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COUNTERPOINT IN JAZZ PIANO PLAYING

Doctoral Project Proposal

Dimitrije Vasiljevic

STATEMENT OF PURPOSE

The goal of this thesis is to examine the contrapuntal jazz piano

techniques by analyzing the playing styles of several reputable jazz

piano players known for the applied use of counterpoint in their

playing. Throughout its the history of jazz, jazz musicians have been

adopting harmonic and melodic characteristics of classical music and

adjusting them to the aesthetical narrative preferences of the jazz

idiom. While most of these stylistic changes have been clearly visible

in the piano playing styles of great jazz masters, some of them have

been introduced more gradually, and continued to evolve up to the

present day. The revolutionary approach to jazz piano in which, by

using a contrapuntal way of thinking, voices became more

independent and the emphasis switched from vertical (chordal) to a

linear aspect, started with Lennie Tristano in the mid-1950s. Tristano

extensively played improvised lines accompanied by the walking bass,

thus creating a two-part counterpoint. Later, Bill Evans and Keith Jarrett

developed this concept by adding different rhythms to voices and

experimenting with the movement of inner voices in a chord voicing.

Finally, the modern concept of jazz piano counterpoint was perfected

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by a number of contemporary jazz pianists who have incorporated

many ideas from 18th and 19th century counterpoint and have created a

new approach to jazz piano playing. Some of the most influential

representatives among them are Fred Hersch, Brad Mehldau and Kenny

Werner, because of known for their extensive use of polyphonic playing

and personal improvisational styles that largely rely on contrapuntal

techniques. Moreover, in the contrapuntal playing style of each of all

the mentioned these pianists, certain distinctions have emerged. This

has occurred, mainly in the form of mutual harmonic, melodic and

rhythmical relationship between two, three or four parts in the

polyphonic texture. These characteristic rules, patterns, and motifs will

be analyzed and categorized in this thesis. Additionally, a set of

exercises and methods for practicing and adopting these contrapuntal

concepts will be developed. Beside the thorough theoretical

examination, classification, transcription analysis and comparison to

the Baroque counterpoint, the use of counterpoint in jazz piano playing

will be also investigated from the aspect of the musicological values,

by evaluating the significance of impact it had on jazz and culture at

large.

PROJECT BACKGROUND

Jazz piano playing techniques have been constantly developing

and changing over time. During the New Orleans Jazz period, which

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began in the early 1910s and lasted roughly two decades, prominent

pianists such as Jelly Roll Morton, James P. Johnson, Willie The Lion

Smith and others, perfected the technique called Harlem Stride

which was based on the bass-chord left hand concept. Virtuosic runs

in the right hand and Harlem Stride in the left hand posed a textbook

example of a homophonic texture in which there is a clear distinction

between the melody and the accompaniment. In the 1930s and 1940s,

during the emergence of swing and later bebop, pianists abandoned

the bass part of their left hand accompaniment style. Instead, they

started playing exclusively syncopated chords using the left hand,

which provided a harmonic basis for their melodic passages in the right

hand. The texture of this jazz piano playing style remained homophonic

and it wasnt until the appearance of jazz pianist Lennie Tristano on the

scene, that the polyphonic jazz piano texture was introduced. His

album The New Tristano,, released in February 1962 represents a

turning point in terms of texture in jazz piano playing, for the majority

of songs in this album were polyphonic walking bass in the left, and

melodic passages in the right hand. This simple two-part species

counterpoint of second and third types (2:1 and 3:1) is the foundation

of polyphonic way of thinking in jazz piano playing. By its melodic and

rhythmic nature as well as a mutual relationship of the two parts, it is

comparable to Bachs 18th century counterpoint he mainly used in his

two-part inventions. The melodic content is, of course different from

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Bachs, as well as the rules for achieving the adequate results in

sound. Therefore, the comparative analysis between Tristanos solo

piano playing and Bachs two-part inventions will be conducted as a

part of this thesis.

