J'ALL PIANO STUD]ES 1, John Kember CONTENTS Bah-ba-doo bah
poge 3
Anticipation
poge 4
Early bird
page 5
Left hand drive
page 6
End notes
page 6
ln sequence
poge 7
High five
poge 8
Allwhite on the night
page
Rest easy
page 12
Serious syncopation
poge 13
So what!
poge 14
Step time
poge 15
Window shopping
poge 16
lce cool
page 17
Open spaces
poge 18
Valse semplice
poge 20
Three's a crowd
page 22
Southern belle
poge 24
Romance
poge 26
Feeling good
poge 28
Smalltalk
poge 30
Night life
poge 3 I
l0
O 1995 by Faber Music Ltd This edition O 2005 by Faber Music Ltd BloomsburT HouseT4-77 Great Russell Street London WC lB 3DA Cover illustration by Vikki Liogier Music processed by Christopher Hinkins Printed in England by Caligraving Ltd All rights reserved |SBNl0:0-571-52400-l EAN l 3: 978-0-57
1
-52400-6
FAB'Off MUSIC
lntroduction more established 'classical' forms, but )azz, rockand popular music use the same notation as the are interpreted slightly differently: note values need not always be taken literally, but are used as a convenient way of indicating the rhythmic 'feel' of a pattern or phrase. Chords, broadly, function in the same way, but include various 'added notes'which give the harmony aiazzfeel. These progressiveJazz. Piono Studies aim to help you to:
o o
recognise and perform commonly-used time patterns with stylistic phrasing
understand anticipation (syncopation) of both notes and chords and to perform them
within a rigid temPo
O O o
play against the beat in either hand, whether with single notes or chords
form chords and recognise the sounds, textures and movements of notes within chords use either hand
to build and maintain a chord sequence
By playing these short studies and pieces, you should build up a rePertoire of styles techniques, and also develop the confidence to extemPorise in a variety of iazz styles.
and
Aspects of iazz rhYthm Pulse
The impofrance of keeping a regular pulse, and of the necessity to count cannot be overemphasized. you must always know where the first beat of the bar/measure is. This is particularly is also vital when improvising, where a similar sense of four- and eight-bar/measure phrase lengths essential. Using a metronome when you practise can be very helpful in developing a good sense
of rhythm. Swing
rhythm
ln this book, pieces
to be played with a'swing' feel are indicated:
-s-
Jl = i 'l'
This will give a relaxed feel, particularly in right hand single note lines and melodies. ln all other cases, quavers/eighth notes should be played straight.
o note or chord forward by half a beot) Any beat can be anticipated, but the first and third beats (usually the strongesQ are the most effective in giving a swing or jazz 'feel' to a simple melody or rhythm. lf the tied or anticipated note is accented, the phrasing becomes clearer and more stylistic, particularly if the preceding note is shortened. lf the anticipated note or chord is at the end of a phrase or is followed by a Anticipation (moving
rest, it is better played staccato, or with an accented staccato.
1-,
BAH-BA.DOO BAH
_s_
)
Swing rhythm
4/-
l2o (swing,f = J,hl
-
I
l-l
2
\
tu
,!f
t
t
p
"!f
semi-staccato
I
Ebmaji
Gm
D7sus4
D+s
gb
Gm
5
Fine
I
a)
cp4
pb
1-
-
f
p Gm
D
(cm)
D
--
1t-
D/A
G
Ebmal7
13
5 3
D.C. al Fine
I L,J
L'
tl
--p '1
Gm
O 2005 by Faber Music Ltd.
CÆq
4
sb
Gm/D
D
DÆf Cm
This music is copyright. Photocopying is ILLEGAL.
2. ANTICIPATION Moving a note or chord fdrward by half a beat
A#dimz
G/B
5
tu!.?
,
fi!'
,!f G
A#dimz
Am7
-OJ
C
G/B
Am7
G/B
D
9
at
+ +' p
_v
trt+ t,_--
+'
',-:'
r/a
_-.-
-4
G
Am7
GIB
AfdimT
C
Am7
G/B
D
t3
a)!:
he.
