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EXERCISE SIX AND
MINUET
SIX
The left
hand
pattern
now
enters the form
of
boogie woogie. This is
a very ¡mportant
exercise
and should
be thoroughty tearned
before any
other 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
depth
against
á bass line
that ¡s
quite
busy such
as
the one
provided.
EXERCISE
ELEVEN AND
MINUET
ELEVEN
Many
jazz
piánists
¡ncluding yours
truty at var¡-
ous times ehploy
a double metod¡c l¡ne
using
two hands.
Many times th¡s ¡s
used to
give
a
deeper
rhythmic
project¡on
to the metodic tine.
At
other times it is
used ¡n á very free-ftight
manner
(pr¡mar¡ly
during fast
tempos). Another
aspect
of the ability to play
doubte tines is that
it
can be very
effect¡ve when the
pian¡st
is
doubling
the same line as añother ¡nstrumen-
tal¡st. You
will notice in the m¡nuet that
both
hands
at various times get a chance
to
play
background and lead. Th¡s is an
exerc¡se that
should be
practiced
carefully in
ordea to
give
the
pianist
the abit¡ty
to make th¡s change as
smoothly as
possible.
.a
EXERCISE
SEVEN AND
MINUET SEVEN
we now erfiploy
the stop and
go
bass f¡gures.
This
gives
us the
ab¡lity to change from
an
elementary
sense of rhythm¡c
pattern
in
the left
hand, introducing
from time
to t¡me a straight
four
as a form of retief.
The rnetody in the
jazz
m¡nuet
should be played
in a very legato manner
in order to
give
the listener a sense of cohesive-
ness between
the two hanc,s.
a
7
EXERCISE
EIGHT AND MINUET
EIGHT
Here
we employ a steady watking
bass figure
ir the exercise. In the minuet
we emptoy fa¡rty
lrusy l¡nes. The
p!áyer
shou¡d attempt d¡fferent
types of art¡culation ;n
o.der to obtain the finat
tnd correct
jazz
feeliñg that he des¡res.
In doing
this he
should then be able
to reatize how
üre
jazz
player
(professional)
changes the com-
dete
complexion of
a tune by changing his
articulation.
ilB
EXERCISE
TWELVE AND
MINUET
T\¡r'ELVE
VVe deal now
with the aspect of a rñoving
lir|.
and chords
¡n both hañds. The minuet
bear3 a
very
close resemblance to
the exerc¡se here, lo
the transition from
the exercise to the
oieca
shou¡d be very easy- tt ¡s important
to
g¡ve
each
uñderlying harmony ¡ts proper
rhythrñic valu€
and tonal resoect.
|'
a'
EXERCISE NINE
AND MINUET NINE
This is
an exercise in double hands
¡n which
once aga¡ñ the
player
has
a choice of art¡cula-
t¡on, However, the finger¡ng
shoutd be studied
carefully so that he reat¡zes
that in order to art¡-
culate with complete
ease, h¡s hands must
be
free
Of any keyboard entanglements.
EXERCISE THIRTEEN
AND
MINUET THIRTEEN
In exerc¡se thirteen
we
prepare
for changiñg
rhythms in
both hañds- Upon reaching
the minu-
et,
if
any clifficulty is experienced,
the
ptayer
shot¡ld leave the m¡nuet
and retuan to the ex-
erc¡se¡ for the secret
l¡es ¡ñ first imprinting the
depth of the melod¡c
line in either hand. tf any
other trouble is
encouñtered here, the player
shoulcl
return to exerc¡Se and
minuet nuñber
eeven.
A
I
(
al
EXERCISE FOURTEEN
AND
MINUEÍ FOURTEEN
Exerc¡se fourteeñ
should be
practiced
until the
player
achieves
a fleei but coñf¡rmed sense
of
¡ntérpretation,
Whert th¡s has been accom-
pl¡shed,
he
should then appty this techn¡que to
the minuet.
