ボーカリストのピアノ伴奏スタイル - インタイム・バラード(ft. Lia Booth)(By Jeremy Siskind)

Jeremy Siskind氏が語る「ボーカリストのピアノ伴奏スタイル - インタイム・バラード」を翻訳しました。




Hey everybody, I'm Jeremy Siskind. I am here with Leah Booth for, I guess, the third in our, yes, 25-part installment. Uh, 25-part series. No, uh, I don't know how many parts of the series, but, uh, this is now we're talking about piano and voice for in-time ballads. We did an episode on rubato ballads, but now we're going to play in time. And just to remind you, Leah has a new album out which is called "Life Can Be Beautiful." There it is. Yes, yes, and it's available everywhere. Make sure to check it out, assuming that you enjoy Leah's singing, which I'm sure you will.

皆さん、こんにちは。私はジェレミー・シスキンドです。今日はLeah Boothさんと一緒にいます。おそらく、このシリーズの第3回目になるかな、25回シリーズの一環です。25回とは言いましたが、具体的に何回になるかはわかりませんが、今回はピアノとボーカルでインタイムのバラードについて話します。以前はルバート・バラードについてのエピソードをやりましたが、今回はインタイムで演奏します。改めてお伝えしますが、Leahは新しいアルバム「Life Can Be Beautiful」をリリースしています。そこにありますね。はい、はい、どこでも入手できますので、ぜひチェックしてみてください。Leahの歌がお好きならば、きっと楽しんでいただけると思います。

Um, all right, so there are so many different ways to play an in-time ballad, but as a pianist, probably my first thing that I'm thinking about is pulse. Um, if we are playing in time, then I want to make sure that there is a sense of pulse. And I've talked about this before in terms of just piano ballads, but to me, we have to really be clear on whether we're playing a straight eighth ballad or a swung ballad. Um, and so let's start with some straight eighth ballads. And when I am trying to define the pulse on a straight eighth ballad, usually, I'm gonna be repeating a note and really softly. It's simulating the brushes on the snare drum so that we both know where that quarter note is and so that the audience has a sense of where it is. So we're gonna play the song, "The Very Thought of You." I'm getting that right, yeah, yeah, okay. And so the pulse is mostly gonna be in this left hand thumb here.

さて、インタイムのバラードを演奏する方法はさまざまありますが、私自身はピアニストとして、まず最初に考えるのはパルスです。演奏がインタイムであるならば、パルスを感じさせることが重要です。これについては以前、単にピアノのバラードについて話しましたが、私たちはストレート8分のバラードか、スウィング感のあるバラードか、はっきりさせる必要があります。では、まずはストレート8分のバラードから始めましょう。ストレート8分のバラードのパルスを定義しようとすると、通常はノートを繰り返して非常に静かに演奏します。これはスネアドラムのブラシの音を模しています。これにより、四分音符がどこにあるのかを私たち二人が把握し、観客にも感じ取ってもらえるようにしています。では、曲「The Very Thought of You」を演奏します。私が正しく理解しているか確認しますね、そうですよね、わかりました。そして、パルスは主にここ、左手の親指になります。

And we just want to really warm up this sound so that she can get in there and be as creative and expressive as she wants to be. So let's try maybe we'll just do the first half or so of "The Very Thought of You." Um, and I'm going to be demonstrating using just a really soft quarter note pulse in my left hand thumb.



um, cool. So what were your thoughts on that, Leah? How did that make you feel?
Warm and fuzzy.
Good, yeah. And the, uh, which one did we do before this? The rubato ballads video? Um, we talked about when you're padding and continuing the chord through the space, holding it out makes you feel like you're in a warm bath. That's how I felt with this. Cool, yeah, very cozy and comfy. That's exactly what I'm going for as a pianist. And so much of this guy is about your touch on the instrument. You know, I could play those exact same notes with a different touch, and it would be a disaster.


Um, right, let's demonstrate a disaster here. Okay, so I'm gonna play the exact same thing:



Right, it doesn't work. Maybe, maybe not. That's how I get fired. That's how, um, I don't get the gig. Singers don't want to scream. Well, yeah, some of them do. I don't like screaming.


I like to be quiet and intimate, yeah. Well, and it's like this, "The Very Thought of You," it's like about this thing that you're holding close to your heart, right? Um, cool, yeah. So I mean, part of it is dynamic, but part of it is, you know, if there's a drop every two beats when you're playing the chord, that's a problem. So you want to really move horizontally as much as you can into these chords so that it's, um, you know, you're able to get that soft, intimate, smooth movement from chord to chord.