I
f
,!f
3
G
I7
Am7
AfdimT
c
GIB
5 3
3
I
a)
I
GlB
5 3
Am7
5
G
2' .7
p
v GIB
J
C
c#aim
EmlD
5
3
7
p
D
I
D CID
Dtbet
G+6
3. EARLY BIRD Anticipation of lst beat
)-r2o 5
a)
"!f legato
29 5
f
L
5
Am JJ /
|
A t -J 37
tat
"!f 5
Em
4I
t2)
f
à)
Li
tl L
4. LEFT HAND DRIVE Anticipation within a bass line
==-
,!f 2l 4
5. END NOTES Anticipation of 4th and lst beats; delayed lst beat (common endings) 96-120
)=
3
I
f,
______1_____-_4-
_-___------a)
I
,!f
,!f
e
I
3
Dm
DDI
ffi
(
r
C
Dbl
I
f t_
Dm
Dm
C
DDI
Dm
C
6. rN SEQUENCE Anticipation of melody through to chords
)=fi2
rzfi--..
/-ra2
rl
I
5
J
Dm 7
G7
\
|
,
I 5
Bm7
-5
4
(e)
E7
é
tLt
a)
e Dm7
tu
I
"!f +'
Dm7
cmqt
G7
t'
Y-l
FmajT
v-r
Bm7
(e)
-s
Am
JJ'
V
.-> cmd'
G7
GTsusa
I
'l^
FmajT
Bm7
-5 (e)
E7
I Dm?
+
Jvf)
I
G7
CmajT
FmajT
Bm7
-5
(9) E7sus4
be)
I
.,
gt (bs) Am
8
7. HIGH FIVE Right hand developed from pentatonic scale
1
,!f
_o
5
a
a-J
e
ç,
Am
ArfllG
Dm/F
G
G
ÀJ
-D-J +
C\
Asusa/E
FmajT
F;m7
AmTlG
ZJ
a)
p a
? DmT
Am
G
lF
a
? DmT
G
lF
molto rall. 26
3
l.
I
I
3
f
3-5
3
--------->
^ 4F/
-(}
zl
P
^ Am
Dm7
G
Dm
Am
t0
8. ALL WHITE ON THE NIGHT Bright 4
)=I44
tZ ta,
f Am+7
Am
4
t
r
z7'y
z-\l
3?
5
C\
+ Am6
Am7
Emil
Dme
5
+
FmajT
2 .
E7sus4
72
+^
,,+^+ E7
Am
0
I L
a)
Am+7
Am7
Am6
Amb6
Am
il . -l---tu l-l-.-LJ
è)l.,_-
l_l
tttt-
"!f
Dme
I
lr-"-'--l àà GT
Em7
lD
AmTlE
Fe
DmTlF
a-\
16
f t
,,l.nl.
E7sus4
I9
1.5
E7
Am
Am+7
J_
cresc.
+ Am7
Am6
Dme
22
G
"tr a
(l
Em13
FmajT
876
Am
t2
9. REST EASY Anticipation of 4th beat
) = 104-120
5 J
)
û
a)
-.
f legato r3
5
Am
C^uJ1
G7
Dme
C+6
)
3
5
1
o+;>'
2
5
3
FmajT
Dm7
s1 A1
+
-
-:
4S
3
CmajT
G7
5
f
-
ar;-
p
sub.
;
;
5
'
o+
2'
?
^
13
13
I
CmajT
G7
Dme
Am7
13,
.,
.,
r>
f
cresc.
PP
^ ) 5
FmajT
Dme
ome/G
c9+6
t3
10. SERIOUS SYNCOPATION Bright 4 |
,J
= 116 1.32 3 =
.-. -:.
:
"f
4
J-
a
Ê
Am
I
Dme/F
AmTG
Esusa
5
+1> -^
E
3
A!
4 5
Drng
.f Ê
32 55
3 5
p*
gbe
a Am7/G
13
E
Esusa
1 2 t
}J
)
Esusa
Dme/F
\
t
!
1^2
a)-,r!r
Dme
P
sbsTo$
Esus4 E
Am
E
t4
11. SO WHAT! J
= 2 rzo Gwine
Jl
=,,l
))
r-J +-,1
!.
=t
f
1
f
ryp
I
l\
!t
F
I
3!
I
Gm 7F
FIA
5
f
ryP
I
F
rl
I
3
c /E
F
I
4
5
c
Dm
l
5
!.+
=e
sub. t
I
(BD')
1
3
4
gb
s--a :
t3
,r
tt
FlA
Gm?
F
3
I
,:+
a-
p
.f
I (F)
F/A
Gm?
F
p
t5
12, STEP TIME )=Ma
,:ll
a
I
Bbmaj?A Gm6
t.,
,
BblF Em?-5 Bb
BbmajT
J
a
,ti-l
,
f B[nay'iA Gn6 BbTiF CllE
,i+ Ca
F
9
a)
+'+.>1
FelE, FlEb
Dm Dm7
Dm7
Gm
D.C. al
13
$ poi al Coda ^
^ Cm9
17.
