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Joined: Feb 2009
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i was watching Keith's version of ALL THE THINGS YOU ARE... one thing I can't get over is noticing ALL THE IDEAS and phrases he seems to cram into an octave. I'm not a teacher and i'm working on my jazz chops, but for those of you more seasoned and experienced, i would love for your to weigh in your observations and thoughts about his playing in this piece. http://www.youtube.com/watch?v=GLCGWh-VZhI&feature=relatedagain, what's striking to me is how many ideas he has stuffed into just an octave or two. it seems that he could solo endlessly in just an octave, constantly coming up with different phrasings and patterns. Maybe you guys can offer a better perspective than me... i welcome your thoughts... And more importantly, how do I get this into MY playing?! 
Last edited by charliehornsby; 01/19/11 11:23 PM.
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Hi Charlie ...ah yes, the genius that is Keith Jarrett! I'm not particularly "seasoned" or "experienced" but I can suggest that you read this important book. It's been endorsed by Keith and I believe it will go a long way to answering your question.
Michael
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i love Jarrett. I have many transcriptions and one book of his music. I don't play well by ear, so reading sheet music, how he plays and has composed is most helpful for me. there are these exercises... Jarrett exercises posted here before . and this thread with many helpful links. I particularly listen to Jarrett on my ipod while playing his sheet music.. that works pretty well for me. I wanna play like Jarrett
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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And more importantly, how do I get this into MY playing?! It starts by trusting your intuition. Once you get enough technique under your belt, time to let go and let the music tell you where it wants to go.
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APPLE! great link!!!!!!! thank you!
very cool stuff!
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looks like the link was removed probably a rule...any chance you can describe how to get there?
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the link works here in KS.. i tried sending it by PM.
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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He's playing very fast in the clip you posted. Improvising is like extemporaneous speaking in a foreign language. Jarrett knows the language very well and can play (speak) a lot at a very fast tempo. Jarrett has been at it for many years and worked really hard when he was young to get really good at an early age. So that's how he does it.
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For Jarrett, outlining the chord changes with arpeggios and or continuous scale lines is like the A, B, Cs. He really knows how to do it in a fluent musical way... you can have all the inspiration and good intentions in the world but you won't get close to what Jarrett does if you don't know how to outline changes with single note lines. You should become very good at that if you hope to approach his kind of playing.
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apple, oops my mistake; didn't realize that was the link, looking for something with a url or something! Thanks for the effort in sending the pm! mike
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Jazz Plus. thank you for the insight. this is all great stuff. at least i am starting to understand the mechanics behind it. i mean, i at least know what sounds good. i hear what he's doing as a listener, but techincally, i wasn't sure. i had theories and thoughts, but this gives me insight as to what's going on. i appreciate the conversation and the dialogue. it's a huge help and i can use this to practice. please feel free to add any other thoughts and insights. they are welcomed
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Jazz Plus. thank you for the insight. this is all great stuff. at least i am starting to understand the mechanics behind it. i mean, i at least know what sounds good. i hear what he's doing as a listener, but techincally, i wasn't sure. i had theories and thoughts, but this gives me insight as to what's going on. i appreciate the conversation and the dialogue. it's a huge help and i can use this to practice. please feel free to add any other thoughts and insights. they are welcomed
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thanks cruiser! i just ordered that book. great call!
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Transcribe Transcribe Transcribe.
I know plenty of people who actually went as far as to learn an entire album worth of music... they play along with the entire record note-by-note without any music at all... my friend actually did that plus learned the solos in all keys. It will take over an year to be able to do that, but after doing that, you can't help but to have those things come out in your playing.
I did learn Chick Corea's "Matrix" solos in 2 keys...I must have spent close to 4 months on it... it took me a while but some of that stuff is coming out in my playing. At first you are going to feel like the work you put in hasn't translated to any progress, but you start hearing new things, and coming up with your own way to play jarrett-like ideas over some changes.
Also, remember that this is a very slow process, be prepared to spend at least an year working through stuff like this. Some people make it their lifetime study to do stuff like this.
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And more importantly, how do I get this into MY playing?! It starts by trusting your intuition. Once you get enough technique under your belt, time to let go and let the music tell you where it wants to go. Sounds like what I'm aiming for John PS: I still immensely enjoy Jarrett's early works (Koln Concert & Bremen/Lausanne), been listening to them for well over 30 years.
"My piano is therapy for me" - Rick Wright.
