EXERCI SE SI X AND MI NUET SI X

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 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 depth
against bass line that s quite
busy such as
the one
provided.
o:
.a
EXERCI SE SEVEN AND MI NUET SEVEN
we now erfiploy the stop and go bass fgures.
This gives us the ablity to change from an
elementary sense of rhythmc pattern in the left
hand, introducing from time to tme a straight
four as a form of retief. The rnetody in the
jazz
mnuet 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
EXERCI SE EI GHT AND MI NUET EI GHT
Here we employ a steady watking bass figure
ir the exercise. In the minuet we emptoy farty
lrusy lnes. The p!yer
shoud attempt dfferent
types of artculation ;n o.der to obtain the finat
tnd correct
jazz
feelig that he desres. In doing
t hi s he shoul d t hen be abl e t o reat i ze how
re
jazz player (professional)
changes the com-
dete
complexion of a tune by changing his
articulation.
|'
a '
EXERCI SE NI NE AND MI NUET NI NE
This is an exercise in double hands n which
once aga the player has a choice of artcula-
ton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to art-
culate with complete ease, hs hands must be
free Of any keyboard entanglements.
)
EXERCI SE TEN AND MI NUET TEN
Exercise ten is vtally important for here we
have the walking bass tine in eighth notes. Lter
on in the mnuet, we add a tine of eghth notes
in the rght hand als. The trck her is to kep
the primry
sense of rhythmc mpetus in the
left hand whie playing
the rght hand ties with
an even legato feel.
EXERCISE ELEVEN AND
MI NUET ELEVEN
Many
jazz
pinists ncluding yours truty at var-
ous times ehploy a double metodc lne using
two hands. Many times ths s used to give
a
deeper rhythmic projecton
to the metodic tine.
At other times it is used n very free-ftight
manner (prmarly
during fast tempos). Another
aspect of the ability to play doubte tines is that
it can be very effectve when the
pianst
is
doubling the same line as aother nstrumen-
talst. You will notice in the mnuet that both
hands at various times get a chance to play
background and lead. Ths is an exercse that
should be practiced
carefully in ordea to give
the pianist
the abitty to make ths change as
smoothly as
possible.
ilB
EXERCI SE TWELVE AND
MINUET T\r'ELVE
VVe deal now with the aspect of a roving lir|.
and chords n both hads. The minuet bear3 a
very close resemblance to the exercse here, lo
the transition from the exercise to the oieca
shoud be very easy- tt s important to gve each
uderlying harmony ts proper
rhythric valu
and tonal resoect.
EXERCI SE THI RTEEN AND
MI NUET THI RTEEN
In exercse thirteen we prepare for changig
rhythms in both hads- Upon reaching the minu-
et, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the ex-
ercse for the secret les first imprinting the
depth of the melodc line in either hand. tf any
other trouble is encoutered here, the player
shoulcl return to exercSe and minuet nuber
eeven.
A
I
(o
al
EXERCI SE FOURTEEN AND
MI NUE FOURTEEN
Exercse fourtee should be
practiced
until the
player achieves a fleei but cofrmed sense of
nt rpret at i on, Whert t hs has been accom-
plshed, he should then appty this technque to
the minuet.
ocor pelerson
t
FOR THE JAZZ PIANIST
Copyrshl o 1965 by Toni MusicCo,and DoeMusicCo
lntenational 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.
not es f rom t he out hor
PREFACE
Jazz par'o
can be a very enjoyable rnusical
experence 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 world
from a
playing
aspect, he often fncls himself
harnstrung by many variecl musical inadequa-
cies. Very few people
truly ever attribute their
lack of abilty to the proper cause, I feel. Many
of them blame what they term their creatve
nability to conceive
jazz
phrases,
wthout stop-
png
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
prmary
aspect i n mnd t hat l have concei ved
this set of beginner's exercses. I feel tht if the
player
honestly ancl sincerely learns the
azz
bxercises one at a tme, and after having com-
pteted
one, then applies that learnng to the little
iazz
mnuet that matches the exercise, he will
re
i effect conditoning the hands for proceed-
ng into deeper
jazz
playng.
I t i s vi t al l y i mport ant t hat al l f i ngeri ng
gven
i n
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 fnding the
proper
digitl
postion
to
give
the
greatest
ease of hancl movement,
thereby achieving a better tonal result on the
I hope that this frst book of
jazz
exercises and
pieces
opens a new world of
panistc
command
to the avid young panist.
L
N
EXERCI SE ONE AND MI NUET ONE
PLAYI NG NOTES
Exercise one attempts to
give
the
player
two
things. First, strength. The
player
moves from
the middle of the right hand to the lst 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 dgtal control on this
type of
phrasng
wthout rocking the hancl from
sde t o si de,
EXERCI SE TWO AND MI NUET TWO
This exercse and minuet are merely to induce
in the
player
the ablity 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.