F9
F?
gb
coda
Â
a
Cme
1inrr,'
il
r
-\v''
J
Bbmajo
13. WINDOW SHOPPING ) = 120-126
Gwine
.ll
=
.l
.f)
emTG
G/Ff
G/F$
.t
im.
t G6
D/F$
c'1lF\
GÆ*
)p1çl
5
t3
l_
i t1
I
p 1
G6
G1/r\
C/E
Cm/Eb
GID
À'lc*
EmlD
G
t7
14. lcE cool .l = qo (swine.E = .l .f )
"f3 Dm
Dm/C 5
i ^ !,
,f
trl +-l 3
Â
I
yL 7 llrJ
I
T3
2
JI
s
-.
èrt
:l
1
f
3
"tr
,rf
llt! 3
I
t8
15. OPEN SPACES Experiment with and vary the dynamics .l
54 32 1r
= 1lo-116 Gwing JJ = J.l)
+_' rf;
|.+
(p)
1
? (.f)
Dl3
a)
++
i}
Dl1
Ame
i>
De(no 3rd)
t9
16
2-
Ê
Dll
G
Dl3
Drr
Gmaj?
22
?'
,I Ame
De(no 3rd)
1t;
l\
20
16. VALSE SEMPLICE )=so
A waltz with jazz-style harmonies
I
i _l
r
,tt èl
ArnTÆ
GmajT
6
a p
nlP
Am/D
Gmaj?
r AmTD
cmajT
t?
GmajT
IL
,Y
AmllD
cmâj7
a a!_
(*e)
Ami/D
3 2
"l
r
tt
}L
ll
,7
fi
Gmaj?
:
GmajT
Em?
Am?
I6
ar)t
i __--
al
)T
lr
C
EmllD
AmlD
5
Ib p
g
G
AmlD
a
t
cmajT
2t
)
f AmtÆ
27 3
.,)t .l
rÈ
,7
)t
t
)
,rf
A^7/D
GmajT(+e)
32
--'
51
z
3
.7
OI
F.m7
Gmaj?
IT
.-------l--- --I---'.
lr
i
)Ê
I
D?
GmajT
C
EmTlD
rnolto râll.
AmlD
i
.<
22
17. THREE'S A CROWD Jazz
Get used to the rhythm before you begin:
Jazz waltz tempo
.J
waltz study
!f;
= 160
2 1
p
2
sb
Ebmaj?
gb
E4naj?
t-| "f Ebmaj?
sb
Bbsusa
Fm9
Cm9
r
p
3
Bte
B,IAb
Cm
Gm
Gm?
13
,r
r.__r
Fm?
Bb?(e)
gb
EDmaji
E1
23 17
f I
Ab7
-.-,*
r
\.--,
Ab6
Bbe
-
Bb/Ab Cm?
Gm
Cme
D.C. al
2t
$ poi at Coda
f.--r Fm?
25
Bb?p)
Cm
l\-
Ebrnaj?
9b11'b
|
Bb
Coda
-_i
-',-;
"f EbmajT
lrlp
Bb
Ab
EbmajT
29
S:
*._; P
PP
4b
Bb
-
-
ts,mal'
Ab
gb
a,_-./ EbmajT
24
18. SOUTHERN BELLE
z-î--;-\>l
) = c.|12 O6:
Con ped.
2
1[
c
G?
,r!f
.'
^t
lz--\
CIG
fr
Cm6/G
r
,"t"4.î zl
u
B
c /c ',-------:-I [
87
Em
\
r21
Amt-s D(ul4
D7
C6/G Cm+7/G lG G
.\.---2
.)l
r
il\ii;1
I
l\
?
Em7
I
Am77lD D
Cmaj?
72
G
9
t\--r
1L
r
r
er7
I
7
,nI) legato and exqresth)e
5,--..--.-\\
'ioi
.f Alr'lC
G/D GmajlD CmajT
r 51
z.-' Q) 1>. -
1+e /-
(
\t C
/G /c
D7
Bm?
D76
5
4
I
Y
I
f
l
Cm6/G
C
G7
me
C maJi1
Am?/D /D
D
G
r c
2
ù
)14
a f-f ,)
B?
EM
ta
Em?
'
'[r
f
7,
Am7 Am7 -5 Drsus,r
D7
C6lG
L C.nllc
P 2 5
G
Em
t
5
Am6lE
"f G,/D GmaiTD cmâj7
A\aIlD
Cm+7G
2t
22
'a
Em
+tè
w_"4 "a
CIG
Ame/D
Em
G/D GmajlD
Am6lE
Cmaj? Bm fall.
