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 lnes are attempted against the left had.lcidentally ths should represent a great chat-lenge from this aspect because it is fairty diffi-cult to move the rght hanct tne to ay depthagainst bass line that s quite busy such asthe one provided.

o:.a

EXERCISE SEVEN AND MINUET SEVENwe now erfiploy the stop and go bass fgures.This gives us the ablity to change from anelementary sense of rhythmc pattern in the lefthand, introducing from time to tme a straightfour as a form of retief. The rnetody in the jazzmnuet 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 fartylrusy lnes. The p!yer shoud attempt dfferenttypes of artculation ;n o.der to obtain the finattnd correct jazz feelig that he desres. In doingthis he should then be able to reat ize howre 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 the player has a choice of artcula-ton, However, the fingerng shoutd be studiedcarefully so that he reatzes that in order to art-culate with complete ease, hs hands must befree Of any keyboard entanglements.

)EXERCISE TEN AND MINUET TENExercise ten is vtally important for here wehave the walking bass tine in eighth notes. Lteron in the mnuet, we add a tine of eghth notesin the rght hand als. The trck her is to kepthe primry sense of rhythmc mpetus in theleft hand whie playing the rght hand ties withan even legato feel.

EXERCISE ELEVEN ANDM I N U E T E L E V E NMany jazz pinists ncluding yours truty at var-ous times ehploy a double metodc lne usingtwo hands. Many times ths s used to give adeeper rhythmic projecton to the metodic tine.At other times it is used n very free-ftightmanner (prmarly during fast tempos). Anotheraspect of the ability to play doubte tines is thatit can be very effectve when the pianst isdoubling the same line as aother nstrumen-talst. You will notice in the mnuet that bothhands at various times get a chance to playbackground and lead. Ths is an exercse thatshould be practiced carefully in ordea to givethe pianist the abitty to make ths change assmoothly as possible.

ilBEXERCISE TWELVE ANDMINUET T\r'ELVEVVe deal now with the aspect of a roving lir|.and chords n both hads. The minuet bear3 avery close resemblance to the exercse here, lothe transition from the exercise to the oiecashoud be very easy- tt s important to gve eachuderlying harmony ts proper rhythric valuand tonal resoect.

EXERCISE THIRTEEN ANDMINUET THIRTEENIn exercse thirteen we prepare for changigrhythms in both hads- Upon reaching the minu-et, if any clifficulty is experienced, the ptayershotld leave the mnuet and retuan to the ex-ercse for the secret les first imprinting thedepth of the melodc line in either hand. tf anyother trouble is encoutered here, the playershoulcl return to exercSe and minuet nubereeven. A

I(oal

EXERCISE FOURTEEN ANDMINUE FOURTEENExercse fourtee should be practiced until theplayer achieves a fleei but cofrmed sense ofntrpretat ion, Whert ths has been accom-plshed, he should then appty this technque tothe minuet.

ocor pelerson

tFOR THE JAZZ PIANIST

Copyrshl o 1965 by Toni MusicCo,and DoeMusicColntenational Coptrighl Secured Mde in U,S,a. al Rishts ReePed

T

fhis edili0n authori?ed lor sak in the Uniled Slates. Canada ad Gea1 Sritain.

notes f rom the outhor

PREFACEJazz par'o can be a very enjoyable rnusicalexperence from a listening standpont, to every-one, both aclult and youngster alike. Howeve,when a Derson. whether studied or not classic-ally speakig, attempts to enter the Jazz worldfrom a playing aspect, he often fncls himselfharnstrung by many variecl musical inadequa-cies. Very few people truly ever attribute theirlack of abilty to the proper cause, I feel. Manyof them blame what they term their creatvenability to conceive jazz phrases, wthout stop-png to realize thal a jazz technique in manyways is a completely new form of techniquewhen comoared with the classical. lt is with thisprmary aspect in mnd that lhave conceivedthis set of beginner's exercses. I feel tht if theplayer honestly ancl sincerely learns the azzbxercises one at a tme, and after having com-pteted one, then applies that learnng to the littleiazz mnuet that matches the exercise, he willre i effect conditoning the hands for proceed-ng into deeper jazz playng.I t is v i tal ly important that al l f ingering gven 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 fnding the proper digitl postionto give the greatest ease of hancl movement,thereby achieving a better tonal result on the

I hope that this frst book of jazz exercises andpieces opens a new world of panistc commandto the avid young panist. L

