Intros, Endings & Turnarounds for Keyboard: Essential Phrases for Swing, Latin, Jazz Waltz, and Blues Styles Paperback – November 1, 2001

Being trained to read classical music, this book has been helpful in learning jazz and blues intros.

Especially for accompanists...Even though I've been a professional, working musician my whole life, and I have a degree from Berklee, I still wish someone had just handed me this book when I was in my youth, instead of me scrambling around, trying to collect all of these essential, pianistic "vocabulary" phrases... or instead of all the times I had to make something up on the spot and learn it on the bandstand - trial by fire! (Which isn't really learning, as much as it's "surviving.")Even if you have all your basic tools and standard phrases under your hands, this book has them assembled all in one place, which is especially useful if you are teaching. This book also mixes it up a bit with some phrases that are nice variations on the cliche' so it's a great reminder to try something a little varied from what you find yourself always doing.I especially recommend this book to piano teachers and their students (but that's not to say that a seasoned musician wouldn't also find this book valuable!), and be sure to practice these in different keys.

Nice examples but badly edited in places e.g. 'Decending baseline that begins diatonically and ends with a chromatice "push" to the II chord' location 135 in the kindle book - the notation of the roman numerals are wrongly trancscribed in the last two bars, reading III7 for Ab7 in the key of Eb, IIm7 for Gm7 and bII7 for Gb7. Same kind of thing happens two pages later where Dbmaj7 is denoted VImaj7 and then later C7 denoted V7 - both in the key of Eb. If you are shaky on your theory you could get confused by this. I have the kindle version so maybe they rushed the production of the book. The music notation does seem to be right however and they sound good when played.

I'm slowly working through the book, but the progressions are explained well and the selections are musical. It'll be a while until I'm through the book because I'm transposing each selection to all 12 keys but getting a lot out of doing so, leveling up!

This book teaches many things at once.Learn intros and endings suitable for use in gigs.Learn different chord changes besides the typical II-V-I.Learn some phrases and voicings that help you jump right in,rather than just seeing the chord changes written out.(The last chapter is the exception)Learn how to improvise - If you haven't been able to cross thatbridge, just let yourself wander while playing these samples.You can't help but hear different melodies in them.Each sample is presented in a random key, but it is still up thestudent to practice them in all keys.Well worth the price - a fraction of the cost of a piano lessonfor a huge springboard!

Another great book by John Valerio. This is 10 times the book I thought it would be. Much more than what the title says it is. This is a fabulous study in chord progressions and chord substitutions that is invaluable. And with every exercise written out in a standard key along with the Roman Numeral chord symbols, it is very easy to transcribe to different keys. I use this book every day as part of my practice session.

The book has well written, very musical phrases. The author suggests usage with several standards that should be in everyone's play book and it's fun to work them in with tunes you already know - in the proper keys. Take them apart, and there is something to learn in most of them. Great for browsing.The printing is good and the binding isn't troublesome on the rack. Nice experience. I would have rated it a five, but some of the pages have a tendency to work loose.

Nothing against the book, but as a keyboardist with a longing to be adept at playing jazz, the "Roman Numeral" notations are a bit burdensome to someone not yet familiar with music theory. I'd preferred the standard chord notations. Would also be helpful if it included a cd to help me hear what the author is playing. But I'm sure more advanced players will benefit from this book.Guess I'll stick to more basic instructional books like the Hal Leonard catalog.

Thought I'd give this a try. Intros, endings and turnarounds do enhance the learning curve for Jazz theoretical understanding. You must be able to sight read seeing its all scripted. My progress is steady and will update this review to see where of if I've excelled.

I was expecting riffs

good one

It's very useful for what it says it does - I now need to sit down and work through it

Dieses Buch hat 93 Seiten und ist für Pianisten geschrieben worden, die frei Klavier spielen.Die Käufer sollten bereits die Jazzharmonielehre beherrschen und anschließend Bücher über freie Liedbegleitung und Improvisation sowie diverse Bücher mit Klavierbegleitmustern durchgearbeitet haben. Sie sind also in der Lage, zu einer beliebigen Melodie Begleitungen in Jazzakkorden zu gestalten. Dann stellt sich die Frage, was spiele ich eigentlich am Anfang und am Ende des Titels ? Ich will ja nicht gleich mit der Melodie ins Haus fallen. Die Antwort liefern zumindest teilweise diese 20 Kapitel.Kapitel 1: Einleitungen für Swing-Titel in Dur , die mit der Tonika beginnen. Der Vorschlag: links Dreiklänge , rechts eine Melodie. Beispiele mit bis zu 2 Vorzeichen.Kapitel 2: Einleitungen für Swing-Titel in Dur, die mit dem 2. Akkord der Tonart beginnen. Beispiele: links vierstimmige und rechts dreistimmige Akkorde mit bis zu 3 Vorzeichen.Kapitel 3: Swing in Dur , Song beginnt auf der VI. Stufe.Kapitel 4: Swing in Dur ab Stufe IV.Kapitel 5: Einleitung für Swing in MollKapitel 6: bei Einleitung das Pedal durchklingen lassenKapitel 7: Einleitungen für Balladen mit bis zu 4 VorzeichenKapitel 8: Latin EinleitungenKapitel 9: Jazz WalzerKapitel 10: BluesKapitel 11: Aufgabe GesangsbegleitungKapitel 12: Swing-Endungen in DurKapitel 13: Swing-Endungen in MollKapitel 14: Endungen durch konstante FigurenKapitel 15: Harmoniewechsel von Tonika zu TonikaKapitel 16: von I nach Stufe IIKapitel 17: von I nach Stufe IVKapitel 18: von I nach Stufe VIKapitel 19: in Moll von Tonika zu TonikaKapitel 20: durch Einschübe die Auflösung verzögernHier hat jemand versucht, sein Wissen systematisch zu ordnen und weiterzugeben.Natürlich ist es ein Einstieg in einen lebenslangen Lernprozess, der nicht zwischen zwei Heftdeckel passt.Immer schön zu sehen, wie selbst hochbetagte Berufspianisten noch stundenlang am Klavier sitzen und den Klängen des Instruments zuhören.Voraussetzungen: Englisch, Klavier nach Noten, Jazz-Harmonielehre, freie Liedbegleitung, Interesse an traditionellem Jazz-Klavier.