Piano Fill-osophy

Piano Fills: Their Purpose

Creating Piano FillsIt’s fun to decorate melodies and it’s awesome to listen to a skillful artist embellish a melody that really makes it shine. That said, like any concept that is related to “musical flamboyance,” it tends to be overused by the amateur player.

That’s actually a good thing during the developmental stages, as I’m an encourager of overusing a new technique or strategy so that it eventually becomes a natural part of the player’s repertoire. However, these endeavors are hopefully refined as the play matures to reflect his or her understanding that those piano fills are intended to serve as a compliment, not the main course.

Tools Designed To Help

It still will serve the aspiring artist well to keep the purpose in mind during these growing stages. Of course, a person has to start somewhere.

That’s the purpose of the improvisational learning tools available at Piano Amore. At this point, I would like to provide an excerpt of EZ Fills & Improv below. This video session focuses on a simple concept that consists of two basic improvisation strategies.

You will notice that the examples, with the purpose of illustrating the concepts in an amplified way, do in fact “overuse” the techniques. As you utilize these strategies more and more, I have faith that your tastefulness as an artist will lead you to use such piano fills in an economical manner, as per your own unique style.

This simple piano fill concept demonstrated employs the use of chords tones and half steps. This demonstration pretty much makes the strategy clear without needing embellishment here.

Creating Longer Improvisations

I would like to restate a point that is mentioned in the above clip. Although this approach is intended for creating tasteful fills, it’s quite impressive how “stringing” a number of these shorter musical ideas together can really serve you well for inventing more elaborate improvisational lines. This is something you will have a lot of fun with.

You might begin by “sprinkling” your favorite standard songs with embellishments that you create using this approach. This will really provide you with the opportunity to enjoy immediate results for your efforts. As you become more and more confident with this concept, you’ll become inspired to invent those longer improv lines, as they will indeed have their place.

I Would Like To Help

I truly appreciate your taking the time to be here at the site and investigate what is here. I consider that a privilege. Along with that, I invite you to send me any questions or feedback regarding anything you see since your goals serve as my true inspiration.

Left Hand Piano Accompaniment For Ballads

Piano Left Hand AccompanimentSo What Do I Do With That Left Hand?

In one form or another, a common question I’ve been asked by many pianists who aspire to become comfortable with playing from lead sheets has been, “What do I do with that left hand?”

Many of these people know how to play the chords that are asked for in the music but feel limited with their capacity to make them sound like anything to talk about. In other words, they might be able to comfortably play a chord like Gmaj7 in its basic form as shown here:

Gmaj7 in Root position

but when it comes to actually incorporating that chord into a ballad, they feel at a loss for ideas. Does that sound familiar?

The Mistake Most Piano Beginners Make

Okay, let me say it straight:

Most people who find themselves in this situation are overthinking about what they should be doing.

You see, it’s really easy to be dazzled by the many chords and jazz piano voicings that the pros play when performing these standard songs. It’s quite another to feel overwhelmed by thinking that you need to know them all in order to sound “pro.”

I’m all for expanding your chord voicing repertoire. actually, I created a 25-lesson program devoted to that. After all, the more colors an artist has on his or her palette, the more choices there are with painting a picture. However, on that same note (!), I will say that a truly creative artist would be able to paint a beautiful masterpiece with just three basic colors like red, blue, and green.

The Real Key To Sounding “Pro”

It’s not WHAT colors you use but HOW you use them. This applies equally to the harmonic colors of music. Please don’t forget this. It is so crucial to the development of your musical artistry.

It’s not uncommon for an individual to approach me for lessons in my studio who has a handle on playing those basic chords and is eager to expand on his/her chord voicing and improvisation skills. However, that person has not displayed any competency with using the tools they know in an artistic manner. The most important point I strive to help this person understand is that the ability to play artistically starts right from the beginning.

You don’t have to wait until you know a massive vocabulary in order to sound articulate, do you? Of course not. Well, the same is true when it comes to performing music. You don’t have to wait until you know a massive chord or voicing vocabulary in order to sound artistic.

Remember: “artistic” does not necessarily mean “fancy.”

You can take that to the bank. If you want to sound “pro,” then practice sounding “pro” with what you already know. I have so much to say about this to my private students. I don’t think a day goes by in the studio when this matter isn’t brought to someone’s attention. I’ll very likely be talking more about it in upcoming writings here, too.

For now, remember, it’s not WHAT you say but HOW you say it.

Consider the other aspects of performing besides fancy chords that come into play when putting a song across: dynamics (volume contrasts), piano keyboard range used, and more.

A Simple “Pro” Left Hand Technique You’ll Want To Own

In this video below, which is just the first few minutes of a one-hour session I created called Sneak Peeks 2, four basic chords are being used: Gmaj7, G#dim7, Amin7, and D7. Since this is the very beginning of the video lesson, you may want to skip right to 1:30 on the counter when we actually start this demonstration:

You’ll notice that the left hand is alternating between playing the “shell,” which is the 1 and 7 of the chord, and playing the full chord. You see, this might be equated to an artist lightly stroking the brush on the canvas with a blue and then stroking a little more heavily with brush for different textural effects.

For your reference, here is the lead sheet excerpt Ted Koehler’s and Harold Arlen’s Stormy Weather being used for this demonstration:

Chords for Stormy Weather

Use It To The Point Of Mastery

This simple technique can be applied to virtually any ballad that you know or will learn. Remember to keep the melody in the spotlight and allow those left- hand bass notes and chords (and shells) to just be there without much emphasis. If you remain sensitive to this concept in your playing, you can perform any ballad in a way that really displays to the listener that you are an artist at those keys… because you are!