Harmonic Foundation for Jazz and Popular Music

Overall this is a good introduction to jazz harmony and voicings. As other reviewers have said, Mr Amadie's writing style gets straight to the point and doesn't waste words. His explanations are pretty clear but not elaborate, and the voicings sound good. Practicing these will definitely also help your ear for harmony if you put enough time into it.To me the biggest weakness of this book is that it has a singular approach which--although it does teach you how to form some lovely chord voicings--is very limited and does not, in my opinion, cover all the voicings a pianist really needs. It's a very strict formula for five-note voicings with two notes in the left hand and three in the right. Alternatives just aren't covered. Want to learn about rootless voicings, one of the most essential skills for any jazz pianist playing in a group? You won't find them here. Want to learn some convenient four note left-hand voicings that give your right hand more breathing room to play melodies? You won't find them here. Because of this I do think this is better seen as a book about the theory of jazz harmony as opposed to a jazz piano technique book.On the whole I do recommend it, especially if you want to do a deep dive into voicings, because there's some great content here. But it's not the only resource you need for jazz piano chords.

If I had to choose just 2 books on Jazz harmony/improv out of all that I’ve bought and downloaded in the last 10 years, this one would have be one of them (The other would be J.Amadie’s book on Improv!)It assumes nothing, it doesn’t beat around the bush, it cuts no corners, and every word written in it serves a purpose, and that purpose is immediately put to practice, not creating drills that might eventually help, but actually creating the thing itself (a palette of rich sounding fat chords that can be applied to any context) from the start.One thing I liked is as he mentions in the book, the goal through the book is not to memorize voicings, but rather, to learn the thinking process behind creating them to harmonize melodies and learning to be aware of what can be created, to use mind and ear. That’s invaluable, I think: a book that teaches you to think in a way that you can freely create.I’m not a piano player, ( i play trombone) and when I started on this book, I spent about two weeks just working on Exercise II, and it has been tremendous help.Just from the Introduction of the book you can tell the dedication and standard of excellence that was poured into this. Really, thank you for such great work. It makes a huge difference for those of us that are always searching for a richer and more enjoyable way to understand and create music.

Another book that could be 5 pages long, poorly titled, despite its cool mid-century cover.Here's an approximation of the entire book or "creed" in a nutshell (5 note chord voicings):1) 2 notes with left hand (R+3rd, R+5th, R+6, R+7)2) 3 notes with right hand (3rd if not used in left hand plus any two extensions, 7th, 9th, 11th, 13th)3) Left hand and right hand "grips" shouldn't be anymore than a 7th apart from each other.4) Formula is essentially the same for all chord varieties, Maj, Min, Dom, Dim, Aug....this formula is neither new nor invented by jimmy amadie, so to name it as such is a bit pretentious. I would compare the whole book to a single comping lesson from a competent jazz instructor, with the exercises and examples meant to drive the point home and develop the ear. A valuable lesson yes, but no secret knowledge or anything approaching an intrinsic creed or overall foundation of jazz and pop harmony.Mark Levine's Jazz Books are money better spent and equally if not more so clear and to the point for those looking for plain language learning. For those looking for a deeper understanding of harmony, check out Ron Miller's Modal Jazz Composition Vol 1-2, some of the truly deepest and rich sounding voicings and ideas you'll find in text.

This jazz piano method book is very methodical. You will learn with practice how to voice in a modern way, beyond root voicings jazz chords. In addition, what is nice about this method is the thorough way it explains how to play and harmonize a melody. This technique is missing in most jazz chord and harmony books. The approach here for chord voicings is similar to Mantooth, but unlike the latter, it explains how to add the melody.

I received this product with no problem. I am looking forward to digging in to the content because it was recommended to me by some top jazz pianists.

Excellent book, slightly above my current level, but can't wait to get into it as I get my sight reading and keyboard familiarity chops down. Looks to be challenging but a terrific tool in building a solid foundation for improvising and--something I've long wanted to do--playing by ear. The accolades from the likes of Woody Herman and Mel Torme--one of my favorite male vocalists of all time--are high praise indeed.

I like the approach of harmonizing and embellishing chords with 5 notes. The exercises sounds too rich, and don't explain the reason and when we should apply such chords. Still a good book to go thru.

You want to build beautiful jazz chords on the piano while creating arrangements or simply do it while reading a song from a songbook? Two words to you: "Amadean's creed." Once internalized this method inside of you, the musicianship is 100%. I love this book! This is the first Jimmy's Best seller for keyboardists in general.