FOR THE JAZZ PIANIST - transcription-hub.comtranscription-hub.com/transcriptionPdf/true/Jazz piano for the... · FOR THE JAZZ PIANIST Copyrshl o 1965 by Toni MusicCo,and DoeMusicCo

EXERCISE SIX AND MINUET SIXThe left hand pattern now enters the form ofboogie woogie. This is a very ¡mportant exerciseand should be thoroughty tearned before anyother l¡nes are attempted against the left hañd.lñcidentally th¡s should represent a great chat-lenge from this aspect because it is fairty diffi-cult to move the r¡ght hanct t¡ne to añy depthagainst á bass line that ¡s quite busy such asthe one provided.

o:.a

EXERCISE SEVEN AND MINUET SEVENwe now erfiploy the stop and go bass f¡gures.This gives us the ab¡lity to change from anelementary sense of rhythm¡c pattern in the lefthand, introducing from time to t¡me a straightfour as a form of retief. The rnetody in the jazzm¡nuet should be played in a very legato mannerin order to give the listener a sense of cohesive-ness between the two hanc,s.

a7

EXERCISE EIGHT AND MINUET EIGHTHere we employ a steady watking bass figureir the exercise. In the minuet we emptoy fa¡rtylrusy l¡nes. The p!áyer shou¡d attempt d¡fferenttypes of art¡culation ;n o.der to obtain the finattnd correct jazz feeliñg that he des¡res. In doingthis he should then be able to reat ize howüre jazz player (professional) changes the com-dete complexion of a tune by changing hisarticulation.

|'

a 'EXERCISE NINE AND MINUET NINEThis is an exercise in double hands ¡n whichonce aga¡ñ the player has a choice of art¡cula-t¡on, However, the finger¡ng shoutd be studiedcarefully so that he reat¡zes that in order to art¡-culate with complete ease, h¡s hands must befree Of any keyboard entanglements.

)EXERCISE TEN AND MINUET TENExercise ten is v¡tally important for here wehave the walking bass tine in eighth notes. Láteron in the m¡nuet, we add a tine of e¡ghth notesin the r¡ght hand alsó. The tr¡ck heré is to kéepthe primáry sense of rhythm¡c ¡mpetus in theleft hand whi¡e playing the r¡ght hand tiñes withan even legato feel.

EXERCISE ELEVEN ANDM I N U E T E L E V E N

Many jazz piánists ¡ncluding yours truty at var¡-ous times ehploy a double metod¡c l¡ne usingtwo hands. Many times th¡s ¡s used to give adeeper rhythmic project¡on to the metodic tine.At other times it is used ¡n á very free-ftightmanner (pr¡mar¡ly during fast tempos). Anotheraspect of the ability to play doubte tines is thatit can be very effect¡ve when the pian¡st isdoubling the same line as añother ¡nstrumen-tal¡st. You will notice in the m¡nuet that bothhands at various times get a chance to playbackground and lead. Th¡s is an exerc¡se thatshould be practiced carefully in ordea to givethe pianist the abit¡ty to make th¡s change assmoothly as possible.

ilBEXERCISE TWELVE ANDMINUET T\¡r'ELVE

VVe deal now with the aspect of a rñoving lir|.and chords ¡n both hañds. The minuet bear3 avery close resemblance to the exerc¡se here, lothe transition from the exercise to the oiecashou¡d be very easy- tt ¡s important to g¡ve eachuñderlying harmony ¡ts proper rhythrñic valu€and tonal resoect.

EXERCISE THIRTEEN ANDMINUET THIRTEEN

In exerc¡se thirteen we prepare for changiñgrhythms in both hañds- Upon reaching the minu-et, if any clifficulty is experienced, the ptayershot¡ld leave the m¡nuet and retuan to the ex-erc¡se¡ for the secret l¡es ¡ñ first imprinting thedepth of the melod¡c line in either hand. tf anyother trouble is encouñtered here, the playershoulcl return to exerc¡Se and minuet nuñbereeven. A

