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 charlie austin jazz

An Approach to Jazz Piano, by Charles Austin

Fifth Edition, 2013

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Coilbound 
$49.95

PDF 
$19.95 

Paperback 
$49.95 


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Preview

View the 12-page topic sampler at left and look below for a full listing of the table of contents. 

Scroll down for more reviews and comments.

About the Book

Exploring chords, scales, voicings, progressions, style, function, and improvisation, this is a comprehensive approach for serious students of jazz piano. In this clearly written instructional text, Charles Austin draws on nearly fifty years of experience as a professional jazz pianist and thirty as a college instructor guiding hundreds of students in the fundamentals of jazz piano.

Of special interest is the in-depth treatment of source scales and harmonic function, invaluable to both students and professionals. Interspersed throughout with exercises and practice suggestions, the book is a complete guide to learning jazz piano and harmony for intermediate to advanced students. It is also a comprehensive resource for professionals, with thorough presentations of chords, source scales, slash chords, harmonic function, polychords, and more.

Table of Contents

  1. The Keyboard: Interval Building Blocks
  2. Intervals from the Major Scale: The First Source Scale
  3. Inversions of Intervals
  4. Compound Intervals
  5. Key Signatures Outlined
  6. Simple and Compound Intervals in Major Keys
  7. The Solfege System and Directional Tendencies of Scale Tones
  8. Common Intervalic Sequences
  9. The Remaining Source Scales/Sequences
  10. Intervals in Sequence (cont.): A Matrix
  11. Triads
  12. Open Voiced Triads
  13. Triadic Harmony in Popular Tune Style
  14. Voicing Melody in the Right Hand
  15. 7th Chords
  16. Chord Voicing Part I: An Integrated Left Hand 7th Chord Voicing Approach — A Stride and Shell Technique
  17. Harmonic Function - Part I: Tonic, Dominant, and Subdominant
  18. The Major Scale, Modes, Scale-Tone 7th Chords, and Basic Improvisation
  19. Improvising on Chord Changes: Phrasing and Guide Tones
  20. Chord Qualities/Extensions in Chord Symbols and 7th-Chord-Tone Extension-Substitution Voicing Solutions
  21. Chord Voicing Part II: An Integrated Left Hand Chord Voicing Approach — Guide Tones and Extensions
  22. Source Scales and Scale-Tone Intervals
  23. Source Scale Construction and Tetrachords
  24. Source Scales and Scale Tone Chords, Part I: Diatonic Scales
  25. Source Scales and Scale Tone Chords, Part II: The Symmetrical Scales — Diminished and Whole-Tone Scales
  26. Scale/Chord Source-Scale Overview
  27. Secondary Dominants: Preserving a Sense of Key
  28. Secondary Dominants: Function, Source Scales, Modal Borrowing and Associated Keys
  29. Secondary Dominants and The Emergence of Dominant Substitution: Tritone Substitution and SubV7
  30. Secondary Dominants and Improvisation
  31. Secondary Dominants and Related ii Chord/Scales: Conserving the Key
  32. Secondary Dominants and Inside to Outside Scale Choices
  33. SubV7 (Tritone—SubV7), Secondary SubV7, and Related II
  34. Harmonic Function Part II: bVIIMa7 Subdominant, Subdominant Minor, and Modal Borrowing (part II)
  35. Harmonic Function Part III:Tonic Minor Chord/Scales and Minor ii—V
  36. Harmonic Function Part IV: Diminished 7th chord function: A Justification of Dominant 7th Chord Motion
  37. Related Dominants, Related ii—V’s and Chord shapes in a Diminished Chord/Scale
  38. The Blues Part I: Form, Blues Scales, and Improvisation
  39. The Blues Part II: A Vehicle for Progressive Harmonic Change
  40. Chord Families/Chord Function Versus Chord Function/Chord Families: a Cross-Reference Review
  41. Chord Voicing Part III: Two Hands
  42. Pluralities In Extended Chords: Polychords, the Identification of Chord Stacks Between the Hands
  43. Slash-Chords: Chord Forms Over Bass Notes, Creating Chord Quality
  44. The “Sound”: A Slash-chord Approach to Jazz Piano Voicing
  45. Pentatonic Scale/Chords: Voicings, Pentatonic-shapes, Altered Pentatonics, Source Scales, and Function
  46. Open 7th-Chord Voicings: Drop 2 and Drop 3 and Drop 2&4 and Use as Passing Chord Harmony
  47. “Comping”: Articulation, Time Feels, Voicing-Style-Approach, and Form
  48. The Thickening of a Melody Line: Locked-Hands, Slash-Chord, Drop 2, Pentatonics, Quartal Harmony
  49. Scales with an Added Chromatic Passing Tone
  50. Polarized Passing-Tone Scales and Improvisation

  51. Neighbour Tones in Jazz: Diatonic/Chromatic-Approach Tones, Deflection, Change-Tones
 

Reviews & Reader Comments

“...an outstanding book and I will definitely recommend it to students... covered a lot of territory in a very thorough manner.”
    Dan Haerle — Professor Emeritus of Jazz Piano, North Texas State University. Author of popular Jazz textbooks including Jazz Improvisation for Keyboard Players: Complete, The Jazz Language: A Theory Text for Jazz Composition and Improvisation

“...a very thorough look at the techniques of playing jazz piano... An excellent choice for those getting started in jazz as well as seasoned players looking for a COORDINATED approach to jazz studies.”
    Dr. Paul Schmeling — Jazz Piano Chair Emeritus, Berklee College of Music. Author of Berklee Music Theory Books 1 & 2, the Berklee Practice Method series.

"I am an intermediate player who has been making a big push to get clear on the fundamentals of jazz harmony. A while back, I bought a bunch of books... None of them were giving me what I needed, which was a real overview... The book is excellent. If you are like me, an intermediate player with a lot of questions, this is the book to buy. I can’t speak for beginners or advanced players, or even piano players. But for intermediate guitarists, this book is great! There is a blurb for the book! Piano book, Intermediate guitarists love it! See what the publisher thinks of that!"
    jster — allaboutjazz forum

"An Approach to Jazz Piano is great resource. Mr. Austin’s book is a fresh, insightful approach to virtually every topic relating to jazz piano. An Approach to Jazz Piano starts with basic music theory, which I think is very helpful for beginning jazz students. It is safe to say that Mr. Austin’s approach addresses most of the concepts jazz pianists need to know about, starting with the basics and moving up through advanced theory concepts. One thought that occurred to me over and over again while reading the book was “I’ve never thought of it that way before.” I think Mr. Austin has a fresh take on MANY concepts... I’d definitely recommend An Approach to Jazz Piano. There are LOTS of great ideas, and the book is particularly strong with regard to theory and improvisational ideas/exercises, with some great voicing ideas as well."  Read full review here
    Camden Hughes — allaboutjazz forum

"A must have for jazz pianists, as Mr. Austin is highly regarded as an educator. Essentially containing a lifetime of ground-breaking harmonic exploration by an exceptionally gifted pianist, 'Charlie's' approach is itself a gift to those wanting to discover - or re-discover - the almost limitless possibilities of jazz piano."
      Steve Mallett

“This is no armchair text! This text is another worthy example of terrific international jazz education publications.” 
    International Association of Jazz Educators Magazine

"...it does succeed where many others fail... the information is invaluable to a beginning student of jazz piano as well as to seasoned  professionals..." 
    Lee Prosser — jazzreview.com