Instrument: Rebuilt Kurzweil K2500XS and a bunch of great vintage virtual keyboards. New Kurzweil PC3X.
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And more importantly, how do I get this into MY playing?! Once you get enough technique under your belt, time to let go and let the music tell you where it wants to go. That's　 A LOT of technique to get under your belt to be able to play the kind of stuff Keith Jarrett does. You're talking about having enough chops to be able to do stuff like Chopin Etudes easily, and having really incredible ears. It took me like 3-4 months to learn a single Chick Corea solo like "Matrix", and well, someone like Keith Jarrett can probably play it by hearing it once. I don't think the thread is about how to let things come out in your playing, as in improvising.. it's more about how to be able to do it at the level that Keith Jarrett does.. and that's something you might able to attain after 20 years diligent practice. I remember in Malcom Gladwell's "Outliers", he talks about how most composers spend at least 15 years of training before they can produce something significant. I don't think improvising is any different. I don't mean to sound too intimidating, but playing like Jarrett really is like asking someone if you can climb mount Everest. The question is, as one of my teacher put it.. are you really ready for that kind of spiritual commitment to put in that hours of practice and perfect your art? Bill Evans, John Coltrane, and most masters we know have put int 5-8hrs daily so that they have enough musical chops to let it come out. Are you ready to do that?
Last edited by etcetra; 03/01/11 02:43 AM.
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I remember in Malcom Gladwell's "Outliers", he talks about how most composers spend at least 15 years of training before they can produce something significant. I don't think improvising is any different. It's 10.000 hours or approx 10 years - but who's counting http://www.recipesforlearning.com/science-art-joy-learnin/10-thousand-hours/
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And more importantly, how do I get this into MY playing?! Play a lot of classical; Chopin, Ravel, Bach, Mozart. Improvise on those tunes. Play a lot of Jazz; ragtime, be-bop, free. Even more improvising. Listen closely to Ahmed Jahmals "white" album, Paul Bley's "Footloose" and "Open to Love". Play some gospel and mix in some blues. Learn to play the drums and when you think you're done; learn to play the soprano sax. Learn Beatles songs - but on the guitar, sing them too in public. Record your own pop album with you singing and then decide: "never again". Sit for two months playing cocktail piano in a fancy restaurant in Stockholm, Sweden. Learn the recorder. Learn the bass recorder. Record an album playing the recorders and banging some drums. Go to Germany, sit in a draughty church and pull out all the stops - have some fun playing the organ. Meet with haughty German dude in Oslo, Norway whilst on tour with a major jazz soloist dude, in whose band you are playing electric keyboards and record in one day a solo piano album. Yet again go to Germany, sit down with a Clavichord at either hand and record an album in a day. Do two TV-shows with a couple of Norwegians and a couple of Swedes and then decide: "let's do an album, lets call it Belonging and let's do only first-takes." Decide to play tunes from the Great American Songbook for 30-odd years and in-between throw in some solo concerts.
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And more importantly, how do I get this into MY playing?! Play a lot of classical; Chopin, Ravel, Bach, Mozart. Improvise on those tunes. Play a lot of Jazz; ragtime, be-bop, free. Even more improvising. Listen closely to Ahmed Jahmals "white" album, Paul Bley's "Footloose" and "Open to Love". Play some gospel and mix in some blues. Learn to play the drums and when you think you're done; learn to play the soprano sax. Learn Beatles songs - but on the guitar, sing them too in public. Record your own pop album with you singing and then decide: "never again". Sit for two months playing cocktail piano in a fancy restaurant in Stockholm, Sweden. Learn the recorder. Learn the bass recorder. Record an album playing the recorders and banging some drums. Go to Germany, sit in a draughty church and pull out all the stops - have some fun playing the organ. Meet with haughty German dude in Oslo, Norway whilst on tour with a major jazz soloist dude, in whose band you are playing electric keyboards and record in one day a solo piano album. Yet again go to Germany, sit down with a Clavichord at either hand and record an album in a day. Do two TV-shows with a couple of Norwegians and a couple of Swedes and then decide: "let's do an album, lets call it Belonging and let's do only first-takes." Decide to play tunes from the Great American Songbook for 30-odd years and in-between throw in some solo concerts. I can play the recorder. That's got to be a start. 
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My kids LOVE the Koln Concert. THey found my CD on I-Tunes (which they use too) and broadcast it thruout the house with one of their fancy ipod things. It's much nicer to hear than Justin Bieber.
We've heard at least 20 times this month. I couldn't be happier.
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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