Playing from a Fake Sheet (lead sheet)

(References are to my book: Jazz Piano, Methods and Songbook)

Priorities
1. Correct melody (see Vol. I, pg 5).
2. Correct chords (cycle of 5ths, II-V-I, etc.) B. Pianists (Styles/techniques)
3. Bass line (See Vol. II, pgs. 26-34)
4. Establish Form (AABA, etc) Stride- Fats Waller, Teddy Wilson
5. Tempo (metronome marking) Open Voicings- Bud Powell
6. Chord Progression (see Vol I, pgs 26-34) Pulse Erroll Garner
7. Scale Tone Sevenths (see Vol. I, Pgs. 50-53) Locked Hands- George Shearing
8. Jazz Phrasing, Rhythm (Vol. I, pgs 74-77) Gospel- Ray Bryant, Les McCann
Blues- Oscar Peterson, Ray Bryant
Arrangement Ornate, spaces Ahmad Jamal
Close Voicings- Bill Evans
Introductions (techniques) ((See Vol. I, pg. 86) Dynamics, shout chorus- Erroll Garner
Right hand / Left hand Techniques (see below) Soul, Funk Latin- Horace Silver
Style/Style Changes (see below) Dissonance- Thelonoius Monk
Reharmonization (See Vol. II, pgs. 76-90) 4th Voicings - Mycoy Tyner, Chick
Interludes Corea
Modulations/Key Changes (see Vol. II, pg 21) Classical influence- Herbie Hancock,
Shout Chorus- A special, complete, through-composed riff -like Keith Jarrett
chorus played just before the final out-chorus. Often found in big band
arrangements but also used by Erroll Garner, Ahmad Jamal.
Endings (vamps, tags) (See Vol. I, pg. 101 Coda) Interpretation and Improv.

Techniques 1. Phrasing melody (Vol. II, pgs. 36-45)

2. Embellishing melody (Vol. II, pgs. 44-45)
1. Open Chords (Vol.,,pg. 80) 3. Misc. rules of improvisation-
(Vol. II, pgs 58-66 and pgs 92-110)
2. Block Chords (Vol. II, pgs. 2-7)
3. Rootless Voicings (Vol II, pgs. 46-52)
4. Spread Voicings (See Vol. I, pgs 88-104)
5. Broken 10ths (Vol. I, pgs. 43, 45)
6. 2 beat and walking bass (Vol. II, pgs 26-34 )
7. Stride (Vol. I, pg. 82-86)

Styles (pianists)

A. Rhythmic
1. Swing (Vol. I, pgs. 99-103)
2. Ballad (Vol. II, pgs 42-43)
3. Latin (Vol. II, pgs. 34-35)
4. Waltz (Vol. I, pgs. 39, 41)
5. 4/4, 2/4, Cut Time (Vol. II, pgs. 26-28)
6. Stride (Vol. I, pgs 82-87)
7. 12/8- (Triplet feel applied to ballad)