
i. Where is the melody - Look at where the melody note is on the piano.
If it is high, use a wide spread voicing option such as LH tenth. In your
RH, fill in the chords underneath the melody. (see figure 24.5)
Figure 24.5
If the melody is in a mid range, then you’ll use 1+7 or 1+3 in your LH
and your RH will play the melody and shell. If you’re left hand is
playing 1+7 you need the 3rdyour RH. If your LH is playing 1+3 you
need the 7th in the RH. You can also add the root and 5th to have a
thicker voicing. (See figure 24.6)
Figure 24.6
If the melody is low, then your LH will play the bass note and the RH
will play the melody and shells underneath. (See figure 24.7)
Figure 24.7
ii. Where is the Bass note – Look at your options for where to place the
bass note in relation to the melody. You should only have about 2-3
octaves to pick from. Pick a bass note and move to step 3. (see figure
24.8)
Figure 24.8
iii. How much room - Depending on the bass note you pick, compare the
distance between the bass note and the melody note, then move on to
step 4. (see figure 24.9)
Figure 24.9
iv. 1+7 or 1+3 or 1+10 or1+7+10 or just bass note and chord - If you
have picked the lowest bass note possible you’ll want to play a bass
note then jump up to a chord with your LH.Your RH would be playing
the melody note or filling with chord tones below the melody note. If
you have picked a second octave bass note, (one octave up from the
bottom of the piano) you might be able to get away with 1+7 but 1+10
is a much better option. 1+7 will be much more available as you get
into the second octave on the piano. If your bass note is close to the
higher register then 1+3 or 1+7 is best depending on how low the
melody is. (see figure 24.10)
Figure 24.10
v. Build below melody with chord tones – The amount of space you have
between your melody note and the top note of your LH, will determine
the fill you will use underneath the melody with your RH. If you have
a lot of space between the melody note and the top note of your LH
then you will want to spread your chord tones out to occupy that
empty space. If you have a medium to small amount of space then
spread your chord tones out appropriately to fit in the space. (see
figure 24.11)
Figure 24.11
vi. Voice leading 1+7 to 1+3 stretch to tight to stretch – To move to the
next chord we’ll follow the same steps we just completed. If we are
coming from a 1+7 in our LH then think about using 1+3 in your LH
and vice versa. (see figure 24.12)
Figure 24.12
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