The Piano Grip System: An Approach To Learning Jazz Harmony (Video Series)
This video series is meant as a supplemental resource for the 178-page book "The Piano Grip System: An Approach To Jazz Harmony", co-authored by Jared Hall and Whit Sidener. All notated figures and examples in book are included in this course. The book is available for hard copy print order at www.jaredhall.net/pianogripsystem Read full description…
This video series is meant as a supplemental resource for the 178-page book "The Piano Grip System: An Approach To Jazz Harmony", co-authored by Jared Hall and Whit Sidener. All notated figures and examples in book are included in this course. The book is available for hard copy print order at www.jaredhall.net/pianogripsystem
Advancing from a simple to intricate fashion, the organization and approach of the system provides the individual with:
1. a development of jazz piano skills specifically for the non-pianist
2. a comprehensive understanding of chord-scale relationships
3. various ways to understand chord structures and scales, including their applications
4. terminology for labeling upper structures of chords
5. additional aural acuteness related to jazz harmony and chord progressions
6. visualization skills in relationship to chord symbols, intervals, and transposition
7. tools for learning improvisation
Describing the grip system, Sidener said, “You’re going to get much better at intervals. You’re going to get much better at recognizing triads, triads in inversions, and in your head and in your ears—visualizing and hearing."
The grip system for piano is categorized by a variety of four-note seventh chords, called grips, which can be played by a single hand. This method is primarily for non-pianists seeking to improve their knowledge of harmony and theory through the piano. This is an approach for learning harmony and theory, maximizing understanding of theoretical concepts through shape and visualization, to aid in improvisation. Since these chords can be “gripped” by a single hand, the system is defined by relating numerous types of grips to a variety of chords.
Using the grip system the student will learn a variety of:
1. chord structures including major, minor, dominant, half-diminished, diminished, altered, augmented, whole tone, suspended
2. scales including the modes of major, melodic minor, diminished, augmented, pentatonics, tritone
3. piano voicings including closed, drop two, quartal, "Red Garland", "So What", "Bill Evans", "salsa
4. chord progressions to jazz standards such as Body & Soul, Stella by Starlight, Giant Steps, Dolphin Dance, Someday My Prince Will Come, Very Early, and Invitation
5. other concepts related to improvisation such as inversions, triad pairs, common chord progressions, chord substitutions, enharmonics, and transposition
Sidener’s method addresses many of the major concepts within jazz theory which can aid an individual in successful improvisation.
When discussing how deep and detailed his concept is, Sidener responded, “Once you start to deal with it, it’s all there.”
Preview the course
Full course
| CHAPTER 2: THE GRIP SYSTEM |
| Figure 1 Formation of a Grip |
| Figure 2 Introduction to a Grip and Corresponding Scale |
| Figure 3 Major Seventh Grips |
| Figure 4 Minor Seventh Grips |
| Figure 5 Diminished Grip |
| Figure 6 Major Seventh Grip |
| Figure 7 Major Seventh Grip Inversions |
| Figure 8 Major Seventh Grip Intervals |
| Figure 9 Major Seventh Grip and Dorian Scale |
| Figure 10 Major Grip and Lydian Grip Comparison |
| Figure 11 Lydian Grip Inversions |
| Figure 12 Lydian Grip Intervals |
| Figure 13 Formation of the Lydian Grip |
| Figure 14 Lydian Grip and Melodic Minor Scale |
| Figure 15 Multiple Applications of the Lydian Grip |
| Figure 16 Lydian Grip Dominant Seventh Chord Possibilities |
| Figure 17 Lydian Grip for Unaltered Dominant |
| Figure 18 Lydian Grip for Altered Dominant |
| Figure 19 Lydian Grip on Half Diminished Chords |
| Figure 20 Minor Seventh Grip |
| Figure 21 Minor Seventh Grip Inversions |
| Figure 22 Minor Seventh Grip Intervals |
| Figure 23 Minor Grip and Major Scale |
| Figure 24 Half Diminished Grip |
| Figure 25 Half Diminished Grip Inversions |
| Figure 26 Half Diminished Grip Intervals |
| Figure 27 Half Diminished Grip and Melodic Minor Scale |
| Figure 28 Lydian and Half Diminished Grip Relationship |
| Figure 29 Multiple Applications of the Half Diminished Grip |
| CHAPTER 3: CLOSED AND DROP TWO POSITION 2-5-1 VOICINGS |
| Figure 30 Closed 2-5-1-6 Progression |
| Figure 31 Closed 2-5-1-6 Grips and Scales |
| Figure 32 Second Inversion Closed 2-5-1-6 Progression |
| Figure 33 Closed Versus Drop Two Voicing |
| Figure 34 Drop Two 2-5-1-6 in C Major |
| Figure 35 Drop Two 6-2 Voicing |
| Figure 36 Minor Chord with a Lydian Grip |
| Figure 37 Closed Position Minor 2-5-1-6 using Lydian Grips |
