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Jazz piano is a collective term for the techniques pianists use when playingjazz. Thepiano has been an integral part of the jazz idiom since its inception, in both solo and ensemble settings. Its role is multifaceted due largely to theinstrument's combined melodic and harmonic capabilities. For this reason it is an important tool of jazz musicians and composers for teaching and learning jazz theory and set arrangement, regardless of their main instrument. By extension the phrase 'jazz piano' can refer to similar techniques on anykeyboard instrument.

Along with theguitar,vibraphone, and other keyboard instruments, the piano is one of the instruments in a jazz combo that can play both single notes andchords rather than only single notes as does thesaxophone ortrumpet.

A new style known as"stride" or "Harlem stride" emerged during the 1920s, predominantly inNew York, United States.James P. Johnson was a prominent proponent. The left hand was used to establish rhythm while the right hand improvised melodies.^[1]

Mastering the various chord voicings—simple to advanced—is the first building block of learning jazz piano. Jazz piano technique uses all thechords found in Western art music, such as major, minor, augmented, diminished, seventh, diminished seventh, sixth, minor seventh, major seventh, suspended fourth, and so on. A second key skill is learning to play with aswing rhythm and "feel". In jazz, the roots are usually omitted from keyboard voicings, as this task is left to thedouble bass player. Jazz pianists also make extensive use of chord "extensions", such as adding the ninth, eleventh or thirteenth scale degree to the chord. In some cases, these extensions may be "altered" i.e. sharpened or flattened, as in the case of a "sharp 11" chord.

The next step is learning to improvise melodic lines using scales and chord tones. This ability is perfected after long experience, including much practice, which internalizes the physical skills of playing and the technical elements of harmony, and it requires a great natural 'ear' for extemporaneous music-making. When jazz pianistsimprovise, they use the scales, modes, andarpeggios associated with the chords in a tune's chord progression. The approach to improvising has changed since the earliest eras of jazz piano. During theswing era, many soloists improvised "by ear" by embellishing the melody with ornaments and passing notes. However, during thebebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and guitar players, bebop-era jazz pianists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.^[2]

Jazz piano (the technique) and the instrument itself offer soloists an exhaustive number of choices. One may play the bass register in anostinato pattern, popular inboogie-woogie style, where the left hand repeats a phrase numerous times throughout a song, as performed byRob Agerbeek in "Boogie Woogie Stomp". The left hand can also be played as a melodic counterline that emulates the walking of anupright bass. Instride piano, (similar to the earlierragtime) the left hand rapidly plays alternate positions between notes in the bass register and chords in the tenor register, while the right hand plays melody and improvises, as performed inGeorge Gershwin's "Liza". The right hand may play melodic lines, or harmonic content, chordally or in octaves. It may also be played in lockstep with the left hand, using a double melodyblock chord called "locked-hand"voicing, or Shearing voicing—a technique popularized, though not invented, by the pianist and set leaderGeorge Shearing.

Jazz piano has played a leading role in developing the sound of jazz. Early on, Black jazz musicians created ragtime on the piano. As the genre progressed, the piano was usually featured in the rhythm section of a band, which was typically configured as one or more of piano, guitar, bass, or drums, or other instruments, such as the vibraphone.

Over time, playing piano-accompaniment in ensemble sets, and then bands, changed from primarily time-keeping (consisting of repetitive left-hand figures) to a more flexible role. Ultimately, the skilled pianist was free both to lead and to answer the instrumental soloist, using both short and sustained, chordal and melodic, fragments—a technique known ascomping. Good comping musicians were capable of many and different chord voicings, so to match the various moods the different soloists were aiming for. In the early days, not all leading pianists were concerned to provide comping. Others—notablyDuke Ellington, who became famous during theHarlem Renaissance at theCotton Club—earned great esteem among band members as well as other musicians. Ellington comped enthusiastically in support of the soloist and did much to develop the technique.

Jazz piano moved away from playing lead melody to providing foundation for song sets; soon, skilled jazz pianists were performing as soloists. In the 1940s and 1950s, a number of great piano players emerged. Pianists likeThelonious Monk andBud Powell helped create and establish the sound of bebop.Bill Evans built upon the style of Powell while adding a distinct classical influence to his playing, whileOscar Peterson pushed rhythmic variations and was influenced by the style ofArt Tatum,Teddy Wilson andNat King Cole.Wynton Kelly,Red Garland,Herbie Hancock, andKeith Jarrett were also exceptional pianists who played withMiles Davis.Tommy Flanagan was featured byJohn Coltrane on his hit albumGiant Steps.McCoy Tyner is also an influential player who played with Coltrane.

• List of jazz pianists
• Swing (jazz performance style), a term of praise for playing that has a strong rhythmic"groove" or drive

• Taylor, Billy (1983).Jazz Piano: A Jazz History. Dubuque, Iowa: W.C. Brown Co.ISBN 978-0697099594. Adapted from Taylor’s National Public Radio series.
• Mark Levine:The Jazz Piano Book. A "how to" book on the subject.
• Randy Halberstadt:Metaphors For The Musician. Insights into almost every aspect of jazz piano.
• Luke Gillespie:Stylistic II/V7/I Voicings For Keyboardists. Covers all styles of comping, from basic and fundamental approaches to modern.
• Hal Galper:Forward Motion. An approach to jazz phrasing.
• Riccardo Scivales:Jazz Piano: The Left Hand (Bedford Hills, New York: Ekay Music, 2005). A method covering all the left-hand techniques used in jazz piano (and also a study of the history of the left hand in jazz piano), with hundreds of musical examples.
• David Berkman:The Jazz Musician's Guide to Creative Practicing. Covers the problems of jazz improvisational practice with a focus on the piano, but for all instruments. (Also, it is entertaining and humorous.)
• "Duke Ellington Biography." Duke Ellington Biography. N.p., n.d. Web. 13 November 2014.
• Dupuis, Robert. "Contemporary Musicians: Art Tatum." Encyclopedia. N.p., 1997. Web. 15 November 2014

Wikimedia Commons has media related toJazz piano.

Wikiversity has learning resources aboutJazz Piano I

• Piano Jazz –Marian McPartland's program onNational Public Radio
• BBC Scotland's History of Jazz Piano – Richard Michael's History of the Jazz Piano
• Nairn, Charlie, (1975):Earl "Fatha" Hines:[1] documentary

• Jazz instruments
• Piano
• Accompaniment
• Occupations in music

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