OAKRIDGE aD aur! TAZZPTANO The jazz piano program was developed by the Examinations Department of The Associated Board of the Royal Schools of Music, Jead consulhant Dr. Charles Beale. This publication is not for sale outside North America, ISBN Q-L34-0330b-5 HAL*LEONARD® CORPORATION eee tints) yin 9 202 socio oat of ty Ray See ot ae Ineinatena! Copyegnt Someed Al gh Reba For al works contained Peri: LUnaunorizes copying ange, adating, marten or bie prormance san itingors are ae one In aw Vista Lgonord Onine at ‘w-halteonerd.com war 20410 12 4 16 18 20 22 24 25 26 27 28 30 31 39 41 46 49 52 56 Contents Introduction Tunes Blues Beprorp Square BLUES O, Lorn, PLEAS Don’? Let Tue Drop Tuar Avomic Boma ON Me Bacs’ Groove Suinky THING Prove You Groove Standards PERDIDO INCHWORM JEAN PigeRe (OLp Man From) Te OLp Country Is You Is, Ox Is You Arx’r (Ma’ Bany) Contemporary Jazz BorrLt JUNCTION Bivur AUTUMN He Is SADLY MELTING Here We Go AGaIn ‘YoxaTE, Aural Tests Test A Test B Test C quick Studies Seales and arpeggios Glossary CD Track ListingBEDFORD SQUARE BLUES i Ricard Michael Medium Swing /= 126 Cheerful * [HEAD] 07 c7 = te Coda} G7 * See Glossary © 1998 by The Associated Board of the Royal Schools of Music Incesnational Copyright Secured All Rights ReservedSOLOS D.C. al Coda o7 c7 G7 Solo 12 measures in assessment |S RELATED LISTING: Count Basie; “Blues for Joel" trom Kansas City Shout {Pablo}Slow Swing / = 80 Lazy HEAD Dm7 5 c Copyright 1976 by JAZZ WORKSHOP, INC ‘This arrangement Copyright © 1998 JAZZ. WORKSHOP, INC. International Copyright Secured All Rights ReservedSOLOS Dm7 G7 c7 Solo 12 measures in cosa nf =| (ast time only) HEAD continues Dm7 G7sus c Dir o7 nF Fill + HOTES: Also try inprovising using the aajor pentatonic on OsMedium Swing J = 108 With a light touch but grooving co G7 to Coda * Minus One ~ Track 24 1D 1958 (Renewed 1986) Reecie Music ‘This arrangement Copyright © 1998 Reecie Music International Copyright Secured All Rights ReservedSOLOS DS& al Coda Solo 12 measures in assessment D7 c7 G7 copa o7 or or10 Slow Swing J = 104 Slow and slinky Dm7 5 7 ; ; ; > 1 HEAD &§ m7 q G7 Dm7 BOT AT Dm7 AT 1998 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights ReservedMW D& al Coda Solo 12 measures in assessment Bb7 AT Dm? AT P (last time only) Dm7 3 Ar Dmiit 7 ‘+ NOTES: Also try inprovising using Dorian on D, and explore using the motes A and ab + RELATED LISTENING: The Hat King Cole Trict "The Friz Pram Sauce" trom Me Best of the wht KingStraight 8s Rock / = 108 Solid, insistent HEAD G7 3 mp crese, throughout © 1998 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights Reserved13. SOLOS D.C. al Coda Solo 12 measures in assessment Am7 ov G7 D7 + MOTHS: Also try playing the opening leit-hard pattern in your solo, *g+ in measures 17 and 18 |S RELATED LESTER: Hovbie Mancocks “Wetermelon Wan" from Takin’ Off" [Bine tote]Medium Swing « = 104 Grooving HEAD Dm7 A Solo 7 measures ix assessment Cc AA * Minus One ~ Track 25 Words by Harty Lenk and Ervin Drake Music by Juan Tizol Copyright « 1942, 1944 (Renewed) by ‘Tempo Music, Inc. and Musie Sales Corporation (ASCAP) ‘This arrangement Copyright \ 1998 by Tempo Music, Inc. and Music Sates Corporation (ASCAP) All Rights Administered by Music Sales Corporation Inernational Copyright Secured All Rights Reserved Reprinted by Permission1s HEAD continues E7 AT 4 Dm7 G7 Cc + NOTES: Also txy playing some left-hand vamps in your solo, e+g+ =| in measures 9-10. + RELATED LISTING: Dike Silirgtons Weerdido” from a # eltotare [FCA]16 Medium/Slow Swing J = 