Olmstead’s words leapt off the screen. Unlike other theory books that treated jazz as a series of vertical blocks (chords stacked on top of chords), Olmstead approached the piano like a choir. He wrote about the independence of fingers, about how the thumb wasn't just a pivot but a melodic voice. He spoke of the "illusion of three hands"—creating a bass line, a middle harmony, and a soaring melody all with two hands.
: Official retailer for the full method book and CD/Audio resources. solo jazz piano neil olmstead pdf download new
Several new apps now offer Olmstead’s content in a modern format. Olmstead’s words leapt off the screen
: Covers piano-specific bass lines, walking bass, and how they differ from string bass roles. He spoke of the "illusion of three hands"—creating
Now add the melody in the right pinky, while the right thumb and index finger play the chord voicings from Week 2. The left hand continues walking. For the first time, you are a trio: Bass + Piano + Horn.
Most jazz piano methods focus heavily on "vertical" playing—stacking thirds to create thick chords. While chords are vital, Olmstead emphasizes the . This method focuses on: