The Jazz Piano Book [Spiral-bound]

Mark Levine (Author)

Book Description

Publication Date: June 1, 2005

Endorsed by Kenny Barron, Jamey Aebersold, Richie Beirach, and more, this book presents all the information a student of jazz piano needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced pianists, written by one of the acknowledged masters of jazz piano playing.

Product Details

• Spiral-bound: 307 pages
• Publisher: Sher Music; First edition (June 1, 2005)
• Language: English
• ISBN-10: 0961470151
• ISBN-13: 978-0961470159
• Product Dimensions: 10.7 x 9.4 x 0.9 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 4.7 out of 5 stars  See all reviews (42 customer reviews)
• Amazon Best Sellers Rank: #6,868 in Books (See Top 100 in Books)
  • #21 in Books > Arts & Photography > Music > Songbooks
  • #38 in Books > Arts & Photography > Music > Theory, Composition & Performance > Sheet Music & Scores > Instrumentation > Piano

Customer Reviews

Most Helpful Customer Reviews

197 of 202 people found the following review helpful:

5.0 out of 5 stars Valuable Learning Resource for the Aspiring Jazz Pianist ! !, October 31, 2000

By 

Eddie Landsberg "My 10th year as a reviewer !... (Tokyo, Japan) - See all my reviews
(TOP 1000 REVIEWER)    (VINE VOICE)   

This review is from: The Jazz Piano Book (Spiral-bound)

Before Mark Levine's Jazz Piano book came out, choosing a book on how to play piano was a lot like selecting a presidential candidate - - you may not have been crazy about the choices but... (blah blah blah) What makes this book different is that it walks a fine and brilliant line between theory, application and stylistics and it is never dry, and further it is contemporary. By chapter 10 and beyond he's getting into fourth chords, upper structures and "so what" chords. Most books sort of finish up just when Bud Powell is hitting the scene. This book however will take you up to McCoy Tyner and Kenny Barron. - - Unlike other books, his book also sites practical song examples and specific listening examples.

If you're entirely on your own, I think this book, along with a few Aebersold play-a-longs and Amadea's Harmonic Foundations for Jazz and Pop Music would really take you a long way. Your ultimate goal should be able to sit in at Jam sessions and with real players... that's where the real learning begins. Do what you have to do to get to the point that you can hang with a blues or Real Book standards.

(Regarding suitability for beginers vs. advanced players : This book is pretty good for players of all levels, though if you're starting from scratch another book to consider is Brain Waite's "Modern Jazz Piano : A Study in Harmony" or Amadea's book, then this.)

136 of 139 people found the following review helpful:

5.0 out of 5 stars This is THE piano book., July 17, 2001

By 

D. Grout (Moscow, Russia) - See all my reviews
(REAL NAME)   

This review is from: The Jazz Piano Book (Spiral-bound)

As a guitarist/percussionist who had piano lessons as a kid (and hated them) I have always been a little intimidated by the piano. Toward my goal of being able to comp and improvise over changes, I have purchased several jazz piano method books, including titles by Jerry Coker and Dan Haerle, and they have all been helpful.

Mark Levine's book, however, is exceptional. He introduces his concepts in perfect-sized chapters, with musical examples bracketed by coherent and engaging explanations. There are dozens of very musical exercises, and lists of suggested jazz standards for applying them. He conveys the essential elements of jazz theory in an easy-to-digest but highly intelligent anecdotal writing style.

The pacing of how material is presented in a method book is very important to the advancing musician. For example, I always knew that the melodic minor scale was important, but it only fully came together in my head when I worked through Mark's chapters on scale theory. Instead of being bombarded with chord voicing options, there are two or three. The emphasis is on getting you prepared enough to play music! Helpful hints seem to appear just as you need them, and Mark's enthusiasm for the piano provides subtle encouragement for the exhausting but rewarding process of learning jazz.

This is a book which stays on my music stand. It's large but spiral-bound. The font size is just right, and notes are professionally typeset (I hate books where you spend half your time deciphering notes from the author's scrawl). Bonus points for the great photos and the recommended discographies from all periods of jazz.

I would recommend this book to any intermediate to advanced player looking to expand and strengthen his or her abilities to comp and solo on piano. No one book can teach you everything, but this one is a hell of a start.

78 of 79 people found the following review helpful:

5.0 out of 5 stars Thorough, well-thought-out and well-written., February 2, 2000

By 

Ken Blackman (San Francisco, CA) - See all my reviews

This review is from: The Jazz Piano Book (Spiral-bound)

This is the best book on jazz theory I've encountered; would be one of my five desert-island music books. He's formatted the book like this: each chapter begins with a short transcribed passage that demonstrates, say, a particular type of voicing or scale in context. The musical concept behind the example is then explained and expanded on. Mark's brevity makes for a book that's dense with information, and the style is not so much prescriptive -- "play this and this and you're playing JAZZ!" as it is descriptive -- "Here's what you're hearing when you hear, e.g., this characteristic Bill Evans sound". The result is a book that covers everything, but still relies on the reader to listen to lots of jazz music, experiment, and practice.

Which is exactly how it should be. For the serious student, this is by leaps and bounds the best study guide to mastering the vocabulary of jazz piano as played by the musicians who've helped shape it over the last half-century-plus, and a great stepping stone toward developing one's own style.