EXERCISE SIX AND MINUET SIX EXERCISE ELEVEN AND

The left hand pattern now enters the form of MINUET ELEVEN
boogie woogie. This is a very ¡mportant exercise Many jazz piánists ¡ncluding yours truty at var¡-
and should be thoroughty tearned before any ous times ehploy a double metod¡c l¡ne using
other l¡nes are attempted against the left hañd. two hands. Many times th¡s ¡s used to give a
lñcidentally th¡s should represent a great chat- deeper rhythmic project¡on to the metodic tine.
lenge from this aspect because it is fairty diffi- At other times it is used ¡n á very free-ftight
cult to move the r¡ght hanct t¡ne to añy depth manner (pr¡mar¡ly during fast tempos). Another
against á bass line that ¡s quite busy such as aspect of the ability to play doubte tines is that
the one provided. it can be very effect¡ve when the pian¡st is
o:
.a
doubling the same line as añother ¡nstrumen-
tal¡st. You will notice in the m¡nuet that both
EXERCISE SEVEN AND MINUET SEVEN hands at various times get a chance to play
we now erfiploy the stop and go bass f¡gures. background and lead. Th¡s is an exerc¡se that
This gives us the ab¡lity to change from an should be practiced carefully in ordea to give
elementary sense of rhythm¡c pattern in the left the pianist the abit¡ty to make th¡s change as
hand, introducing from time to t¡me a straight smoothly as possible.
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-
EXERCISE TWELVE
ilB
AND
ness between the two hanc,s.
a MINUET T\¡r'ELVE
VVe deal now with the aspect of a rñoving lir|.
7 and chords ¡n both hañds. The minuet bear3 a
EXERCISE EIGHT AND MINUET EIGHT
very close resemblance to the exerc¡se here, lo
Here we employ a steady watking bass figure
the transition from the exercise to the oieca
ir the exercise. In the minuet we emptoy fa¡rty
shou¡d be very easy- tt ¡s important to g¡ve each
lrusy l¡nes. The p!áyer shou¡d attempt d¡fferent
uñderlying harmony ¡ts proper rhythrñic valu€
types of art¡culation ;n o.der to obtain the finat
and tonal resoect.
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 EXERCISE THIRTEEN AND
articulation. MINUET THIRTEEN
|'
a' In exerc¡se thirteen we prepare for changiñg
EXERCISE rhythms in both hañds- Upon reaching the minu-
NINE AND MINUET NINE
et, if any clifficulty is experienced, the ptayer
This is an exercise in double hands ¡n which shot¡ld leave the m¡nuet and retuan to the ex-
once aga¡ñ the player has a choice of art¡cula- erc¡se¡ for the secret l¡es ¡ñ first imprinting the
t¡on, However, the finger¡ng shoutd be studied depth of the melod¡c line in either hand. tf any
carefully so that he reat¡zes that in order to art¡- other trouble is encouñtered here, the player
culate with complete ease, h¡s hands must be shoulcl return to exerc¡Se and minuet nuñber
free Of any keyboard entanglements. eeven. A
I
) (o
EXERCISE TEN AND MINUET TEN al
Exercise ten is v¡tally important for here we EXERCISE FOURTEEN AND
have the walking bass tine in eighth notes. Láter MINUEÍ FOURTEEN
on in the m¡nuet, we add a tine of e¡ghth notes Exerc¡se fourteeñ should be practiced until the
in the r¡ght hand alsó. The tr¡ck heré is to kéep player achieves a fleei but coñf¡rmed sense of
the primáry sense of rhythm¡c ¡mpetus in the ¡ntérpretation, Whert th¡s has been accom-
left hand whi¡e playing the r¡ght hand tiñes with pl¡shed, he should then appty this techn¡que to
an even legato feel. the minuet.

o¡cor pelerson
 t

FOR THE JAZZ PIANIST

Copyrshl o 1965by Toni MusicCo,and DoeMusicCo

lnte¡nationalCoptrighl Secured M¿dein U,S,a. a¡l Rishts ReePed

fhis edili0nauthori?ed
lor sak in theUniledSlates.
Canada
a¡d G¡ea1
Sritain.
notes f rom the outhor

