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Left hand shells "let offs"


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Who is famous for letting off the root (or top note) and sustaining the other shell note in bebop shells? I call it 'let offs' when I teach it. Is it Bud? Horace? All of them? How would you describe the benefit of the effect?

Example:

Let off shells

Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas

 

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I see that your looking at Jeb Patton"s recently published book on jazz piano. If you look at the previous page you"ll see that he says 'this way, you get the sound of the complete shell without getting in the way of the bass player.' I think that"s an answer to your question about the benefit of the effect. I"ve had the good fortune of playing at jam sessions with Jeb. He"s an amazing player and a very humble guy.

 

Many use this technique but Glenn Zaleski comes to mind as someone who uses it particularity well in both his ensemble playing and solo piano. Sometimes he creates the effect of two different layers by playing long notes with the top shell notes and short notes with the bottom shell notes.

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I play the lower note as a grace note pick up to the Upper note so it"s syncopated with a kick. Hi syncopate more than average between the upper and lower note in my shells as a rhythmic accompaniment to my right hand

Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas

 

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