Peterson Oscar - Jazz Piano dla dzieci.pdf - szkoły - B3371

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.

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.

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.

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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.

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

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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

FOR THE

JAZZ PIANIST

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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 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.

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.