EXERCI SE FI VE AND MI NUET FI VE
EXERCI SE THREE AND MI NUET THREE
This exercise and minuet deals
primarly with
what I feel are the two weakest fingers of the
jazz
pianst's
right hand
(the
fourth and ffth
fingers). On
playing
this exercise ancl
piece
the
payer
should attempt to keep the lstener
(or
hs instructor) from knowing that he is usng his
fifth fnger on his right hand. Usually this is a
pitfall
in
jazz
playing.
The stuclent will notice
that the fifth fnger is employed n the middle
of the phrase rather than at thend which is
the usual
jazz
custom,
\ \ l
\ t i N
a a)
a'
EXERCI SE FOUR AND MI NUET FOUR
This exercise and
piece
are merely to
give
the
beginner the chance to formulate in hs own
mind the format and content of the blues from
a backgroucl standpoint. Very elementary har-
monic movement is employecl and after both
exercise ancl minuet have been learnecl thor-
oughl y. t he
pl ayer
shoul cl at t empt t o mprovi se
hi s own. ght hand l i nes on t he background
grven
here,
f)
we now approach t he wal ki ng bass l i ne. I f eel
ow that wth the movement employed the
player shoulcl
gain
a much frmer understanding
of what a bass player does for the
pianst
o the
bl ues i n t he
pri mary
st age. Agai n l st at e t hat
af t er command i s
a, aned
of t hese t wo
pi eces,
the
player
should attempt to conceve lines on
this
given
bass.
EXERCI SE SI X AND MI NUET SI X
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 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 depth
against bass line that s quite
busy such as
the one
provided.
o:
.a
EXERCI SE SEVEN AND MI NUET SEVEN
we now erfiploy the stop and go bass fgures.
This gives us the ablity to change from an
elementary sense of rhythmc pattern in the left
hand, introducing from time to tme a straight
four as a form of retief. The rnetody in the
jazz
mnuet 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
EXERCI SE EI GHT AND MI NUET EI GHT
Here we employ a steady watking bass figure
ir the exercise. In the minuet we emptoy farty
lrusy lnes. The p!yer
shoud attempt dfferent
types of artculation ;n o.der to obtain the finat
tnd correct
jazz
feelig that he desres. In doing
t hi s he shoul d t hen be abl e t o reat i ze how
re
jazz player (professional)
changes the com-
dete
complexion of a tune by changing his
articulation.
|'
a '
EXERCI SE NI NE AND MI NUET NI NE
This is an exercise in double hands n which
once aga the player has a choice of artcula-
ton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to art-
culate with complete ease, hs hands must be
free Of any keyboard entanglements.
)
EXERCI SE TEN AND MI NUET TEN
Exercise ten is vtally important for here we
have the walking bass tine in eighth notes. Lter
on in the mnuet, we add a tine of eghth notes
in the rght hand als. The trck her is to kep
the primry
sense of rhythmc mpetus in the
left hand whie playing
the rght hand ties with
an even legato feel.
EXERCISE ELEVEN AND
MI NUET ELEVEN
Many
jazz
pinists ncluding yours truty at var-
ous times ehploy a double metodc lne using
two hands. Many times ths s used to give
a
deeper rhythmic projecton
to the metodic tine.
At other times it is used n very free-ftight
manner (prmarly
during fast tempos). Another
aspect of the ability to play doubte tines is that
it can be very effectve when the
pianst
is
doubling the same line as aother nstrumen-
talst. You will notice in the mnuet that both
hands at various times get a chance to play
background and lead. Ths is an exercse that
should be practiced
carefully in ordea to give
the pianist
the abitty to make ths change as
smoothly as
possible.
ilB
EXERCI SE TWELVE AND
MINUET T\r'ELVE
VVe deal now with the aspect of a roving lir|.
and chords n both hads. The minuet bear3 a
very close resemblance to the exercse here, lo
the transition from the exercise to the oieca
shoud be very easy- tt s important to gve each
uderlying harmony ts proper
rhythric valu
and tonal resoect.
EXERCI SE THI RTEEN AND
MI NUET THI RTEEN
In exercse thirteen we prepare for changig
rhythms in both hads- Upon reaching the minu-
et, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the ex-
ercse for the secret les first imprinting the
depth of the melodc line in either hand. tf any
other trouble is encoutered here, the player
shoulcl return to exercSe and minuet nuber
eeven.
A
I
(o
al
EXERCI SE FOURTEEN AND
MI NUE FOURTEEN
Exercse fourtee should be
practiced
until the
player achieves a fleei but cofrmed sense of
nt rpret at i on, Whert t hs has been accom-
plshed, he should then appty this technque to
the minuet.
ocor pelerson
No.1
EXERSIgE
3 5 5
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JAZZ E.XERCISE No.6
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JAZZ MINUET No.7
JAZZ EXERCISE No.8
JAZZ MI NUET No. S
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JAZZ EXEIICISE No.9
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JAZZ EXBRCISE No.1O
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JAZZ EXERCISE No.14
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