Piano Technique by Ariel J. Ramos available at mDecks.com
Piano Technique... So much has been said about it. So many books have been written on the hows and whys of Piano Technique, that it would be of no use to attempt writing a new book on this topic. This is why Piano Technique Vol. 1.: Finger Control Independence, Balance & Strength is all about practice.
This book has 43 technical exercises for developing and maintaining your technique to its best possible shape. Some exercises are for the very beginner while others require a higher level of proficiency. Exercises way above your current level are not recommended since they are harmful to your technique development. It is always advisable to have your teacher decide which level you can undertake with confidence. Piano technique involves so many subtleties that there is no substitute for a good teacher when it comes to showing the student how to do certain movements and how to feel them.
As a rule of thumb: Good piano technique is about relaxation, minimum effort and optimization of movement. In the end any master perform his/her art effortlessly and that, should always be the goal in any discipline.
In the beginning every action seems odd, out of place, every note feels alien and out of control. With practice, one tries to translate will into action, with practice one learns what actions are feasible and consequently what to aim for.
If you have read the How to use the "mDecks Series Books..." chapter, you are ready to start.
Relaxation. Optimization. Effortless performance and Consistency .
Reharmonizing and arranging a jazz tune requires the use of many concepts and skills.
In this reharm careful attention was taken in keeping the original melody. An analysis of the harmonic progression is essential in finding new chords that will fit the melody and still reflect the original chord changes giving the song a new color.
Also compositional skills should be used to give consistency to the arrangement, for example: in this arrangement the descending scale pattern that makes up the melody was used throughout the entire piece in parallel and contrary motion in many different voices.