Tristanos innovative approach to jazz piano playing inspired a

number of other pianists, both his contemporaries and the ones those

that came after him. They contributed in their own ways to the newly

discovered, polyphonic concept of jazz piano playing, by either

adjusting Tristanos ideas to their own personal styles, thus creating

the new means of using the counterpoint in piano, or by developing it

and making it more complex. The most significant users of

contrapuntal devices in jazz piano, beside following Tristano, were Bill

Evans, Ketih Jarrett, Dave McKenna, and in more recently times, Fred

Hersch, Brad Mehldau, Craig Taborn, Taylor Eigsti, Kenny Werner,

Esbjorn Svenson, and Tigran Hamasyan, among others.

Dave McKenna, a specialist in solo piano playing, while not

exclusively using the walking bass lines in his left hand like Tristano,

still played his own interpretation of Tristanos contrapuntal concept.

He tended to use a mixture of walking bass and other left hand

techniques such as broken tenths,, chord repetition and

arpeggiation. Bill Evans and Keith Jarrett have approached a

contrapuntal idea, not from a linear standpoint, like Tristano, and to

some extent McKenna, but from a chordal perspective, in contrast to

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the more linear approach of Tristano and McKenna. They have done so

by making the inner voices pitches of a chord voicing more active, both

melodically and rhythmically. In the more recent years, pianists such as

Fred Hersch and Brad Mehldau have perfected the use of counterpoint

in jazz piano playing by introducing several innovative aspects in this

field . Both of them developed the ability to independently lead two,

three or four voices while outlining the harmonic progression of a given

standard jazz repertory piece or an original composition. Unlike

Tristano who had based his contrapuntal style around two-voice texture

(walking bass and melody), or Evans and Jarrett whose main

contrapuntal characteristics reflected in the movement of inner voices

within a chord, Mehldau and Hersch have expanded on both of these

concepts by mixing them together. Their contrapuntal playing style

was founded on the complex harmonic structure that implied

sophisticated chord voicings. These chord progressions are represented

linearly by creating independent parts that move in the mutual

rhythmical coherence. This principle of jazz piano counterpoint will be

thoroughly examined and analyzed, as well as compared to the

contrapuntal techniques Bach had used in his three-part inventions

and fugues.

RESEARCH OBJECTIVES

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In this thesis, my goals will be to track the historical presence and

development of counterpoint in jazz piano playing by locating and

comparing playing styles of prominent jazz piano counterpoint users. I

will, as well as to also categorize contrapuntal jazz piano devices

according to theirits musical distinctions, into three categories: linear,

chordal, and latent. Differences between these three stylistic

approaches - linear counterpoint (Tristano, Hersch, Mehldau,

Svensson), chordal counterpoint (Bill Evans, Keith Jarrett) and latent

counterpoint (Eigsti, Werner, Hamasyan), will be examined and

explained. While the linear approach is based upon the mutual

relationship of the independent melodic lines, chordal principle uses

vertical harmonic structure and the inner voices movement within a

chord voicing to achieve the contrapuntal effect. The structure of the

latent approach relies on repetitiveness of short phrases or single

pitches, which function asare the parts of a larger melodic pattern. In

this way a sonic effect of a disguised independent line is created,

therefore creating a polyphonic texture.

Furthermore, the transcriptions of Lennie Tristanos G Minor

Complex (The New Tristano), Brad Mehldaus Resignation (Elegies)

and Fred Herschs arrangement of You Aand the Night Aand the

Music (Floating) will be analyzed, as well as excerpts from several

works by other major contrapuntal jazz pianists such as Keith Jarrett

(Kln Concert), Bill Evans (The Solo Sessions Vol. 1 & 2), Esbjorn

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Svenson (When God Created a Coffee Break) and Tigran Hamasyan

(Samsara). Certain examples of Kenny Werners, Craig Taborns and

Tyler Eigstis playing will be mentioned too. The goal of the

transcription analysis will be to develop a theory and methods to

approach and use different jazz piano contrapuntal techniques in the

jazz improvisation and jazz piano arranging.

