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 lnes are attempted against the left had.
lcidentally ths should represent a great chatlenge from this aspect because it is fairty difficult to move the rght hanct tne to ay depth
against bass line that s quite busy such as
the one provided.

o:
.a

EXERCISE

SEVEN

AND

MINUET 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 cohesiveness 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 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
this he should then be able to reatize how
re jazz player (professional) changes the comdete complexion of a tune by changing his
articulation.
|'

a'
EXERCISE

NINE AND

EXERCISE

)
AND

MINUET NINE
This is an exercise in double hands n which
once aga the player has a choice of artculaton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to artculate with complete ease, hs hands must be
free Of any keyboard entanglements.

TEN

EXERCISE
ELEVEN
AND
MINUET ELEVEN
Many jazz pinists ncluding yours truty at varous 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 nstrumentalst. 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.

EXERCISE TWELVE
MINUET
T\r'ELVE

ilB
AND

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.

EXERCISE THIRTEEN
MINUET THIRTEEN

AND

In exercse thirteen we prepare for changig

rhythms in both hads- Upon reaching the minuet, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the exercse 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

MINUET

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.

al
EXERCISE FOURTEEN
MINUE
FOURTEEN

AND

Exercse fourtee should be practiced until the

player achieves a fleei but cofrmed sense of
ntrpretation, Whert ths has been accomplshed, he should then appty this technque to
the minuet.

ocor pelerson

FOR THE

JAZZ

PIANIST

Copyrshl o 1965by Toni MusicCo,and DoeMusicCo

Mdein U,S,a.
al Rishts ReePed
lntenationalCoptrighl Secured

fhis edili0nauthori?ed
lor sak in theUniledSlates.
Canada
ad Gea1
Sritain.

notes f rom the outhor

PREFACE

EXERCISE

Jazz par'o can be a very enjoyable rnusical

experence from a listening standpont, to everyone, both aclult and youngster alike. Howeve,
when a Derson. whether studied or not classically speakig, attempts to enter the Jazz world
from a playing aspect, he often fncls himself
harnstrung by many variecl musical inadequacies. 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 stoppng 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 in mnd that lhave conceived
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 compteted one, then applies that learnng to the little
iazz mnuet that matches the exercise, he will
re i effect conditoning the hands for proceedng into deeper jazz playng.

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.

It is vitally important that all fingering gven in

both hands be followed completely. In the exercises 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

EXERCISE ONE AND

PLAYING
NOTES

MINUET

EXERCISE

THREE

MINUET

TWO

MINUET 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

AND

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,
\
\t

a)

a'

EXERCISE FOUR AND MINUET 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 harmonic movement is employecl and after both
exercise ancl minuet have been learnecl thoroughly. the player shoulcl attempt to mprovise
his own.ght
grven here,

hand lines on the background

f)

ONE

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. Seconclly, if practised properly, the player shoulct
be able to achieve better dgtal control on this
type of phrasng wthout rocking the hancl from
sde to side,

AND

TWO

EXERCISE

FIVE AND

MINUET

FIVE

we now approach the walking bass line. I feel

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
blues in the primary stage. Again lstate that
after command is a,anedof these two pieces,
the player should attempt to conceve lines on
this given bass.

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 lnes are attempted against the left had.
lcidentally ths should represent a great chatlenge from this aspect because it is fairty difficult to move the rght hanct tne to ay depth
against bass line that s quite busy such as
the one provided.

o:
.a

EXERCISE

SEVEN

AND

MINUET 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 cohesiveness 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 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
this he should then be able to reatize how
re jazz player (professional) changes the comdete complexion of a tune by changing his
articulation.
|'

a'
EXERCISE

NINE AND

EXERCISE

)
AND

MINUET NINE
This is an exercise in double hands n which
once aga the player has a choice of artculaton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to artculate with complete ease, hs hands must be
free Of any keyboard entanglements.

TEN

EXERCISE
ELEVEN
AND
MINUET ELEVEN
Many jazz pinists ncluding yours truty at varous 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 nstrumentalst. 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.

EXERCISE TWELVE
MINUET
T\r'ELVE

ilB
AND

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.

EXERCISE THIRTEEN
MINUET THIRTEEN

AND

In exercse thirteen we prepare for changig

rhythms in both hads- Upon reaching the minuet, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the exercse 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

MINUET

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.

al
EXERCISE FOURTEEN
MINUE
FOURTEEN

AND

Exercse fourtee should be practiced until the

player achieves a fleei but cofrmed sense of
ntrpretation, Whert ths has been accomplshed, he should then appty this technque to
the minuet.

ocor pelerson

JAZZ EXERSIgE No.1

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