1. Intermediate Solo Piano Series Part 8 – Overview and Bass

Lines (“Autumn Leaves”) a. Steps to build foundation – Combining all of our tools in order to make

something sound good is always the hardest part of soloing. Here’s an

overview of some of the concepts we have gone over.

i. Where is the melody - Look at where the melody note is on the piano.

If it is high, use a wide spread voicing option such as LH tenth. In your

RH, fill in the chords underneath the melody. (see figure 24.5)

Figure 24.5

If the melody is in a mid range, then you’ll use 1+7 or 1+3 in your LH

and your RH will play the melody and shell. If you’re left hand is

playing 1+7 you need the 3rdyour RH. If your LH is playing 1+3 you

need the 7th in the RH. You can also add the root and 5th to have a

thicker voicing. (See figure 24.6)

Figure 24.6

If the melody is low, then your LH will play the bass note and the RH

will play the melody and shells underneath. (See figure 24.7)

Figure 24.7

ii. Where is the Bass note – Look at your options for where to place the

bass note in relation to the melody. You should only have about 2-3

octaves to pick from. Pick a bass note and move to step 3. (see figure

24.8)

Figure 24.8

iii. How much room - Depending on the bass note you pick, compare the

distance between the bass note and the melody note, then move on to

step 4. (see figure 24.9)

Figure 24.9

iv. 1+7 or 1+3 or 1+10 or1+7+10 or just bass note and chord - If you

have picked the lowest bass note possible you’ll want to play a bass

note then jump up to a chord with your LH.Your RH would be playing

the melody note or filling with chord tones below the melody note. If

you have picked a second octave bass note, (one octave up from the

bottom of the piano) you might be able to get away with 1+7 but 1+10

is a much better option. 1+7 will be much more available as you get

into the second octave on the piano. If your bass note is close to the

higher register then 1+3 or 1+7 is best depending on how low the

melody is. (see figure 24.10)

Figure 24.10

v. Build below melody with chord tones – The amount of space you have

between your melody note and the top note of your LH, will determine

the fill you will use underneath the melody with your RH. If you have

a lot of space between the melody note and the top note of your LH

then you will want to spread your chord tones out to occupy that

empty space. If you have a medium to small amount of space then

spread your chord tones out appropriately to fit in the space. (see

figure 24.11)

Figure 24.11

vi. Voice leading 1+7 to 1+3 stretch to tight to stretch – To move to the

next chord we’ll follow the same steps we just completed. If we are

coming from a 1+7 in our LH then think about using 1+3 in your LH

and vice versa. (see figure 24.12)

Figure 24.12