)
EXERCISE
TEN AND MINUET
TEN
Exercise ten is
v¡tally important for
here we
have the walking
bass tine in eighth notes.
Láter
on in the
m¡nuet, we add a tine
of e¡ghth notes
in
the r¡ght hand alsó. The
tr¡ck heré is to kéep
the
primáry
sense
of
rhythm¡c
¡mpetus in
the
left
hand whi¡e
playing
the r¡ght hand tiñes with
an
even legato feel.
o¡cor pelerson
o:
t
FOR THE
JAZZ PIANIST
Copyrshl o 1965by Toni
MusicCo,andDoeMusicCo
lnte¡national
Coptrighl Secured M¿dein U,S,a.
a¡l RishtsReePed
lorsakintheUniledSlates.Canada
a¡dG¡ea1
Sritain.
T
fhisedili0nauthori?ed
notes from
the outhor
PREFACE
Jazz p¡ar'o
can be a
very
enjoyable rnusical
exper¡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 world
from a
playing
aspect, he
often
f¡ncls
himself
harnstrung
by
many
variecl musical inadequa-
cies. Very few people
truly ever attribute their
lack of abil¡ty to the proper cause, I feel. Many
of 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 many
ways is a completely new form
of technique
when comoared with the classical. lt is with this
pr¡mary
aspect in m¡nd that lhave conceived
this set of beginner's exerc¡ses. I feel thát if the
player
honestly ancl
sincerely learns the
¡azz
bxercises 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.
It is vitally important
that all fingering
g¡ven
in
both hands be followed completely. In the ex-
ercises where no fingering is given in
one
hand,
I feel that the player
should
¡nstinctively
have
no
trouble f¡nding the
proper
digitál
pos¡tion
to
give
the
greatest
ease of hancl movement,
thereby achieving a better tonal result on the
EXERCISE TWO AND MINUET TWO
This exerc¡se and minuet are merely to induce
in the
player
the ab¡lity to
phrase jazz-wise
in
his left hand when callecl upon to do so. Here
also he should strive for a completely even tonal
result.
EXERCISE THREE AND MINUET THREE
This exercise and minuet deals
primar¡ly with
what I feel are the two weakest fingers of the
jazz
pian¡st's
right hand
(the
fourth and f¡fth
fingers). On
playing
this exercise ancl
piece
the
p¡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 a
pitfall
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,
a 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
shoulclattempt
to ¡mprovise
his own.¡ght hand lines on the background
grven
here,
i
N
I hope that this f¡rst book of
jazz
exercises and
pieces
opens a new world of
p¡anist¡c
command
to the avid young p¡anist.
f)
EXERCISE ONE AND MINUET ONE
PLAYING NOTES
Exercise one attempts to
give
the
player
two
things. First, strength. The
player
moves from
the
middle
of the right hand to the lást finger of
the right hand, then moves from the thumb
of the right hand to
the
midclle
of the hand. Sec-
onclly,
if practised properly,
the
player
shoulct
be able to achieve better d¡g¡tal control on this
type of
phras¡ng
w¡thout rocking the hancl from
s¡de to side,
EXERCISE FIVE
AND MINUET FIVE
we now approach the walking bass line. I feel
ñow that w¡th the movement employed the
player shoulcl
gain
a much f¡rmer understanding
of what a bass player does for the
pian¡st
oñ the
blues in the
primary
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.
\t
N
EXERCISE SIX AND
MINUET
SIX
The left
hand
pattern
now
enters the form
of
boogie woogie. This is
a very ¡mportant
exercise
and should
be thoroughty tearned
before any
other 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
depth
against
á bass line
that ¡s
quite
busy such
as
the one
provided.
EXERCISE
ELEVEN AND
MINUET
ELEVEN
Many
jazz
piánists
¡ncluding yours
truty at var¡-
ous times ehploy
a double metod¡c l¡ne
using
two hands.