96 Jazz Waltz HEAD. G F G F G mf CIE GD D7sus D7 G/D Gm/D GD im/D SG C/E @D D7 Gsus G 2 From the motion picture HANS CHRISTIAN ANDERSEN © 1951, 1952 (Renewed) FRANK MUSIC CORP. ‘This arrangement ©) 1998 FRANK MUSIC CORP. All Rights Reserved,17 SOLOS q7/D Gm7/D Solo & measures in assessment HEAD continues G/D Gm/D G/D Gm/D ral. G CIE GID D7 Gsus G oSStraight 8s J = 84 Slow funk - quiet, insistent c7 Copyright © 1986 Jazz Horn Music This arrangement Copyright 17 1998 Jazz Horn Music All Rights Administered ty Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203, Internacional Copyright Secured All Rights Reserved19 Solo 8 measures in assessment HEAD continues, + HOMES: Explore using the notes 2 and Jb in your solo. ‘© RELATED LISTING: Miles Daviss "Joan Pierre" from We Want ililes (Columbia)20 Swing J =126 Smooth and lyrical HEAD Dm Gm/D cHo/D Dm am C7sus F a S 2 % - 2 AZ Dm7 {1960 (Renewed) by UPAM MUSIC CO. a division of Gopam Enterprises, Inc. ‘This arrangement © 1998 by UPAM MUSIC CO, division of Gopam Enterprises, Inc. All Rights ReservedSOLO G7 Break Dm? a7 Dm7 G7 Solo 7 measures in assessment D.& al Coda Dm7 G7 o7 AF @ coma woe G7 Dm7 q7 Sd ‘+ RELATED LISMONNG: Keith Jarrett: "(01d lian from) The 014 Countzy" fron Standants Live [Pu]Medium Swing 4 = 152 Bright HEAD Am AmA Am7 Amé SOLO Am AmA Am7 Am6 Solo 8 measures in assessment o7 GT c c7 ‘© Copyright 1943, 1944 by UNIVERSAL ~ MCA MUSIC PUBLISHING, A Division of UNIVERSAL STUDIOS, INC. Copyright renewed This arrangement () 1998 by UNIVERSAL ~ MCA MUSIC PUBLISHING, A Division of UNIVERSAL STUDIOS, INC. International Copyright Secured All Rights Reserved23 FIA Frv/Ab CIG c7 Am AmA Am7 Am6 ‘+ RELATED LISTIONING: ‘The Wat King Cole Trio; Is you is) or Is you ain'$ (ma! aby)" from foo Marvellous for words (Cnariy]Medium up Swing J = 108 Playful HEAD GD to Coda Son D straight 8s D D7sus G 13, 1 4 A7sus A7 — SOLOS D.% al Coda G7 FT Solo 12 measures in assessment (st time (last time only) only’) D QO CODA OO ing Dsus G Asus AT ss as SF mf {) 1098 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights Reserved25 BLUE AUTUMN Eddie Harvey Straight 8s Rock + =120 Melancholy Dm G/D Dm G/D Dm Gd Dm GID 5 to Coda @ fy Dm G/D Dm G/D Dm G/D Om (last time only) = RSLATED LISMIMING: G42 Bvarsy Out of the Cool [Tapulse!] © 1998 by Phe Assoc ed Board of the Royal Schools of Music International Copyright Secured All Rights Reserved8s /=66 With resignation HEAD Cle F C/E 2 = mp Tor TS ee i +. eileen 2 ie P. _ J Ped. simile F G7sus DIF F DFH = __G7sus_ G7 ‘Kieu = P. J Ped. simile SOLOS CIE F CE Solo $ measures in assessment oe fliyu list i ii. cS a PL Re. simile HEAD continues G7sus DFS F DFE —_Gisus_ rit. 2 mf — === F w —— — PL Pr. simite 2 © 1998 by The Associated Board of the Royal Schools af Music International Copyright Secured All Rights Reserved27 Swing /=104 Thoughtful HEAD Dm7, 2 3 yo NO Am Dm? Fine SOLOS Dm7 D.C. al Fine Solo 8 measures in assessment 4) 1998 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights Reserved28 Straight 8s J = 132 Steady African groove HEAD S aa Ale Dp 4G Am/C D G mp bring out melody + Minus One ~ Track 26 © 1998 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights Reserved29 AIG Solo 8 measures in assessment * RGGAPED LISPONING: abauIIeh Torehiar "African Sun"! from afvioun Sun (eZ)30 Aural Tests Aural and musicianship skills are a fundamental part of jazz performance and improvisation. In solo work jazz musicians must hear in their head the rhythmic and harmonic context in which they are working, in order to