As a part of this research, these important questions will be addressed.

- According to the jazz history books and recordings, who are some

of the most influential jazz pianists in the history of jazz that

have used contrapuntal devices in their playing?

- What was the timeline of the development of counterpoint in jazz

piano playing and in what way has it changed over time?

- How should counterpoint be approached and analyzed

theoretically in jazz and what is the categorization of the main

contrapuntal styles of jazz piano playing?

- How should counterpoint in jazz piano playing be best practiced?

METHODOLOGY

- In order to locate the most influential users of contrapuntal jazz

piano techniques, jazz recordings and available notated pieces

and solo transcription will be used as a reference as well as Mark

Gridleys Jazz Styles: History and Analysis. This volume

thoroughly describes the playing styles of many jazz piano

greats, therefore it will be helpful in a search for the ones who

used counterpoint in their playing.

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- The same book, as well as various jazz recordings will be

consulted, in order to analyze and compare the differences in

contrapuntal approaches to jazz piano by the piano greats.

- I will transcribe (or use the published transcriptions when

available) and analyze the aforementioned jazz pieces. In that

process I will first compare excerpts from The Well-Tempered

Klavier, Books I and II, by J.S. Bach with the excerpts of

Omnibook by Charlie Parker in order to demonstrate the

similarities and differences of these two musical contexts. While

Parkers and Bachs music has been written and composed in

different time periods and aesthetic contexts, the similarity of

melodic content in certain areas of their works is striking.

Therefore, if Bachs music was well known for its contrapuntal

characteristics, could that then translate to bebops adequacy for

contrapuntal treatments? If so, bebop, which is considered to be

the foundation of jazz improvisation, could pose to be the root for

contrapuntal development that followed later.

- iI will compare jazz transcriptions among themselves and come

up with the categorization according to the type of counterpoint

used, as well as with the strong theoretical system of rules that

could be applied towards learning of how to play jazz piano

contrapuntally. I will also use Kent Kennans Counterpoint: Based

on Eighteenth Century Practice and Gordon Delamonts Modern

Contrapuntal Technique, as a reference and a basis for the

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creation of new contrapuntal system of rules within the jazz

setting.
- For the exercises development and practicing, I will refer to Jean-

Michel Pilcs Its About Music: The Art Aand Heart of

Improvisation, Ray Santisis Berklee Jazz Piano, Jeff Gardners

Jazz Piano: Creative Concepts and Techniques and Neil

Olmsteads Solo Jazz Piano: The Linear Approach and will build

my original set of exercises.

- Three interviews will be conducted through the e-mail.

Interviewees are intended to be the ones with: Brad Mehldau,

Fred Hersch and Jean-Michel Pilc, three of the highly acclaimed

jazz pianists as well as prominent users of counterpoint in their

playing styles.

LITERATURE REVIEW

The historical sources that will be used throughout this thesis,

will show that the contrapuntal approach to jazz piano was first

introduced around the late 1950s and the early 1960s, almost

exclusively in the playing style of Lennie Tristano. In Jazz Styles:

History and Analysis, Mark Gridley discusses Tristano in this light,

comparing his playing style to the highly contrapuntal compositional

style of J.S. Bach and labeling him as a pioneer of a new and original

jazz piano sound. The same book follows the historical evolution of

piano playing during which the contrapuntal jazz piano concepts

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Tristano founded evolved, mainly within the styles of Bill Evans and

Keith Jarrett. However, Gridley does not cover the work of the more

recent jazz pianists such as Fred Hersch, Brad Mehldau, and Kenny

Werner, who have taken the contrapuntal approach in a different

direction. That is the portion of historical work and stylistic analysis I

intend to undertake in my thesis.