静かで親密な感じが好きなんだ。そうだね。そして、この「The Very Thought of You」は、心に近く抱えているものについての歌なんだよね。クールだね、そうだね。だから、一部はダイナミックなんだけど、もう一つは、コードを演奏する時に2拍ごとに音が下がってしまうという問題があるんだ。だから、できるだけ水平方向に進んでコードに入っていくことが重要なんだ。そうすることで、柔らかく、親密でスムーズなコード間の移動を実現できるようになるんだ。

Um, another way to approach this is the "piece-piece" pattern in the left hand. And, um, for those of you who have watched my YouTube channel a long time, you know I'm somewhat obsessed, actually, with a version of this song by Hank Jones that uses the "piece-piece" pattern. So the "piece-piece" pattern is base-chord-chord-base-base, and this works really well for a straight eighth approach as well. And when you do this, my right hand is freed up, so I can be more responsive. I can fill out the sound in the upper register and just make some of these chords a little bit richer if I want, um, do some fills, do some responses here. Because of the nature of this song, I'm probably not gonna get too playful or busy, although I guess we'll see. Can we try a version like that?

また、このアプローチの別の方法として、左手の「ピース・ピース」のパターンがあります。私のYouTubeチャンネルを長い間見てくれている人たちは、私が実はHank Jonesのバージョンに少し夢中になっていることを知っているかもしれません。そのバージョンでは「ピース・ピース」のパターンが使われています。この「ピース・ピース」のパターンは、ベース-コード-コード-ベース-ベースです。

※From Playing Solo Jazz Piano: A New Approach for Creative Musicians



Oh, so nice! That immediately put me into daydream land. Nice! Oh, I love that. Cool. And you guys might have noticed that even though we're calling this an in-time ballad, there were some moments where we paused or stretched, and that's totally allowed, especially in a duo setting like this. It's one of the reasons that you play duo, so that when the mood moves you, and it's usually going to be right at the end of a section, you can decide to pause and then put a fermata there. And as long as both partners are sympathetic, listening, paying attention to that underlying emotional current of what's happening, then you can make those kinds of split-second decisions.


So, just getting back to the technical side of things here, a couple of things that you heard. Um, so I was doing that "piece-piece" pattern, right? And I mean, in between her melodic phrases, because there's so much space in this tune, right? Um, I was kind of echoing more or less of those phrases, and I was using octaves, but doing a little bit of a plingy roll on those octaves, which, um, reminds me of Hank Jones. And I don't know, there's something intimate and bell-like about that that just kind of moves me in this, uh, in this sense. Um, but then, as we got to different parts of the form, I want to make some changes. Um, if you just do that "piece-piece" pattern, it's gonna be lovely, but, you know, you're not giving as much variety to your vocalist that they can just sing the song as they need. This is the part which they're going to push a little bit harder because it's going to be all about them. But making some subtle differences is going to help.

ですので、技術的な面に戻って、いくつかのことを聞いていただきました。私はその「ピース・ピース」のパターンをやっていましたね。彼女のメロディックなフレーズの間には非常に多くのスペースがあるので、そのフレーズをある程度エコーして、オクターブを使用して、オクターブで少しリンギーなロールをしていました。これはHank Jonesを思い出させるもので、なんとなく私をこの感覚に引き込む、親密で鐘のようなものがあります。ただし、フォームの異なる部分に到達するにつれて、いくつかの変更を加えたいと思います。もしもただ「ピース・ピース」のパターンを続けるだけだと、素敵になりますが、ボーカリストに十分なバラエティを与えることはできません。彼らが必要に応じて歌を歌うことができるように、細かな違いを作り出すことが役立つでしょう。

So, for example, after that first section, I (and by the way, this is stolen directly from Hank Jones), but I did this kind of, uh, syncopated bass-chord-bass-chord, bass-chord, bass-chord, and then back to the "piece-piece" pattern. And then, as we got to the bar nine, which kind of is the bigger section, instead of doing bass-chord-chord-bass, I did bass-chord-chord-chord, bass-chord-chord-chord. Subtle difference. Did you even notice that, Leah?

例えば、その最初のセクションの後、私(ところで、これはHank Jonesから直接盗んだものですが)、こんな感じの、うーん、シンコペーションの効いたベース-コード-ベース-コード、ベース-コード、ベース-コードをやりました。そして、バー9に到達したとき、それがより大きなセクションになるようで、ベース-コード-コード-ベースの代わりに、ベース-コード-コード-コード、ベース-コード-コード-コードをやりました。微妙な違いですね。それに気づきましたか、Leah?

I felt it. Yeah, I heard it. Yeah, um, but probably as you guys were listening through, unless you were really like zeroing in on what I'm trying to do, it's not gonna register as, like, "Whoa, something huge changes." It's just a slight change in feel that signals that there's a different section going on.


Um, I think what we should do now is go to more of an in-time swung ballad, okay? And here, my first go-to is playing stride piano. And it is possible to play stride in a straight eighth feeling, but to me, stride always wants to swing a little bit. Um, so actually, I'm gonna double back just for a second. Let's do stride but in a straight eighth feeling first, and then we'll swing it. Hopefully, I won't mess this up.