respond inventively and stylistically to that sound in their improvisation. In ensemble playing musicians must make choices about their role within the overall texture and the notes or rhythms that are most appropriate to play in the light of what they hear. The sural tests are designed to help you to listen to music in this way and to foster working by ear, the best and often the only way to learn jazz, The best approach is to get someone else to play them for vou. The practice tests ‘The practice tests can also be extended imto fun exercises for developing improvisation and other jazz skills. Preparation for the tests involves doing the same activities as learning new pieces or practising the improvised sections, and you should therefore see them as @ natural and familiar part of your learning experience. Questions along the lines of “What feel is this in?”, “How many beats in a measure are there?”, “How does this rhythm go?”, “Whats the tune?” and “Can you clap the pulse?” are almost bound to occur in the course of learning pieces and developing improvisation skills. The chapter on the aural tests in JAZZ PIANO FROM SCRATCH suggests several activities for the development of these vital skills as well as information about the optional assessment. The CD included with this book illustrates how each element of the aural tests will be presented in the assessment and records several of the A Tests. Bach recorded test is ted by the (@) symbol. © TEST A ~ (Al) Clapping the pulse, (A2) Clapping on a specified beat of the measure, (A3) Clapping the rhythm of a short extract © TEST B~ Singing as an echo © TEST C — Question and answer/improvised answering phrases Jazz musicians use their aural and analytical skills to fix a clear and detailed inner aural image, or “internal map”, of a piece of music in their heads. This map will provide the structure ~ important rhythmic, melodic, harmonic and formal features - upon which any ‘successful improvisation will be made. Developing and working on your aural skills is something that you will continue to do for the rest of your life as a jazz musician, It is a fundamental and hugely satisfying part of jazz31 Test A AL To clap the pulse of a passage of music in 3 oF 4 time played by the examiner, The examiner will commence plaving the passage, and the candidate will be expected ta join in as soon as possible by clapping the beat. AQ To clap on the lost beat of each measure while the above passage is played again, The examiner will frst state the time and count in the candidate. 3 To clap the rithm of a short, single-tine extract (marked ‘X") which will be played twice by the examiner, © 1998 by The Associated Board of the Royal Schools of Music32 Medium Swing J =88 Jazz Waltz CA cat CA Cat Amg FA Em7 Amiadds) Straight 8s Latin J = 96 Gmee Gmve2 mee Gmbes pP__t P__i et sin, Bbm9 —Eb7sus Am9 x77 _~—Csésus Gme? - Gm634 Straight 8s Bossa Nova ¢ = 138 m7 cm/Bp cm Cm/Bb Frm/Ab G78 fr x ME Straight 8s Rock /= 116 Slow and Heavy G7 cASwing / = 138 Gas BLgttt Am Amd Am? Do. mf Fo Bpgitt rs Eb7* = D9. Gladd9) Swing J = 152 EG = Gbo Fm? BL EWG Go Fm7 Bb7 6 7 AbG x ze Bb7sus A 3 a36 Swing / = 100 Bu a7 nee Serer ees ee a ce F7 BL7 E139 Pe ie Am7 eS Ab7+37 Straight 8s Latin J = 12038 Swing J =112 Dm Dnvc Be BL? A? Dm = Dm/c Be —7 AZ Dm, Devic Be BY739 Test B To sing, as an echo, four ewo-measure phrases examiner. The echoes should follow each phrase in strict time without an root, and the starting note will first be sounded and a rwo-measure coust-in given, ited to a range of