英文| 2020 | 国际标准书号（ISBN）：不适用| ASIN：B08NYXXFJH | 96页| PDF格式
3兆字节所有爵士乐手都演奏一些拉丁音乐，但是在大多数情况下，拉丁意味着一种泛泛的感觉和方法，除了直八分音符之外，没有什么具体的含义。这本书为爵士钢琴家提供了一种更特殊的演奏拉丁爵士钢琴的方法，该方法基于古巴的传统拉丁音乐，即非洲黑人古巴和巴西。每个人的节奏方式和感觉都不同，每个角落都来自不同的传统。在传统的非洲裔古巴合奏中，钢琴是至关重要的和声和节奏乐器，而在巴西合奏中，吉他则更为典型。但是，当没有吉他时，经常会邀请爵士钢琴家为巴西爵士乐提供和弦和伴奏节奏。
本书并非试图在传统的拉丁钢琴演奏领域指导读者，而是在基于拉丁的爵士钢琴领域指导读者。这些传统是爵士乐手法的出发点。本书介绍的比较流行的传统风格的索恩包括曼波舞，恰恰，波萨诺瓦和桑巴舞。该书介绍了爵士钢琴演奏家通常演奏的三个舞曲：
1）伴奏节奏部分的成员；
2）合奏中的伊阿德乐器；
3）独奏乐器。
该书分为三个主要部分：基于非洲裔古巴的爵士钢琴，基于巴西的爵士钢琴和随行演奏的Iead床单。
English | 2020 | ISBN: N/A | ASIN: B08NYXXFJH | 96 pages | PDF | 3 MB
All jazz musicians play a number of Latin tunes, but for most cases Latin means a generalized feel and approach, and nothing necessarily specific beyond a straight eighth-note feel. This book offers the jazz pianist a more specific approach to playing Latin jazz piano based on traditional Latin music from Cuba-known as AfroCuban-and Brazil. Each differs in its rhythmic approach and feel, and each cornes from a different tradition. Whereas the piano is a crucial harmonie and rhythmic instrument in a traditional Afro-Cuban ensemble, the guitar more typical1y plays that role for a Brazilian ensemble. The jazz pianist, however, often is called on to supply chords and accompaniment rhythms for Brazilian-based jazz when a guitar is not present.
This book does not attempt to instruct the reader in the area of traditional Latin piano playing, but rather in the area of Latin-based jazz piano. The traditions serve as points of departure for a more improvisatory jazz approach. Sorne of the more popular traditional styles introduced in this book include mambo, cha-cha, bossa nova, and samba. The book addresses the three raies that the jazz pianist typically plays:
1) a member of an accompanying rhythm section,
2) a Iead instrument within an ensemble,
3) a solo instrument.
The book is divided into three main sections: Afro-Cuban based jazz piano, Brazilian based jazz piano, and Iead sheets for play along.
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