Intros, Endings & Turnarounds
Introductions are used to set the mood of a performance. We explore the theory and formulas and create killer intros for a number of jazz standards.
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Intros, Endings & Turnarounds
Introductions are used to set the mood of a performance. We explore the theory and formulas and create killer intros for a number of jazz standards.
This course start with a theoretical study of the 1625 progression and its variations. The 1625 progression is great for introductions, endings and also transitions between tunes.
The reason the 1625 works so well as an introduction is because you are playing all of the chords from the key. And so it sets up the tonality of the tune before you even play the first chord of the form.
It’s also a nice way to ‘dabble’ with improvisation, add in some scale passages or chord tones over the 1625, or perhaps quote the melody of the next song whilst cycling through the 1625s, then on the final 5, you start the next tune.
The jazz standard lessons in this course all have a focus on improvised introductions and give specific guidance on manipulating and enhancing the 1625 progression. After watching the theory lesson and applying the concepts in context of the jazz standard, you will have a thorough understanding of the 1625 and it’s usage and application in jazz piano.
To get the most out of this course you should have a good working knowledge of chord extensions and alterations, and be comfortable with the concept of chord substitution and rehamonisation. Check out the courses on these topics for more information.
Intros can be useful to extend the length of your performance and also to establish the tonality or the key in which the tune is being played.
In this tutorial we will explore some useful formulas and techniques that can be used to create solo piano introductions in minor keys.
We start by playing through with left hand voicings and then talk in length about the 1625 progression and how you can use it to develop introductions.
In part 2 of this tutorial, we dive straight into the chord changes with two handed voicings and create an advanced ballad arrangement.
Commonly associated with the film “Casablanca”, this classic is written in Eb Major and follows a standard 32 bar A-A-B-A form.
These principles can be applied to any tune. Always remember to look at melody and chords for inspiration when introducing a tune.
We build upon what we have covered in the previous tutorials by introducing upper structure triads, sus chords and a stride style.
My Romance follows a 32 measure A-B-A-C form and the tonality is primarily major. The tune is played as a ballad or medium swing feel.
In part 2 we create a full solo piano arrangement incorporating big 2 handed voicings, suspended chords, altered dominant chords and USTs.
In this final part of the My Romance tutorial, we explore how to create an improvised introduction using parts of the melody for inspiration.
Much of the tune is made up of the 1625 progression. We will explore how we can use this progression to create an improvised introduction.
We apply left hand voicings, two handed voicings and look at ways we can voice the vamp for the intro and outro to the tune.
We start this lesson by discussing the tune's form and then we highlight the repeated 1625 progression that appears throughout the chord changes.
In this lesson we explore the 1625 progression and it's variations to create and intro and outro for the tune "Blue Moon" by Richard Rodgers.
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1625 & 436251 Introduction Formulas File Type: pdf
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Major Scale Diatonic 7th Chords File Type: pdf
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143625 Progression – All 12 Keys File Type: pdf
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Minor Introductions Lesson Notation File Type: pdf
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