In this lesson I’m going to provide an introduction to reading lead sheets for jazz forte-piano so if you had problems reading lead sheets in the past and originating the music chime good then the stuff covered in this lesson will be really helpful for you if you can already dally lead sheets then you might is my finding that you are familiar a lot of information materials i’m going to cover it now so i do have some more advanced just and standard film or assignments that you can check out so first of all i’m going to explain what lead sheets are widely cheats are laid out the way they are and then display you the best way to understand them so that you can get that jazzy tone so we’re going to use miles davis’s adjust tune up as it has a very short assemble and it contains a number of simple major 251 advances which are very easy to navigate for rookies so the account of two not that i’m working from is available on sheet 437 of the real record one so here’s the shield of the real notebook 1 and if you honcho over to the resources slouse of forte-piano trench you can find the link to where you can buy that volume I’d strongly is of the view that you get yourself a imitate of a real bible so they contain hundreds of different ariums and so if you’re serious about analyse God’s you need to get all the bomb so if you are classically improved musician or if you have any background in non jazz piano vogues you’ll maybe be used to reading music on two forestalls so generally the top position of is something that we play with our right hand and the bottom nation is what we play with our left hand so in jazz we don’t follow this approach here’s the first four forbids of tune up and what you should immediately notice is that we are just have one stave instead of instead of two forestalls so you may come across jazz that return in two forestalls but generally this is what you’re dealing with you should also notice that the chord symbols are above the avert and this tells you what course should be played over the above measures or that prohibit so the chord represents reveal three situations about the rope the first thing is what the root note is so the beginning indicate is the note so we can see with the first saloon we have an e that necessitates the root of the chord is e the next section of information is the cord excellence so we can see that it answers e minor so that means what we need to play some kind of a minor chord the final fleck of information is the seven on the end and that indicates that we need to include the seventh of the cord that’s the seventh so that will be an E minor 7 chord so we’re also given the harmony so the tune is what we is participating in our rights and so you see that a is the theme so the majority of members of the time the song will be in the misfortune clef and so you’ll frisk this with your right hand so that’s a quick synopsi of the layout of the lead sheet now let’s have a closer look at the information so looking at the four bars we can see three chords and E minor 7 and a seven and a d-major seven so that’s a 251 in the key of D major we have e minor a7 and D major 7 so if you don’t know what – 51 is and recommend moving and checking out the major 251 lesson that will give you an preface on how to play major 25 ones so now i’m going to play the first 3 bars how I review embark a jazz pianist would attempt to play them so i’m going to move the tune up now so that we have a bit more apartment to participate the cards yeah so that doesn’t sound Jesse for three reasonableness the first is that all the cords were play back root situate and also stacks up in one-thirds from the seed to the seventh the second is that there was no tone extending between the ropes so voice preceding is when you use different inversions of the line so that you don’t have to move your hand around too much so “youre seeing” there’s a big move between each of the cards that can make it sound terribly disjointed the final occasion is that the ropes were played with in a rather limited compas on the forte-piano so “theyre all” played in this area when we have the whole forte-piano to play on so now i’m going to show you another way to play the three bars so I’m sure you’ll agree that that resonated much better and that’s because of three events the first is at the root indicate was played low-toned down where it belongs the second happening is that the ropes were enunciate preceded very smoothly from one to the next employing the third largest and seventh and the final occasion is that i spread out the tones of the chord across a wider range of the keyboard that’s the top to the bottom last-place duration we were playing well the districts only solve this this crate this time you can see the cord virtually read two octaves this achieves a often fuller and richer tone so now we’re going to work through the part model and we’re going to voice the lines exerting two paws and attaches importance to voice leading so starting at the top we have an E minor 7 we got the roadway the three of the 7 and the 11 is the song let’s get to a seven all that happens is the the seven of e minus seven ceases by half a step so that’s good tone leading instead of running like this all is one document changing so with the theme yeah and the same formerly we get to yeah a 7 or we do is drop the seventh of eight seven which is head by half is that not get us a d-major seven yeah I want to the second route we have a d-minus seven so again we got the 11 th in the tune so we can voice it the same as the E minor 7 we’ve got the beginnings the third largest the seventh and the 11 so that’s again that’s a 251 this time it’s in C major so we’ve got d minus 7 g 7+ c major seven so with the theme yeah let’s go through those two ways yeah yeah yeah we have a c-minus heaven so we’ve got the street the seventh in the third largest that goes to an f7 so we all we do that’s a 25 it’s actually a 251 we’ve gotta be flat comes real next b-flat major so 25 1 in B flat major is C minus 7 f 7 b flat major 7 so to supplement the harmony and we’ve gots yeah so you can see the melody clambers over the f7 yeah yeah and then down to be flat major 7 and then we can play this like just like we did in the first table so this is a 25 there’s no one called it’s just an E minor 7 a-7 so II – 7 a-7 b flat major 7 then we have an E minor 7 and a seven so we can play and then we’re back to the surface again just let me represent that play all the formation for you applying precisely third and seventh yeah yeah yeah yeah so I’d advise that you rehearsal that through like that until you can play it comfortably I would probably frisking that then around a hundred two hundred and ten BPM so this tune is supposed to be played very fast that’s why you can see the medium up in the upper-left corner that conveys it’s quite a tight tune and so if you play it around a hundred two hundred and twenty overcomes a time that will be a good cadence to master it’s so now we’re going to go through the entire organize again but this time we’re going to add some amusing rope expansions and differences so the first propagation we can apply is the E minor 7 chord so the E minor 7 chord has a in the music so a is the 11 th that means we can play a sugar rail chord the kenny barron collier is a minor 11 cord and I are really formed a dedicated instruction on this so become watch that for more information yeah audios at eight seven and then we can play a d-major 13 cord that announces a bit richer than merely the third largest and seventh explanation so we’ve got the direction the fifth the 93 rd 13 -7 and then and the third largest again let me represent that for you yeah so moving on to the next argument we are able to toy a d minor kenny barron expressing it is the same as the E minor one but simply down a whole step and this works because we have the 11 and the song again yeah the g7 remember can play a c-major 13 so it’s a bit of a stretching it we’ve got the room the fifth and the third largest then we’ve got the 13 7 the ninth and the third largest if this is too much of a pull you can play it here as well so that would be let me movement those two orders for you yeah sustaining now that’s a c-minus happen but we could also represent that’s the beginning third fifth seventh one-ninth in the third largest yeah so then I toy plated the B flat major so we got the street the 5th 7th third seventh and the third largest will support the 19 let’s get to E apartment without the root of fifth third seventh and the seventh is song so here we have a D and a/ c just on their own kind of the song so we can actually expresses these with so what placards and then we could drop down to and E minor 11 rope so that’s just stack one-thirds all the way up that’s 13 that text yeah yeah – obviously seems more interesting so let’s go all the acces from the beginning yeah ok yeahs so on the a7 there I played I represented an a7 flat 9 flat 30 so that would be that would be a 7 with a natural darknes in a natural 13 and I dallied this voice extends neatly from the that’s the E minor 11 to keep your pinky down on the a and then drop down to that a seven flat 9 flat 13 yeahs and your back up at the top of the figure so we went through that again for you yeah yeah yeah so I hope you find that lesson beneficial it was just an introduction to lead sheets and I hope it testified you how you can start off simple-minded and then start to build the ropes up gradually I’d recommend frisking through the standard exactly exploiting the root 3rd and 7th and then once you can do that comfortably I look at some of the increases the outline for you so if you do have any questions really drop it in the comment box below
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