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The Piano Grip System: An Approach To Learning Jazz Harmony (Video Series)
Jared Hall
Preview course

The Piano Grip System: An Approach To Learning Jazz Harmony (Video Series)

Video series to accompany all the figures and examples in the 178-page book "The Piano Grip System: An Approach To Jazz Harmony", a method for non-pianist jazz students, co-authored by Jared Hall and Whit Sidener. You can purchase the book at this link: www.jaredhall.net/pianogripsystem
Jazz · Modern jazz · Neosoul
Preview course
$60

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.”

Full course

Full course is 59 minutes across 121 parts
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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