The practical category of the bibliography for my thesis is based

around several method books on jazz piano playing. Jeff Gardners Jazz

Piano: Creative Concepts and Techniques as well as Ray Santisis

Berklee Jazz Piano, each contain a chapter on jazz piano counterpoint

techniques. While the former provides exercises for breaking chord

structures into lines and then voice leading these lines independently

from each other, the later focuses more on principles of rhythmical

freedom and melodic independence, regardless of the harmonic

foundation. In Solo Jazz Piano, Neil Olmstead explores various solo

piano techniques from a melodic standpoint, rather than a harmonic

one,. The exercises in this book clearly present a way to understand

and practice melodic improvisation played over a walking bass line, the

movement of the inner-voices in a chord voicing, as well as how to

create and execute a piano arrangement of a jazz standard by turning

the standard harmonic approach to a three or four-part piece. Finally,

Jean-Michel Pilc, considered by many as one of the most innovative

jazz pianists of todays jazz scene, in his Its About Music: The Art and

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Heart of Improvisation, provides an original method of how to practice

free jazz improvisation in the contrapuntal manner by first playing

one part and singing another part, and then gradually adding

additional parts.

The third category of the literature I will be using as sources for

my thesis is a musicological one. In addition to examining the

counterpoint in jazz piano playing from historical and methodical

perspectives, it is crucial to explain why this jazz piano technique is

important to jazz music. Also, in what way has it impacted not only the

aesthetics of jazz, but as a part of it, the artistic improvisatory music in

general? If the use of counterpoint really added to the artistic aspect of

jazz, then, in what ways has jazz changed its influence on the modern

culture? Has this silent revolution in jazz piano playing really been able

to inspire the avalanche of changes in the jazz music itself, the one

that ultimately led to how some artists and scholars tend to perceive

jazz nowadays as a global tool for a creative expression in music,

rather than just a music style limited by its own boundaries which are

reflected in aesthetics and rules?

The set of books that deal with the musicological perspectives on

jazz will be consulted in order to address these questions. Jazz Among

the Discourses, edited by Krin Gabbard, successfully shows how jazz

gradually evolved from dancing music to the form of art. Jazz/Not Jazz,

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The Music and Its Boundaries edited by Ake, Garret and Goldmark,

reveals various points of view on jazz by the members of the nations

who adopted jazz and adjusted it to their own needs and traditions. It

explores the idea of jazz today being a musical style that is on the

constant move and that varies in shape and definition, while being torn

between jazz purists and jazz innovators, both of which who keep

claiming their ownership of jazz and exclusive right to label jazz as a

definitive entity.

Both of David Akes volumes Jazz Matters and Jazz Cultures

undertake a comprehensive study about identities that jazz musicians,

as well as jazz audiences have been shaping over the course of the last

century. Specific relationships of jazz composers and their works, as

well as the presentation of these works to listeners both give an insight

to the different narratives within jazz education, performance and

criticism. Questions such as where and what is jazz today? and

does it have a significant place in the modern worlds scene? are

addressed in both of the Akes works in the effort of trying to re-

identify jazz in the society that seems to be less and less adequate for

it. Jazz piano counterpoint and the reasons for its emergence at a

certain place and time on the jazz history timeline, could be analyzed

also from these sociocultural perspectives. Berliners Thinking In Jazz:

The Infinite Art of Improvisation is a review of both, the individual and

collective learning of improvisation. It sheds the light on the difficult

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path of musicians in the process of mastering jazz, not only as a style

but also a specific aesthetical expression of our time. The important

part of the contrapuntal approach to jazz piano is improvisation,

therefore the material of this book will present an explanation of how

the improvisational part could be best learned and what creative

processes it assumes. Ted Gioias The Imperfect Art: Reflections On

Jazz and Modern Culture mainly focuses on the explanation of the

journey from jazz primitivism to jazz neoclassicism,, while also

managing to touch on a wide variety of issues about jazz, ultimately

showing its well deserved place on todays art scene.

