Martan Mann presents an easy method for pianists to play a smooth and natural time against time. Play 3 against 2, 3 against 4, 4 against 5, etc. These are very basic exercises which can be learned by classical and jazz pianists in all levels.

Check out: JazzSkills for Piano (jazzskillsforpiano.com) is Martan’s complete online course in studying jazz piano. JAZZ MASTERCLASS: Step-by-Step (https://jazzskillsforpiano.com/jazz-m…) are individual lessons for the classical or jazz pianist. Martan’s website: musicmann.com

6 Steps to Groove Independence by Martan Mann

Have you watched a pianist or guitarist, who is also a singer, play and sing with complete freedom and independence?  It’s difficult, but important, to develop this skill.  When you can attain independence, it enables you to think more creatively and also phrase more musically.  This is all about training the subconscious.  It can be done by consistently practicing the exercises below.

Here are the six steps:

1) Sing the groove.  Think of a groove that you want to play.  It could be, for instance, a bossa nova groove, a swing groove, a funk groove, whatever.  Start singing the groove.  Yes . . . make up your own “groove language” and try to imitate the subtleties of the groove.  In fact, really concentrate on the sub-divisions of the groove.  It helps to think like a drummer.

2) Develop a bass line.  You should think like a bass player.   Bassists hold down the groove.  They also lead the mind through the tune.  Bassists are always thinking forward to the next chord.  This can be done by using simple “lead-ins” or a complete quarter-note walking bass line.

3) Play and sing a simple progression using the groove.  A good simple progression to use is the “II V Progression”.  This uses the II & V chords of the II V I Progression, but without the I chord.  You don’t want for it to be too complicated.  Here’s an example of the II V Progression using a common bossa nova groove:

Remember . . . this is a very simple, basic idea of the bossa.  It is strongly suggested that you listen intently to a real bossa.  Listen for the subtle “flavors” of the groove.  It is like an actor deciphering a dialect that they want to learn.  Feel free to change the above groove to match what you are hearing.

4) Play and Sing the groove using all the inversions of the chord.  Bounce around between the inversions.  Listen to the top note of the chord as a melody.  Do this over and over (in all keys) until it is totally subconscious.

5) Play the groove while speaking in complete sentences.  Yes . . . I said, “speaking in complete sentences”.  It is impossible to lock in (or “meter-beat) to the groove when you are speaking.  We generally do not want to “lock in” melodies because it is un-natural and unmusical.  Also, your mind must be fully engaged to speak intelligently.  Try it.  It’s very difficult.  This takes practice.

It is suggested that in order to be “free” from the groove, you have to de-emphasize it.  Consider imagining that you are hearing the groove softly in the next room.  Make it unimportant so that you forget about your hands.  In fact, don’t look at your hands.  Imagine that you are not playing the groove.

6) Sing complete short phrases while playing the groove.  Always think forward to a definite destination note.  Try “talking” the music phrases.  Think of carrying on a conversation.  Eventually, you can sing or scat through an entire tune in this manner.

This can be applied to learning any tune.  Develop the groove.  Learn the chord changes.  Play melodies freely and easily over the groove.

Practice, practice, practice.

A key skill to develop in jazz piano is to become freely independent.  This is the same as studying drums.  Drummers all have the skill to play something in one hand, which is free from another hand, which is free from each foot.  This is no easy task.  Jazz pianists have to do this too.

Think of the drummer, guitarist or pianist who sings when he plays.  He has to have the playing totally subconscious so that he can freely sing.  It’s my belief that singers should sing “against” the groove, not with it.  Singers breathe and phrase.  They tell stories and create moods.  This can only be done when the musician is freely independent.

The question is:  “How do you develop independence?”  The answer:  “One-step-at-a-time.”

There is a gland in the center of our brain called the Corpus Callosum.  It controls the right and left sides of our body and brain.  It also causes us to “freeze up” when we are trying to be independent on the piano.  In a sense, you have to train this gland.  It’s not easy.

Here are the steps that I recommend to train the Corpus Callosum:

1. Sing a groove.  Yes, just make up a language which sounds like a groove that you want to play.
2. Play (and sing) the groove using an easy chord progression.  This could be a II V, or II V I, or I VI II V etc.  Start in an easy key, like C major.  Eventually, move to all keys.  Keep the groove specific.
3. Once you can thoroughly and easily play this groove . . . start talking.  Yes, just speak normally.  You will probably find that this is very difficult to do.  It will take practice to get to the point where you can carry on a conversation while continuing the specific groove.  Think of the drummer or guitarist who has to sing while continuing to play accompaniment patterns.  Once this is easy . . . it’s easy and free.
4. Once you are able to freely talk . . . then, perhaps, try singing.  When you sing, make sure you are breathing and phrasing normally and not “meter-beating”.   Don’t sing to the groove.  You have to be free from the groove.
5. Then, play singable ideas while playing the groove.
6. This is also a great way to also develop odd-time soloing.  Sing and Play the odd-time groove over and over until you are secure.  Then start speaking while playing it.  Then, move to singing and playing a solo against the groove.

Make a daily practice of developing independence.  This is a key to becoming a successful improvisor.  It also develops a great style.

Developing Jazz Skills

by Martan Mann

There a many books which teach the theory of jazz.  Learning the theory of jazz is important.  However – what many pianists truly need is a method to expand their various jazz skills using that theory.  To put this simply, competent jazz pianists play automatically.  They “flip the switch” and the music flows out of them.  The main issue is . . . how did they get to that skill level?  Also, is there a more direct way to arrive at that point?

We know that classical players spend years honing their skills.  They work on piano technique, pianistic skills, interpretive knowledge.  This is done by studying with competent teachers who teach them the skills of playing the piano and guide them through piece after piece. Through years of learning and memorizing classical pieces, the classical pianist eventually develops musical skills, good tone, a fluid piano technique, good timing and rhythm, phrasing, interpretation, and music-reading skills.

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