I(oal

EXERCISE FOURTEEN ANDMINUEÍ FOURTEEN

Exerc¡se fourteeñ should be practiced until theplayer achieves a fleei but coñf¡rmed sense of¡ntérpretat ion, Whert th¡s has been accom-pl¡shed, he should then appty this techn¡que tothe minuet.

o¡cor pelerson

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FOR THE JAZZ PIANIST

Copyrshl o 1965 by Toni MusicCo,and DoeMusicColnte¡national Coptrighl Secured M¿de in U,S,a. a¡l Rishts ReePed

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fhis edili0n authori?ed lor sak in the Uniled Slates. Canada a¡d G¡ea1 Sritain.

notes f rom the outhor

PREFACE

Jazz p¡ar'o can be a very enjoyable rnusicalexper¡ence from a listening standpo¡nt, to every-one, both aclult and youngster alike. Howeve¡,when a Derson. whether studied or not classic-ally speakiñg, attempts to enter the Jazz worldfrom a playing aspect, he often f¡ncls himselfharnstrung by many variecl musical inadequa-cies. Very few people truly ever attribute theirlack of abil¡ty to the proper cause, I feel. Manyof them blame what they term their creat¡ve¡nability to conceive jazz phrases, w¡thout stop-p¡ng to realize thal a jazz technique in manyways is a completely new form of techniquewhen comoared with the classical. lt is with thispr¡mary aspect in m¡nd that lhave conceivedthis set of beginner's exerc¡ses. I feel thát if theplayer honestly ancl sincerely learns the ¡azzbxercises one at a t¡me, and after having com-pteted one, then applies that learn¡ng to the little

iazz m¡nuet that matches the exercise, he will

Ére iñ effect condit¡oning the hands for proceed-

¡ng into deeper jazz play¡ng.

I t is v i tal ly important that al l f ingering g¡ven inboth hands be followed completely. In the ex-ercises where no fingering is given in one hand,I feel that the player should ¡nstinctively haveno trouble f¡nding the proper digitál pos¡tion

to give the greatest ease of hancl movement,thereby achieving a better tonal result on the

I hope that this f¡rst book of jazz exercises andpieces opens a new world of p¡anist¡c commandto the avid young p¡anist. L

N

EXERCISE ONE AND MINUET ONEPLAYING NOTES

Exercise one attempts to give the player twothings. First, strength. The player moves fromthe middle of the right hand to the lást finger ofthe right hand, then moves from the thumbof the right hand to the midclle of the hand. Sec-onclly, if practised properly, the player shoulctbe able to achieve better d¡g¡tal control on thistype of phras¡ng w¡thout rocking the hancl froms¡de to side,

EXERCISE TWO AND MINUET TWO

This exerc¡se and minuet are merely to inducein the player the ab¡lity to phrase jazz-wise inhis left hand when callecl upon to do so. Herealso he should strive for a completely even tonalresult.

EXERCISE FIVE AND MINUET FIVE

EXERCISE THREE AND MINUET THREE

This exercise and minuet deals primar¡ly with

what I feel are the two weakest fingers of thejazz pian¡st's right hand (the fourth and f¡fth

fingers). On playing this exercise ancl piece thep¡ayer should attempt to keep the l¡stener (or

h¡s instructor) from knowing that he is us¡ng his

fifth f¡nger on his right hand. Usually this is apitfall in jazz playing. The stuclent will notice

that the fifth f¡nger is employed ¡n the middle

of the phrase rather than at the€nd which is

the usual jazz custom,

\ \ l ¡\ t i Na a ) a '

EXERCISE FOUR AND MINUET FOUR

This exercise and piece are merely to give the

beginner the chance to formulate in h¡s own

mind the format and content of the blues from

a backgrouñcl standpoint. Very elementary har-

monic movement is employecl and after both

exercise ancl minuet have been learnecl thor-

oughly. the player shoulcl at tempt to ¡mprovise

his own.¡ght hand l ines on the backgroundgrven here,

f)

we now approach the walking bass l ine. I feel

ñow that w¡th the movement employed theplayer shoulcl gain a much f¡rmer understandingof what a bass player does for the pian¡st oñ the

blues in the pr imary stage. Again lstate that

after command is a,a¡ned of these two pieces,

the player should attempt to conce¡ve lines on

this given bass.