Finally, a study on emergence of modern sub-genres of jazz, such

as nu-jazz, acid jazz, fusion and other different forms of experimental

improvisatory music is the theme of People Get Ready: the future of

jazz is now! edited by Heble, Ajay, and Wallace. The book also explores

economical, political and sociological backgrounds of jazz musicians

lives and belief systems, but its main connection to the topic of jazz

piano counterpoint lies in a need of analyzing the nature of jazz that

tends to branch out into sub-genres, usually creating new playing

techniques in the process. This analysis will provide a fertile ground for

answering the questions about whether counterpoint in jazz piano

playing inspired an entire jazz movement and ultimately changed the

artistic value of jazz and our perception of what it means to be a jazz

pianist/musician nowadays.

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The topic of jazz piano counterpoint as a fully developed,

distinctive and fairly popular aspect of jazz music today, has not been

much addressed in literature in the past. The method books I will be

using for my research, especially those of Santisi and Gardner, only

touched on some possible performing concepts, without thoroughly

analyzing works by prominent users of jazz piano counterpoint such as

Brad Mehldau, Fred Hersch, Kenny Werner, Taylor Eigsti or Craig Tabor

to name a few. Olmstead has analyzed and presented early jazz

counterpoint concepts, but those are only regarded to be the basis of

what jazz piano counterpoint has really become nowadays a complex

technique and the style for itself. Used both in a solo piano and a band

setting, it has evolved from Tristanos concept of an improvisatory

bass-melody relationship and developed into a comprehensive concept

of independent voice leading in which all of the voices move within a

given harmonic context, thus building a larger musical form. Jean-

Michel Pilc, in his book, describes his thinking processes while

improvising in the contrapuntal fashion, but only to a point of a

personal feeling and taste. His book is fully textual and does not

provide any notated examples, exercises or categorized methods about

how to approach the practicing of these techniques. Therefore, I intend

to transcribe and fully analyze several well-known examples of jazz

piano pieces that use counterpoint, performed in both, solo piano and

band settings. These will be the examples by some of the most

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influential jazz pianists currently active on the scene, and they will

imply the aspects of the contemporary jazz piano playing. These

aspects are the ones that build on the Tristanos and McKennas

playing concepts analyzed in the Olmsteads book. Moreover, I will

categorize different kinds of counterpoint in jazz piano playing and

show the existing music examples of each of the categories presented.

From a historical perspective, none of the sources I will be using,

elaborate on the historical development of jazz piano counterpoint in

depth. On one hand, sources on Tristano, Evans, Jarrett and other

literary well-covered, do not focus on their experimenting with and use

of counterpoint in their playing styles, while on the other hand, more

contemporary jazz pianists like Hersch, Mehldau and Werner have not

been written about much at all. I will provide a thorough historical

analysis on jazz piano counterpoint, from its beginnings when it was

appearing mostly in the form of melody over the walking bass,, all

the way to the present day when it has become a fully developed jazz

piano concept.

Even though the musicological sources I will be using to explain

the importance and impacts of jazz piano counterpoint are

comprehensive and very informative, none of them cover a specific

discussion about it. They are mainly focused on the phenomenon of

jazz language and improvisation as such, without going into the

greater detail of what musical elements supported the change in

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musicians thinking processes and thus ultimately caused a change on

a larger scale in jazz music and its meaning on todays scene. And I

will try to prove that counterpoint in jazz piano playing has been and

still is the one.

METHODOLOGY

- In order to locate the most influential users of contrapuntal jazz

piano techniques, jazz recordings and available notated pieces

and solo transcription will be used as a reference as well as Mark

Gridleys Jazz Styles: History and Analysis. This volume

thoroughly describes the playing styles of many jazz piano

greats, therefore it will be helpful in a search for the ones who

used counterpoint in their playing.

