Has your practice ever sounded like this…?

It is a common milestone in the self-taught journey for jazz pianists: reaching a point where the blues scale and a good ear have taken things as far as possible. Eventually, a plateau often appears where improvisation starts to feel like "running scales" rather than playing authentic, idiomatic jazz. To bridge the gap between "intuitive foundations" and "intentional jazz," I recommend a structured path using two specific "bibles" of the genre. These resources remove the guesswork by providing clear, page-by-page drills and the specific theory behind every note choice. The Core Resources 1. The Jazz Piano Book (Mark Levine). This is the industry standard for piano-specific textures and "the sound." For anyone wanting to move from basic chords to the sophisticated voicings of Oscar Peterson or the unique rhythmic "lag" of Erroll Garner, this is the resource. It focuses heavily on the actual "how-to" of sitting at the keys. 2. The Berklee Book of Jazz Harmony (Nettles/Graf). While Levine provides the "sound," Berklee provides the "map." This book is essential for mastering chord-scale theory. It explains exactly which scales to use over specific chords based on their function in a song. It turns jazz theory into a clear, logical system. Why Use Both? Using just one can often lead to gaps. Levine’s book is brilliant but can be anecdotal; the Berklee book is mathematical and rigorous. Combining them helps a pianist to: - Move Beyond Scales: Stop just running up and down modes and start using "bebop" vocabulary, chromatic enclosures, and arpeggios from the 3rd. - Master Functional Harmony: Understand exactly when to use a Dorian, Mixolydian, or Altered scale based on the chord progression. - Build Professional Textures: Transition from simple left-hand chords to "shell voicings," stride foundations, and advanced rhythmic displacement. By following the specific chapters and exercises in these two texts, the transition from "playing by ear" to "playing with intent" becomes a clear, manageable process.

This is the first time I've kept a record of my practice and it has really helped me manage my expectations and pace. I usually try to only tackle a small section at at time but writing it down with the speed has also helped me make progress. I had recorded myself playing this piece 2 weeks ago and it was slow and disjointed. The difference after more targeted practice is noticeably improved. I am encouraged to try a new piece alongside this one now. I do my practice each morning for 30 minutes before work but didn't have as much time this week because I was away so am really pleased with the progress. Does anyone else keep a log or record themselves?

Previously I had written my progress on the actual sheet music. But this becomes messy and you don’t have the space to record your progress fully. I found I didn’t follow up my progress because of a lack of space, which becomes a good excuse. Had an old ABRSM note book my daughter had used and have started using it. I should have started doing earlier in my learning and will use it to review the pieces I have working on with Ben. I think I will get a plain notebook so I can write more freely. So some catching up to do.

This community is shaped by you! Since we are now a member-led circle, I want to make sure the resources in the Classroom and our Group Sessions are exactly what you need to progress. How to request a topic: If there is a specific technique, piece of music, or theory concept you’re stuck on, please comment below. How to vote: If you see a suggestion from a fellow member that you’d also like to see, "Like" their comment. I’ll be checking this pinned post regularly to prioritise new content and workshop topics based on what you find most valuable. What’s on your music stand that we can help with?