PREFACE EXERCISE TWO AND MINUET TWO

Jazz p¡ar'o can be a very enjoyable rnusical This exerc¡se and minuet are merely to induce
exper¡ence from a listening standpo¡nt, to every- in the player the ab¡lity to phrase jazz-wise in
one, both aclult and youngster alike. Howeve¡, his left hand when callecl upon to do so. Here
when a Derson. whether studied or not classic- also he should strive for a completely even tonal
ally speakiñg, attempts to enter the Jazz world result.
from a playing aspect, he often f¡ncls himself
harnstrung by many variecl musical inadequa-
cies. Very few people truly ever attribute their EXERCISE THREE AND
MINUET THREE
lack of abil¡ty to the proper cause, I feel. Many
This exercise and minuet deals primar¡ly with
of them blame what they term their creat¡ve
what I feel are the two weakest fingers of the
¡nability to conceive jazz phrases, w¡thout stop-
jazz pian¡st's right hand (the fourth and f¡fth
p¡ng to realize thal a jazz technique in many
ways is a completely new form of technique fingers). On playing this exercise ancl piece the
when comoared with the classical. lt is with this p¡ayer should attempt to keep the l¡stener (or
pr¡mary aspect in m¡nd that lhave conceived h¡s instructor) from knowing that he is us¡ng his
this set of beginner's exerc¡ses. I feel thát if the fifth f¡nger on his right hand. Usually this is a
player honestly ancl sincerely learns the ¡azz pitfall in jazz playing. The stuclent will notice
bxercises one at a t¡me, and after having com- that the fifth f¡nger is employed ¡n the middle
pteted one, then applies that learn¡ng to the little of the phrase rather than at the€nd which is
iazz m¡nuet that matches the exercise, he will the usual jazz custom,
Ére iñ effect condit¡oning the hands for proceed- \ \ l ¡
¡ng into deeper jazz play¡ng. \t i N
a a) a'
It is vitally important that all fingering g¡ven in
EXERCISE FOUR AND MINUET FOUR
both hands be followed completely. In the ex-
This exercise and piece are merely to give the
ercises where no fingering is given in one hand,
I feel that the player should ¡nstinctively have beginner the chance to formulate in h¡s own
no trouble f¡nding the proper digitál pos¡tion mind the format and content of the blues from
to give the greatest ease of hancl movement, a backgrouñcl standpoint. Very elementary har-
thereby achieving a better tonal result on the monic movement is employecl and after both
exercise ancl minuet have been learnecl thor-
I hope that this f¡rst book of jazz exercises and oughly. the player shoulcl attempt to ¡mprovise
pieces opens a new world of p¡anist¡c command his own.¡ght hand lines on the background
to the avid young p¡anist. L grven here,
N

EXERCISE ONE AND MINUET ONE f)

PLAYING NOTES
EXERCISE FIVE AND MINUET FIVE
Exercise one attempts to give the player two
we now approach the walking bass line. I feel
things. First, strength. The player moves from
the middle of the right hand to the lást finger of ñow that w¡th the movement employed the
the right hand, then moves from the thumb player shoulcl gain a much f¡rmer understanding
of the right hand to the midclle of the hand. Sec- of what a bass player does for the pian¡st oñ the
onclly, if practised properly, the player shoulct blues in the primary stage. Again lstate that
be able to achieve better d¡g¡tal control on this after command is a,a¡nedof these two pieces,
type of phras¡ng w¡thout rocking the hancl from the player should attempt to conce¡ve lines on
s¡de to side, this given bass.
EXERCISE SIX AND MINUET SIX EXERCISE ELEVEN AND
The left hand pattern now enters the form of MINUET ELEVEN
boogie woogie. This is a very ¡mportant exercise Many jazz piánists ¡ncluding yours truty at var¡-
and should be thoroughty tearned before any ous times ehploy a double metod¡c l¡ne using
other l¡nes are attempted against the left hañd. two hands. Many times th¡s ¡s used to give a
lñcidentally th¡s should represent a great chat- deeper rhythmic project¡on to the metodic tine.
lenge from this aspect because it is fairty diffi- At other times it is used ¡n á very free-ftight
cult to move the r¡ght hanct t¡ne to añy depth manner (pr¡mar¡ly during fast tempos). Another
against á bass line that ¡s quite busy such as aspect of the ability to play doubte tines is that
the one provided. it can be very effect¡ve when the pian¡st is
o:
.a
doubling the same line as añother ¡nstrumen-
tal¡st. You will notice in the m¡nuet that both
EXERCISE SEVEN AND MINUET SEVEN hands at various times get a chance to play
we now erfiploy the stop and go bass f¡gures. background and lead. Th¡s is an exerc¡se that
This gives us the ab¡lity to change from an should be practiced carefully in ordea to give
elementary sense of rhythm¡c pattern in the left the pianist the abit¡ty to make th¡s change as
hand, introducing from time to t¡me a straight smoothly as possible.
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-
EXERCISE TWELVE
ilB
AND
ness between the two hanc,s.
a MINUET T\¡r'ELVE
VVe deal now with the aspect of a rñoving lir|.
7 and chords ¡n both hañds. The minuet bear3 a
EXERCISE EIGHT AND MINUET EIGHT
very close resemblance to the exerc¡se here, lo
Here we employ a steady watking bass figure
the transition from the exercise to the oieca
ir the exercise. In the minuet we emptoy fa¡rty
shou¡d be very easy- tt ¡s important to g¡ve each
lrusy l¡nes. The p!áyer shou¡d attempt d¡fferent
uñderlying harmony ¡ts proper rhythrñic valu€
types of art¡culation ;n o.der to obtain the finat
and tonal resoect.
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 EXERCISE THIRTEEN AND
articulation. MINUET THIRTEEN
|'
a' In exerc¡se thirteen we prepare for changiñg
EXERCISE rhythms in both hañds- Upon reaching the minu-
NINE AND MINUET NINE
et, if any clifficulty is experienced, the ptayer
This is an exercise in double hands ¡n which shot¡ld leave the m¡nuet and retuan to the ex-
once aga¡ñ the player has a choice of art¡cula- erc¡se¡ for the secret l¡es ¡ñ first imprinting the
t¡on, However, the finger¡ng shoutd be studied depth of the melod¡c line in either hand. tf any
carefully so that he reat¡zes that in order to art¡- other trouble is encouñtered here, the player
culate with complete ease, h¡s hands must be shoulcl return to exerc¡Se and minuet nuñber
free Of any keyboard entanglements. eeven. A
I
) (o
EXERCISE TEN AND MINUET TEN al
Exercise ten is v¡tally important for here we EXERCISE FOURTEEN AND
have the walking bass tine in eighth notes. Láter MINUEÍ FOURTEEN
on in the m¡nuet, we add a tine of e¡ghth notes Exerc¡se fourteeñ should be practiced until the
in the r¡ght hand alsó. The tr¡ck heré is to kéep player achieves a fleei but coñf¡rmed sense of
the primáry sense of rhythm¡c ¡mpetus in the ¡ntérpretation, Whert th¡s has been accom-
left hand whi¡e playing the r¡ght hand tiñes with pl¡shed, he should then appty this techn¡que to
an even legato feel. the minuet.