- The same book, as well as various jazz recordings will be

consulted, in order to analyze and compare the differences in

contrapuntal approaches to jazz piano by the piano greats.

- I will transcribe (or use the published transcriptions when

available) and analyze the aforementioned jazz pieces. In that

process I will first compare excerpts from The Well-Tempered

Klavier, Books I and II, by J.S. Bach with the excerpts of

Omnibook by Charlie Parker in order to demonstrate the

similarities and differences of these two musical contexts. While

Parkers and Bachs music has been written and composed in

different time periods and aesthetic contexts, the similarity of

16
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melodic content in certain areas of their works is striking.

Therefore, if Bachs music was well known for its contrapuntal

characteristics, could that then translate to bebops adequacy for

contrapuntal treatments? If so, bebop, which is considered to be

the foundation of jazz improvisation, could pose to be the root for

contrapuntal development that followed later.

- i will compare jazz transcriptions among themselves and come

up with the categorization according to the type of counterpoint

used, as well as with the strong theoretical system of rules that

could be applied towards learning of how to play jazz piano

contrapuntally. I will also use Kent Kennans Counterpoint: Based

on Eighteenth Century Practice and Gordon Delamonts Modern

Contrapuntal Technique, as a reference and a basis for the

creation of new contrapuntal system of rules within the jazz

setting.
- For the exercises development and practicing, I will refer to Jean-

Michel Pilcs Its About Music: The Art And Heart of Improvisation,

Ray Santisis Berklee Jazz Piano, Jeff Gardners Jazz Piano:

Creative Concepts and Techniques and Neil Olmsteads Solo Jazz

Piano: The Linear Approach and will build my original set of

exercises.
- Three interviews will be conducted through the e-mail.

Interviewees are intended to be the ones with: Brad Mehldau,

Fred Hersch and Jean-Michel Pilc, three of the highly acclaimed

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jazz pianists as wellas prominent users of counterpoint in their

playing styles.

CHAPTER OUTLINE

ACKNOWLEDGMENTS

INTRODUCTION

Chapter 1: A brief history of contrapuntal jazz piano playing

and the
categorization of the distinctive styles
Section 1: Lennie Tristano: Walking bass
Section 2: Bill Evans and Keith Jarrett: Chordal approach;
movement of the
inner voices within a voicing
Section 3: Brad Mehldau and Fred Hersch: three and four-part
contrapuntal
textures;
Section 4: Other influential users of modern jazz piano
counterpoint (Esbjorn
Svensson, Kenny Werner, Craig Taborn, Taylor Eigsti,
Tigran
Hamasyan)

Chapter 2: Transcription analysis of the jazz piano counterpoint

pieces
Section 1: Lennie Tristano G Minor Complex
Section 2: Fred Herschs arrangement of You And the Night And
the Music
Section 3: Brad Mehldau Resignation

Chapter 3: Theoretical Concepts and Exercises

Section 1: Two-part counterpoint
Section 2: Three and four-part counterpoint
Section 3: Chordal approach

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Section 4: Latent counterpoint

Chapter 4: Significance for Jazz

Section 1: Tradition versus modernity in jazz
Section 2: Jazz counterpoint and the new perspectives in jazz
piano playing

CONCLUSION

Appendix A: Interviews
Appendix B: Discography of contrapuntal jazz piano recordings

TIMELINE

SUMMER 2016:

May: Final draft of the project proposal

June: Begin writing the first draft of the final paper
August: Interviews

FALL 2016:

September: Qualification Exam 1

October: - Qualification Exam 2

- First draft of the final paper done and submitted for
reviews to my
advisor (possibly to some or all of the members of my
Committee, too)

November: - Preliminary Exam

- Editing the first draft of the paper

December: Further editing of the first draft

SPRING 2017:

January: Final draft of the paper ready

February and March: Polishing of the final draft (working with my
advisor and the
Committee)
April: Final recital and within a week from it a final defense
May: Graduation

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SIGNIFICANCE OF THE PROJECT

Since there has not much been written about counterpoint in jazz

piano playing, this work will make a significant contribution to the

theoretical understanding of this jazz piano technique, as well as the

practical application of it. Through the analysis of the numerous

notated excerpts taken from the jazz piano repertory and by using the

exercises derived from them, students of jazz piano will be provided

with the method for practicing this technique. Additionally, a new light

will be shed on the importance of counterpoint in modern

improvisatory music and its main practitioners.