a third in a major or minor key or mode played by the rervening pause, The key-chord, or chord on the Swing + = 100 112, igs a SRE er ere ‘Straight 8s Bossa 4 =9640 Swing J = 120 6 Swing + =92 Jazz Walt EDI Pa Straight 8s Bossa 4 = 104 » GQE IE eA STEEP: ——- aes fa dS Ze LAE LLLL A PALE Swing = 132 Jazz Waltz Gem nss a ea Straight 8s Latin 4 = 100 10 © Gigi eeTest 0 ‘To sing oF play improvised answering phrases to four two-measure phrases limited to a range of a fourth (though the answers ‘need not be similarly limited) in a major or minor key or mode played by the examiner. ‘The answers should follow each, phrase in strict time without an intervening pause. The key-chord or chord on the root will frst be named and sounded, and fhe pulse given, The examiner will then play four measures introductory groove, before playing the first phrase to which the candidate should respond, and continue with an accompanying groove throughout the test. Your response will have to be played up an accave. If you choose to play this test in the assessment you will be able to use a scale that has appeared in the assessment program by your level. Some of the specimen tests have been written specifically for the singing option and use scales outside of the assessment program requirements, Swing 4=092 Groovy C13 mf Last timerd Straight 8s Latin / = 108 Lase time Dm743 Straight 8s Rock J = 96 >o Dm7 CIF Dm7 CIF G Dm7 CIF G Dm7 CIF Last time G Dm7 CIF G Dm7 CIF G44 Swing /=92 Dm7" Am7 Dm Am7 Dm711 Am7 m7" Am7 Last nine Dm71t I —— = *4s “These extra grooves provide further practice for ‘Test C. Get your teacher or friend to invent ovo-measure right-hand questions over them and improvise your own evo-measure answers. Straight 8s Rock J = 120 Last time D7 G7 D7 A A o7 5 , 4 Straight 8s Latin J = 104 E7sus Last time Sh mf Swing /=92 Last time Gm7 c7 Gm7 7 mf Straight 8s Slow Latin 4 = 84 Last time a Am7 FA Am7 cod56 CD Track Listing TRIO TAKES 1. Prove You Groove 2. Is You Is, or Is You Ain't (Ma’ Baby) 3. He Is Sadly Melting PIECES: BLUES 4. Introduction 5. Bedford Square Blues 6. O, Lord, Please Don’t Let Them Drop That Atomic Bomb on Me 7.0, Lord, Please Don’t Let Them Drop ‘That Atomic Bomb on Me (nti! ew 8. Bags’ Groove 9. Slinky Thing. 10. Prove You Groove PIECES: STANDARDS 11, Introduction, 12, Perdido 13, Inchwors 14, Jean Pierre: 15. (Old Man from) The Old Country 16. Is You Is, or Is You Ain’t (Ma” Baby) PIECES: CONTEMPORARY JA2Z 17. Introduction 18. Bottle Junction 19. Blue Autumn 20. He Is Sadly Melting 21. Here We Go Again 22. Yokate PIECES: MINUS ONE TRACKS 23, introduction 24. Bags’ Groove 25. Perdido 26. Yokate Presenter: Geolfney § Pianists: Charles Boule, Paz Churshil, Michael Garvie ROUTINES OF MINUS ONE TRACKS Bags’ Groove: 4 solos Perdido: 8 solos Yokate: 8 solos AURAL TESTS exami set 27. inteeduction 28. Test A (book no. 1) 29. Test B (book no. 1) 30. Test C: sung response (book no. 1) 31. Test C: played response (book no. 1) practice tests 32. Introduction 33. Test AL 34, Test A2 35. Test A3 (trio) 36, Test AG 37, Test AB (trio) 38. Test A6 39. Test A7 QUICK STUDIES 40, Introduction 41. No. 11 by car 42. No. 9 at sight SCALES 43. Introduction 44. Dorian on D, right hand, straight 45. Mixolydian on G, left hand, swing 46. C major, right hand, swing 47. Major pentatonic on C, right hand, straight 48.53 pentatonic on Gy left hand, swing 49. G major arpeggio, left hand, straight 50. D minor arpeggio, right hand, swing iui Hes Drums: Trevor Tobin; Bass: Tim ils Exane “candidates”: John Hayesard, Nathan Hayroard