N

EXERCISE ONE AND MINUET ONEPLAYING NOTESExercise one attempts to give the player twothings. First, strength. The player moves fromthe middle of the right hand to the lst 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 dgtal control on thistype of phrasng wthout rocking the hancl fromsde to side,

EXERCISE TWO AND MINUET TWOThis exercse and minuet are merely to inducein the player the ablity 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 THREEThis exercise and minuet deals primarly withwhat I feel are the two weakest fingers of thejazz pianst's right hand (the fourth and ffthfingers). On playing this exercise ancl piece thepayer should attempt to keep the lstener (orhs instructor) from knowing that he is usng hisfifth fnger on his right hand. Usually this is apitfall in jazz playing. The stuclent will noticethat the fifth fnger is employed n the middleof the phrase rather than at thend which isthe usual jazz custom,

\ \ l \ t i Na a ) a '

EXERCISE FOUR AND MINUET FOURThis exercise and piece are merely to give thebeginner the chance to formulate in hs ownmind the format and content of the blues froma backgroucl standpoint. Very elementary har-monic movement is employecl and after bothexercise ancl minuet have been learnecl thor-oughly. the player shoulcl at tempt to mprovisehis own.ght hand l ines on the backgroundgrven here,

f)we now approach the walking bass l ine. I feelow that wth the movement employed theplayer shoulcl gain a much frmer understandingof what a bass player does for the pianst o theblues in the pr imary stage. Again lstate thatafter command is a,aned of these two pieces,the player should attempt to conceve lines onthis 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 lnes are attempted against the left had.lcidentally ths should represent a great chat-lenge from this aspect because it is fairty diffi-cult to move the rght hanct tne to ay depthagainst bass line that s quite busy such asthe one provided.

o:.a

EXERCISE SEVEN AND MINUET SEVENwe now erfiploy the stop and go bass fgures.This gives us the ablity to change from anelementary sense of rhythmc pattern in the lefthand, introducing from time to tme a straightfour as a form of retief. The rnetody in the jazzmnuet 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 fartylrusy lnes. The p!yer shoud attempt dfferenttypes of artculation ;n o.der to obtain the finattnd correct jazz feelig that he desres. In doingthis he should then be able to reat ize howre 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 the player has a choice of artcula-ton, However, the fingerng shoutd be studiedcarefully so that he reatzes that in order to art-culate with complete ease, hs hands must befree Of any keyboard entanglements.

)EXERCISE TEN AND MINUET TENExercise ten is vtally important for here wehave the walking bass tine in eighth notes. Lteron in the mnuet, we add a tine of eghth notesin the rght hand als. The trck her is to kepthe primry sense of rhythmc mpetus in theleft hand whie playing the rght hand ties withan even legato feel.

EXERCISE ELEVEN ANDM I N U E T E L E V E NMany jazz pinists ncluding yours truty at var-ous times ehploy a double metodc lne usingtwo hands. Many times ths s used to give adeeper rhythmic projecton to the metodic tine.At other times it is used n very free-ftightmanner (prmarly during fast tempos). Anotheraspect of the ability to play doubte tines is thatit can be very effectve when the pianst isdoubling the same line as aother nstrumen-talst. You will notice in the mnuet that bothhands at various times get a chance to playbackground and lead. Ths is an exercse thatshould be practiced carefully in ordea to givethe pianist the abitty to make ths change assmoothly as possible.

ilBEXERCISE TWELVE ANDMINUET T\r'ELVEVVe deal now with the aspect of a roving lir|.and chords n both hads. The minuet bear3 avery close resemblance to the exercse here, lothe transition from the exercise to the oiecashoud be very easy- tt s important to gve eachuderlying harmony ts proper rhythric valuand tonal resoect.

EXERCISE THIRTEEN ANDMINUET THIRTEENIn exercse thirteen we prepare for changigrhythms in both hads- Upon reaching the minu-et, if any clifficulty is experienced, the ptayershotld leave the mnuet and retuan to the ex-ercse for the secret les first imprinting thedepth of the melodc line in either hand. tf anyother trouble is encoutered here, the playershoulcl return to exercSe and minuet nubereeven. A

I(oal

EXERCISE FOURTEEN ANDMINUE FOURTEENExercse fourtee should be practiced until theplayer achieves a fleei but cofrmed sense ofntrpretat ion, Whert ths has been accom-plshed, he should then appty this technque tothe minuet.

ocor pelerson

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