BIBLIOGRAPHY

Ake, David, Charles Hiroshi Garrett and Daniel Goldmark, eds. Jazz/Not
Jazz: The Music and Its Boundaries. Berkeley: University of
California Press, 2012

Ake, David. Jazz Cultures. Berkeley: University of California Press, 2002.

Ake, David. Jazz Matters. Berkeley: University of California Press, 2010.

Bach, Johann Sebastian. The Well-Tempered Clavier, Books I and II,

Complete. New York: Dover Publications, 1984.

Berliner, Paul F. Thinking In Jazz: The Infinite Art of Improvisation.

Chicago: University of Chicago Press, 1994

Delamont, Gordon. Modern Contrapuntal Technique. New York: Kendor

Music, 1969

Gabbard, Krin, ed. Jazz Among the Discourses. Durham: Duke

University Press, 1995.

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 21

Gardner, Jeff. Jazz Piano: Creative Concepts and Techniques. Paris:

Editions Henry Lemoine, 1996

Gioia, Ted. The Imperfect Art: Reflections On Jazz and Modern Culture.
Oxford: Oxford University Press, 1988.

Gridley, Mark C. Jazz Styles: History & Analysis, 9th ed. Upper Saddle
River, NJ: Prentice Hall, 2006.

Heble, Ajay and Rob Wallace, eds. People Get Ready: the future of jazz
is now! Durham: Duke University Press, 2013.

Hersch, Fred. Floating. With John Hebert and Eric McPherson. 2014
by MRI. B00K6D1OJ2. Compact Disc.

Jarrett, Keith. The Koln Concert: Original Transcription. Mainz: Schott

Music, 1991.

Kennan, Kent. Counterpoint: Based on Eighteenth Century Practice, 4th

ed. Upper Saddle River, NJ: Prentice Hall, 1999.

Levine, Mark. The Jazz Piano Book. Petaluma, CA: Sher Music Co., 1989.

Mehldau, Brad. Artist Transcriptions: The Brad Mehldau Collection.

Milwaukee: Hal Leonard, 2002.

Mehldau, Brad. Elegiac Cycle. 1999 by Warner Bros/Wea.

B00000J7J7. Compact Disc.

Mehldau. Brad (jazz pianist). Writing. Internet. Available:

http://www.bradmehldau.com/writing/(accessed on March 25,
2016).

Olmstead, Neil. Solo Jazz Piano: The Linear Approach. Boston: Berklee
Press, 2003.

Pilc, Jean-Michel. Its About Music: The Art and Heart of Improvisation.
Montrose, CA: Glen Lyon Books, 2012

Polishook, Mark. Bach Inventions and Counterpoint In Jazz. The

Improvised Line A Blog About The Piano, Improvising and Jazz,
July 14, 2014, accessed April 26, 2016.

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http://www.polishookstudio.com/2014/07/bach-inventions-and-
counterpoint-in-jazz.html

Powell, Bud. The Bud Powell Collection: Piano Transcriptions.

Milwaukee, WI: Hal Leonard, 2002

Santisi, Ray. Berklee Jazz Piano. Boston, MA: Berklee College, 1996.

Stevens, Jan. The Hal Galper Interview. The Bill Evans Webpages,
April 2002, accessed April26, 2016.
http://www.billevanswebpages.com/galperintview.html

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