o¡cor pelerson
JAZZ EXERSIgE No.1
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JLZZ MINOET No.l

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JAZZ EXEIICISE No.2

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.JAZZ X{.INLIET No,2

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6

JAZZ BXERCISE No.3

4
2 B 5 5 4

2 2 2 2 4

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JAZZ jllIINUBT No.B
JAZZ EXERCISE No.4

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JAZZ MIN(IET No.4

 I
JAZZ EXERCISE No.b

5 ¡ 1 3 1
a z l 5 t 5

JAZZ MINLIET No.5

I
JAZZ E.XERCISE No.6

2l{ t z j - l t z ; 2
f,lr F t "

JAZZ MINUBT No.6

 1t

\IAZZ EXERCISE No.7

z | 2 ', l t 1
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JAZZ MINUET No.7

JAZZ EXERCISE No.8
 13
JAZZ MINUET No.S

2 |_J-..J_J
14

JAZZ EXEIICISE No.9

¿ s ! 1 Z Z i ) ? l " I a a z z

z 2 ' - = 3 3 5 5 + l 3 t
t 1
I t 2 2 3 3

r r 1 ! \ 2 z s t t

2 2 1 4
z 2 2 r z
JLZZ MINOET No.9
16

JAZZ EXBRCISE No.1O

- . ; ; 1 4 3 3 t ? l t 1 ! 2 3 z 4 4 3 2 2 7 |
; ; 3

! 2 3 3 2 ¿ t l 2 2 l l g 2 ¡ t
? s 1 1 2 2 1 1

3 ¡ ! 2 t l ! e r ¡ t l ; ; t l P z r t

f l ? t 1 2 2 t l
: 2 3 ¡
t 5
JAZZ MINUET No.tO

l-T = i::1=-
t8

JAZZ EXERCISB No.l1

r ,l ¡ 3 5 3 r ¡ I ¡ 3 5 i J i L 5 1

- ¡ ¡ l ¡
; 3 r : 1 i 3 | t l
l ¡ r s I ¡ I ¡ 1 r t 2

t 4

t . 1
JAZZ I¡I{INLIBT No.tl
20

JAZZ EXERCISE No.12

" r t r I r r r
'r

" r l I t I r T

o f f
I r r I r r

JAZZ MINUNI NO.12

 2l

ZZ EXEP.CJISB No.13
5

; if
(
4 5 ! r : t

4 5 4 : 1 2 4 5 . { 3
:

¿ 4 5 : j e t

t 5 4

MINUET No.l3
JAZZ EXERCISE No.14
5 3 2 i] 5-i---3 a zs 5-! ¡ 3

4 3 1 3 4

B E 2 2 2 2

.l -
1+-

2 A 2 1 3

J ! 3 q : r t 3 1 t t ? B 5
7 1 s 4 2 5 1 3 r l--J-! 5
JAZZ MINI.JET No.14

t + l + t t

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F r f -
. - . - - .

a 7 * - + + e r + ¿ 1