Many times th¡s ¡s
used to
give
a
deeper
rhythmic
project¡on
to the metodic tine.
At
other times it is
used ¡n á very free-ftight
manner
(pr¡mar¡ly
during fast
tempos). Another
aspect
of the ability to play
doubte tines is that
it
can be very
effect¡ve when the
pian¡st
is
doubling
the same line as añother ¡nstrumen-
tal¡st. You
will notice in the m¡nuet that
both
hands
at various times get a chance
to
play
background and lead. Th¡s is an
exerc¡se that
should be
practiced
carefully in
ordea to
give
the
pianist
the abit¡ty
to make th¡s change as
smoothly as
possible.
.a
EXERCISE
SEVEN AND
MINUET SEVEN
we now erfiploy
the stop and
go
bass f¡gures.
This
gives
us the
ab¡lity to change from
an
elementary
sense of rhythm¡c
pattern
in
the left
hand, introducing
from time
to t¡me a straight
four
as a form of retief.
The rnetody in the
jazz
m¡nuet
should be played
in a very legato manner
in order to
give
the listener a sense of cohesive-
ness between
the two hanc,s.
a
7
EXERCISE
EIGHT AND MINUET
EIGHT
Here
we employ a steady watking
bass figure
ir the exercise. In the minuet
we emptoy fa¡rty
lrusy l¡nes. The
p!áyer
shou¡d attempt d¡fferent
types of art¡culation ;n
o.der to obtain the finat
tnd correct
jazz
feeliñg that he des¡res.
In doing
this he
should then be able
to reatize how
üre
jazz
player
(professional)
changes the com-
dete
complexion of
a tune by changing his
articulation.
ilB
EXERCISE
TWELVE AND
MINUET
T\¡r'ELVE
VVe deal now
with the aspect of a rñoving
lir|.
and chords
¡n both hañds. The minuet
bear3 a
very
close resemblance to
the exerc¡se here, lo
the transition from
the exercise to the
oieca
shou¡d be very easy- tt ¡s important
to
g¡ve
each
uñderlying harmony ¡ts proper
rhythrñic valu€
and tonal resoect.
|'
a'
EXERCISE NINE
AND MINUET NINE
This is
an exercise in double hands
¡n which
once aga¡ñ the
player
has
a choice of art¡cula-
t¡on, However, the finger¡ng
shoutd be studied
carefully so that he reat¡zes
that in order to art¡-
culate with complete
ease, h¡s hands must
be
free
Of any keyboard entanglements.
EXERCISE THIRTEEN
AND
MINUET THIRTEEN
In exerc¡se thirteen
we
prepare
for changiñg
rhythms in
both hañds- Upon reaching
the minu-
et,
if
any clifficulty is experienced,
the
ptayer
shot¡ld leave the m¡nuet
and retuan to the ex-
erc¡se¡ for the secret
l¡es ¡ñ first imprinting the
depth of the melod¡c
line in either hand. tf any
other trouble is
encouñtered here, the player
shoulcl
return to exerc¡Se and
minuet nuñber
eeven.
A
I
(
al
EXERCISE FOURTEEN
AND
MINUEÍ FOURTEEN
Exerc¡se fourteeñ
should be
practiced
until the
player
achieves
a fleei but coñf¡rmed sense
of
¡ntérpretation,
Whert th¡s has been accom-
pl¡shed,
he
should then appty this techn¡que to
the minuet.
)
EXERCISE
TEN AND MINUET
TEN
Exercise ten is
v¡tally important for
here we
have the walking
bass tine in eighth notes.
Láter
on in the
m¡nuet, we add a tine
of e¡ghth notes
in
the r¡ght hand alsó. The
tr¡ck heré is to kéep
the
primáry
sense
of
rhythm¡c
¡mpetus in
the
left
hand whi¡e
playing
the r¡ght hand tiñes with
an
even legato feel.
o¡cor pelerson
o:
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