Sorry, sorry to interrupt you. Midfield, my eyes were closed. Yeah. Now let's do stride, but we'll swing it, and it'll be a gentle swing. When we talk about swing for a ballad, we're not talking about, like, really digging in and hitting hard accents, but we're getting into kind of… I, the word "loping" always occurs to me. Do I know what the word "loping" means? Not exactly. Do you ride horses? I do not do horses lope. Yeah, oh, okay. They do. They do, don't they? I don't know. Somebody settle that in the comments, so, uh…


But yeah, there's kind of just this sway. So, you know, here we're going to be thinking more in terms of triplets. I might start to leave a little bit of space, a little bit of silence in here as we start swinging. That, I think, helps with the articulation. So let's try it. So here's that first section, now a swung ballad, and I'll still be playing stride piano.



Yeah. So, I guess my question for you, Yulia, is if you're on a gig and you were like, "Okay, we're doing 'The Very Thought of You' as a ballad," yeah, would you expect it? Would it be weird if we came back and we did that? Would you think of this as a slow swing rather than a ballad? Or do you feel like, for me, no, because I like to do things all sorts of ways? Yeah, I like to tell my musicians, especially my chordal players, "Play it how you want to play it. I'll give you a tempo, and if you have a certain feel that you like, I'm totally open to that. I like the creativity and the conversation that comes from that." Right? And usually, one can tell from a count-off whether you want to play straight or swung, right? Right. If I'm feeling it a little more peppy, then I'll definitely go for that vibe of like a stridey swing ballad, right? Yeah. So just in case you don't know what I mean, if I were counting this off as a straight ballad, I would snap on all four: one, two, three, four. And if I want to count off the swing ballad, I'd probably just snap on two and four: one, two, three, four. Same tempo, same thing coming out of my mouth, but the intent feels different.

うん。だから、Leahに質問なんだけど、もしギグで「The Very Thought of You」をバラードとしてやることになったら、おかしいと思いますか?バラードというよりはスロースウィングと考えますか?それとも私の場合は、いろんなやり方でやりたいから大丈夫だと思いますか?私はミュージシャンに、特にコードを弾く人たちには「自分のやり方でやってみて。テンポは私が決めるから、自分の好きな感じがあれば、全然オープンにしてるから。そこから生まれる創造性と対話が好きなんだ」と伝えるのが好きです。そうでしょ?通常、カウントオフからストレートかスウィングかが分かることが多いですよね。そうですね。もし少し元気な感じに感じているなら、ストライドのスウィングバラードの雰囲気を取りたいと思いますよ。そうですね。もし私がストレートなバラードとして数える場合、全部の拍でスナップするでしょう。1、2、3、4。そして、スウィングのバラードを数える場合、おそらく2と4でスナップするでしょう。1、2、3、4。同じテンポ、口から出ることは同じですが、意図は異なる感じがします。

Um, so these sorts of things are subtle. Another subtle thing that's happening in the piano that you may or may not pay attention to is that the pedaling is different. For a straight ballad, I'm probably pedaling every single quarter note so that there's not any silence because she described that warm bath. That's what I want to feel on a straight eighth ballad, right? So there's no silence in there because I'm letting the pedal connect. I'm pedaling every quarter note. For this kind of ballad, I'm going to mix up the pedaling. I might even do this. And so now, there are these pockets of silence which kind of allow that rhythm to bubble up a little bit. Gives it a more playful effect for me. Yeah. And having some short notes is so key to a swing style. If everything's long, it's not going to be a satisfying swing style. So lifting that pedal is going to be really important to creating a sense of swing.


All right, I asked you this last time. Are you up for a little experiment? Always. So, everything that we've done so far has been a quarter note-based ballad. But it can be interesting to think about other ways of defining the time. And so, sometimes, I like to do an eighth note-based ballad where, instead of repeating a quarter note, I'm actually going to kind of run in eighth notes. Going, so I'm not sure how this is going to turn out, if I'm honest. Um, but if you're wrong, let's try it. It's gonna probably be more fluid sounding. Hopefully, we'll like it.



That was so lovely, Leah. But let's just take a second. I'm curious, how did that eighth note ballad feel to you? Yeah, it made me want to sing longer tones, longer lines. Did it feel a little bit like a straightjacket, like the rhythm was so defined that you didn't have any flexibility? No, not at all. Yeah, so just a different, more driving feel. And I felt like, since you were driving, I wanted to lay back more and give you that. Um, so I wanted to give you more space and just really stretch out the lines so that you could move underneath it like this. Very cool. Yeah, awesome.


Well, thanks again to Leah Booth. Check out her new album, "Life Can Be Beautiful." Um, and stay tuned to the channel, like, subscribe, and we'll see y'all soon.

改めてLeah Boothさんに感謝します。彼女の新しいアルバム「Life Can Be Beautiful」をチェックしてください。そして、チャンネルをご愛顧いただき、チャンネル登録していただければ幸いです。また、お会いしましょう。


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