| Figure 38 Drop Two Position Minor 2-5-1-6 |
| Figure 39 Closed Grip Options for Minor 2-5-1-6 |
| Figure 41 Bass Clef Representation of the Circle of Fifths |
| Tune #1: Chord Progression to Body & Soul |
| Figure 42 Lydian Grip versus Diminished-Major Grip |
| Tune #2: Chord Progression to Stella by Starlight |
| CHAPTER 4: GRIPS WITHIN DIMINISHED |
| Figure 43 Diminished Grips on Diminished Chords |
| Figure 44 Diminished Grip Scales and Tetrachords |
| Figure 45 Double Diminished and The Diminished Scale |
| Figure 46 Diminished Grip Dominant Chord Applications |
| Figure 47 Dominant Chords Creating the Diminished Scale |
| Figure 48 Extensions on Dominant Chords from the Diminished Scale |
| Figure 49 Diminished and Diminished-Major Grip Comparison |
| Figure 50 Lydian Grip and Diminished-Major Grip Comparison |
| Figure 51 Major Triad-b9 and Diminished-Major Grip |
| Figure 52 Diminished-Major Grip Inversions |
| Figure 53 Diminished-Major Grip Intervals |
| Figure 54 Diminished-Major Applications to Dominant #9 and b9 |
| Figure 55 Diminished-Major Applications of Additional Dominant Chords |
| Figure 56 Four Diminished-Major Grip Possibilities on an E Dominant Chord |
| Figure 57 Multiple Diminished-Major Grips Applied to a Dominant Chord |
| Figure 58 Minor-Augmented-Major Seventh Grip |
| Figure 59 Major Triad-#9 to Creat Minor-Aug.-Major Grip |
| Figure 60 Diminished-Major and Minor-Aug.-Major Grip Comparison |
| Figure 61 Minor-Augmented-Major Grip Inversions |
| Figure 62 Minor-Augmented-Major Grip Intervals |
| Figure 63 Minor-Augmented-Major Grips in Tadd Dameron's Hot House |
| Figure 64 Suspended-Augmented-Major Seventh Grip |
| Figure 65 Minor Triad-b5 to Create Suspended-Augmented-Major Grip |
| Figure 66 Minor-Augmented-Major and Suspended-Augmented-Major |
| Figure 67 Suspended-Augmented-Major Inversions |
| Figure 68 Sustained-Augmented-Major Grip Intervals |
| Figure 69 Multiple Suspended-Augmented-Major Grip Applications |
| Figure 70 Suspended-Augmented Grips within 2-5-1-6 |
| Figure 71 Lydian-Suspended Grip |
| Figure 72 Lydian-Suspended Grip Inversions |
| Figure 73 Lydian-Suspended Grip Intervals |
| Figure 74 Lydian-Suspended Grip Applications |
| Figure 75 Minor Quartal Voicing |
| CHAPTER 5: QUARTAL AND ROOTLESS VOICINGS |
| Figure 76 Bill Evan's So What Voicings |
| Figure 77 Multiple Applications for a SIngle Quartal Voicing |
| Figure 78 Quartal Structured Dominant and Altered Dominant Chords |
| Figure 79 Lydian Grip within a Quartal Voicing |
| Figure 80 Quartal 2-5-1-6 Progression in C Major |
| Figure 81 Dominant Chord Quartal Possibilities |
| Figure 82 Embedded Diminished-Major Grip in Dominant Quartal Structure |
| Figure 83 Alternative Quartal 2-5-1-6 Progression in C Major |
| Figure 84 Minor Salsa Voicing |
| Figure 85 Salsa Voicings for 2-5-1 in C Major |
| Figure 86 Altered Dominant Salsa Voicing |
| Figure 87 Salsa Voicings for 2-5-1-6 in C Major |
| Figure 88 Minor Chord Red Garland Voicing |
| Figure 89 Dominant Flat 9 Red Garland Voicing |
| Figure 90 Major Chord Red Garland Voicing |
| Figure 91 Altered Dominant Chord Red Garland Voicing |
| Figure 92 Red Garland 2-5-1-6 Progression |
| Tune #3: Chord Progression to Giant Steps |
| Figure 93 Augmented-Major Grip |
| Figure 94 Augmented-Major Applications |
| Figure 95 Primary and Secondary Triads: Minor Grip |
| Figure 96 Primary and Secondary Triads: Lydian Grip |
| CHAPTER 6: PENTATONIC GRIPS |
| Figure 97 Primary and Secondary Triads: Half-Diminished Grip |
| Figure 98 Major-Natural Six Grip |
| Figure 99 Major-Natural Six Grip Applications |
| Figure 100 Comparison of the Lydian and the Lydian-Natural Six Grip |
| Figure 101 Lydian-Natural Six Grip Applications |
| Figure 102 Comparison of the Lydian, Aug.-Major, and Lydian-Aug. Grip |
| Figure 103 Lydian-Augmented Grip Applications |
| Figure 104 Lydian-Augmented Drop Three Voicings |
| Figure 105 Dominant Chord Voicing using a Lydian-Augmented Grip |
| Figure 106 Comparison of the Minor and Minor Pentatonic Grip |
| Figure 107 Minor Pentatonic Grip and Minor Quartal from the Root |
| Figure 108 Minor Pentatonic Grip Applications |
| Figure 109 Dominant Seventh-Sharp Nine Grip |
| Figure 110 Dominant Seventh-Sharp Nine Grip Applications |
| Figure 111 Diminished-Major Grip and Diminished-Major Natural Six Grip |
| Figure 112 Diminished-Major Natural Six Grip Dominant Chord Applications |
| Figure 113 Diminished-Major Grip and Diminished-Major Flat Six Grip |
| Figure 114 Diminished-Major Flat Six Grip Dominant Chord Applications |
| Figure 115 Diminished Pentatonic Grips and the Diminished Scale |
| Figure 116 Diminished Walk-Down Using Diminished-Major Grips |
| Figure 117 Lydian Grip Shell and Diminished-Major Grip |
| Tune #5: Chord Progression to Someday My Prince Will Come |
| Tune #7: Chord Progression to Invitation |
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