EXERCISE SIX AND MINUET SIXThe left hand pattern now enters the form ofboogie woogie. This is a very ¡mportant exerciseand should be thoroughty tearned before anyother l¡nes are attempted against the left hañd.lñcidentally th¡s should represent a great chat-lenge from this aspect because it is fairty diffi-cult to move the r¡ght hanct t¡ne to añy depthagainst á bass line that ¡s quite busy such asthe one provided.

o:.a

EXERCISE SEVEN AND MINUET SEVENwe now erfiploy the stop and go bass f¡gures.This gives us the ab¡lity to change from anelementary sense of rhythm¡c pattern in the lefthand, introducing from time to t¡me a straightfour as a form of retief. The rnetody in the jazzm¡nuet should be played in a very legato mannerin order to give the listener a sense of cohesive-ness between the two hanc,s.

a7

EXERCISE EIGHT AND MINUET EIGHTHere we employ a steady watking bass figureir the exercise. In the minuet we emptoy fa¡rtylrusy l¡nes. The p!áyer shou¡d attempt d¡fferenttypes of art¡culation ;n o.der to obtain the finattnd correct jazz feeliñg that he des¡res. In doingthis he should then be able to reat ize howüre jazz player (professional) changes the com-dete complexion of a tune by changing hisarticulation.

|'

a 'EXERCISE NINE AND MINUET NINEThis is an exercise in double hands ¡n whichonce aga¡ñ the player has a choice of art¡cula-t¡on, However, the finger¡ng shoutd be studiedcarefully so that he reat¡zes that in order to art¡-culate with complete ease, h¡s hands must befree Of any keyboard entanglements.

)EXERCISE TEN AND MINUET TENExercise ten is v¡tally important for here wehave the walking bass tine in eighth notes. Láteron in the m¡nuet, we add a tine of e¡ghth notesin the r¡ght hand alsó. The tr¡ck heré is to kéepthe primáry sense of rhythm¡c ¡mpetus in theleft hand whi¡e playing the r¡ght hand tiñes withan even legato feel.

EXERCISE ELEVEN ANDM I N U E T E L E V E N

Many jazz piánists ¡ncluding yours truty at var¡-ous times ehploy a double metod¡c l¡ne usingtwo hands. Many times th¡s ¡s used to give adeeper rhythmic project¡on to the metodic tine.At other times it is used ¡n á very free-ftightmanner (pr¡mar¡ly during fast tempos). Anotheraspect of the ability to play doubte tines is thatit can be very effect¡ve when the pian¡st isdoubling the same line as añother ¡nstrumen-tal¡st. You will notice in the m¡nuet that bothhands at various times get a chance to playbackground and lead. Th¡s is an exerc¡se thatshould be practiced carefully in ordea to givethe pianist the abit¡ty to make th¡s change assmoothly as possible.

ilBEXERCISE TWELVE ANDMINUET T\¡r'ELVE

VVe deal now with the aspect of a rñoving lir|.and chords ¡n both hañds. The minuet bear3 avery close resemblance to the exerc¡se here, lothe transition from the exercise to the oiecashou¡d be very easy- tt ¡s important to g¡ve eachuñderlying harmony ¡ts proper rhythrñic valu€and tonal resoect.

EXERCISE THIRTEEN ANDMINUET THIRTEEN

In exerc¡se thirteen we prepare for changiñgrhythms in both hañds- Upon reaching the minu-et, if any clifficulty is experienced, the ptayershot¡ld leave the m¡nuet and retuan to the ex-erc¡se¡ for the secret l¡es ¡ñ first imprinting thedepth of the melod¡c line in either hand. tf anyother trouble is encouñtered here, the playershoulcl return to exerc¡Se and minuet nuñbereeven. A

I(oal

EXERCISE FOURTEEN ANDMINUEÍ FOURTEEN

Exerc¡se fourteeñ should be practiced until theplayer achieves a fleei but coñf¡rmed sense of¡ntérpretat ion, Whert th¡s has been accom-pl¡shed, he should then appty this techn¡que tothe minuet.

o¡cor pelerson

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