Mark Levine Drop 2 Pdf Piano Pdf
Karl Schielke
Incredible professional comping over the changes of landmark Miles Davis compositions by a noted master, including:So What (slow), So What (fast), All Blues, Blue In Green, Nardis, Eighty One, Freddie Freeloader, and more!!
Why you should consider this and other Aebersold piano voicing transcription books: Ever listen to a great jazz pianist and wonder "what's he doing there?" Now you'll know! Here, as never before, is an opportunity to see REAL jazz piano voicings and comping over REAL songs in REAL live musical settings. These historic books contain NOTE-FOR-NOTE transcriptions, exactly as recorded, of the exciting piano accompaniment from the World Famous Aebersold Play-A-Long series. Not just for pianists, there are many ways for ALL MUSICIANS to use these wonderful musical tools.
Pianists: First, listen closely to the pianist on the respective Play-A-Long recording (sold separately). Next, reading from the book, play along with him, imitating his style. Finally, TURN HIM OFF (using the special stereo separation on all of our CDs) and play along by yourself with the bass and drums. With the techniques learned, you'll soon be improvising your own accompaniment!
Non-Pianists: Horn players, arrangers and vocalists can use these books like dictionaries to look up favorite voicings they've heard on a particular Play-A-Long track. Written clearly for two hands, even the most novice pianist can play many sections of these books.
Teachers/Educators: Give your combo piano students instant jazz voicings and harmonies over a variety of Standards and styles. As personal tools, they will enhance your own understanding of voicings and voice movement and provide you with better skills for accompanying your students.
The present work used very brief flashes from an array of LEDs to mark the outer boundary of shapes, and varied the timing of those flashes to determine how these manipulations affected recognition of the shapes. For Exp. 1, where zero separation of pulse-pairs was a constant condition, the average hit-rate was in the 70% range when there was no delay between successive pairs. Recognition dropped as the interval between pairs was increased, with hit rates being less than 30% when 8 ms was inserted between each pair. This falls within the time range that might be expected for initial image encoding [10], and these results might reflect a role for synchrony of cue components for eliciting recognition of the various shapes.
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