37î
?/'1.'t
2
a, Er
r
p -
G
CdimTD
dim,
\
3
\/-'-1,
D
C/G Cr,.,lG G
Am7
Cnajl/D
r râ ^
I
C/G
5
Cm6/G
G
A+e
Ge6
(
76
1-9. ROMANCE Variations over left hand chord sequence
Poco rubato J = c.88
'
7r
r"*pr"
lrgoro
,rf
'
} iJiJiJ à. û t
iJ JU )
J
I a)
p
3/-t-ÊÊ
11 !ll'
2
5
O
RH.
Flm ?-s /A
Am+7
Ir I
Dm6
E7
E7sus4
3
---._-
cantabile e espressixo
IJJJ
*13++
SAtt
€-
FlmT
5
FmajT
***ra Am/E
Emt
G'IF
Am
CmajTf
E9IA
Am/C
1
2
itJ
J
*
*
* P*mr+
e 16
Am/E
Dm 1
E,ID
ttct GTIF
FmajT
f,
I
Em
f
l
1/^
---:-----a
Cmaji1
Am/C
19
r +** l
Bm7
,!f
,tt
Am
E?
<
1
22
GmajfF*
23
Gl
clE
lp\
2l
2,/31
3
r-
,J ) F;11tP\
Be/D+
-^
D
CmajT
G/F$
G
i ç #;: /a- ) ), à t'"] ,--"--:-j f
ryP
2*22 G/FI
29
)
E1
;-
2 t r"rl
irr
Am/E
BYDï
k-*è'
2
,t*rt*
J
AmlGi
Am+7c*
E
r z r 'i]È-.
1Êt*C -p F{-r
-s
it
33
B,ID,'
Fmaj?
Cl/F
A-Æ
Em7
-....\'--\
3 4
a)
I-lmT
E7/D
Cmaj?+5 AmlC
Bm7
E
28 36
t
2
o
iJJ+
==_r_:_
_
,f
I JJ
6
E9IA
tct*
J
Flmr
AmlG
Am+7G+
-s
1t
39
3
nlP
tAz+ GlIF
FmajT
Ê1lD
Am/E
Em?
rall.
t,--3--3 -i,=:::-é72 2 1é
"n4
/,:
ppl
i4à
Bm7
CmajTr5 An/C
E9IA
E7
20. FEELING GOOD Bright l2
4
)=Ma 4 2
f
.f EbmajT
9b
Gm
Dm7
j
- trf
a)=_v
L=-
Cm7
irr
PrrTC
Bbe
"f
J
29
4.
212 I
-t Gm
Dm?
Ebmaj?
l3
45
Itl;/
t:
f1.
It-t
Gm
Flt
Cm?
fJ? te
17
.)lr + Ebmaj?
2t
tt)
gbF
Dm?
Gm7
21 -
Cme
Fl3
Dm7
G?
:t
^ a)
p 2 Cm7
F1l
Bt
tf
I
^ Abmaf
o sb
30
21. SMALL TALK Swinging right hand chords
Leisurely and legato .l = 84-88 (swing Jl = J )1 5 3
2
p 3
G
GmajT
G7
Cmâj7
c/D
G
CmajT
....-___:,
nf )g-
GmajT
ryP
CmajT
I
-''--P
Q)
,{ clD
Gmaj?
-'\ ryp
Cmaj?
AmTsus Am7 CmajlD D
13
-
------>t ,!f Bm7
Em?
='"-:-- alJ 3
Gmaj? CmajT
L.r
a-lz*n
3t
17
Slower
^
-U
J+111 pp
ad lib,
^
C
cmajT C-
CmajT
C
lD "Hu,
"
22. NIGHT LIFE .l
= rzo Gwine,!- =J'J)
,---\
I 2-l
t'
f
ryp
DIn
G-9D
Fr.
Bbi
Dm
irolt
Dm
5
1s
f
"f Dm
G-?,/D
t2
.f
r-.J 2-'
Bb?
Dm
iz
r
o
i-\
++ Dm
f
p
Dm+?
flr r
Dm
Grf
lBb
!
l? b? h2
]-1.
Grl
Fm/Ab
6
F7
F.1 6
b2
+b+=D7rJ
F,r1
Dri
c7
C7 +5
l7
anw
Dm
t
Fr.
f
cm6/D
7
Rr/
Dm
Dm
Slower
20
I
a
,rw
// Dm
Gt"7Æ
Bb?
a ternpo
24
^
aFr ô DDi
c1
1e
Br1
Dm
