Ww ASSOCTATED RBNARD OF THE PNVAT, ornnAnnTns NP MIST‘The Jazz Piano and Jazz Ensembles Syllabus sets ont in detail the requirements of the exams, espe cially those for scales, aural tests and the quick scuds. [r also contains the assessment eviteria, The syllabus is obtainable trom music dealers or from The Associated Board of the Royal Schools of Music, 24 Portland Place, London WIB ILU (please send a stamped addressed C5 envelope). Scales and Arpeggios To be played fom memory, straight or swing as directed by the ‘SALES: in similar motion with hands together one octave apart, and with each hand separately, in the following forms: Dorian on G; Mixolydian on C; Lydian on Bs; F major (two octaves) ‘Minor pentatonic on D and € (ewo octaves} Biues scales on G and F (one octave} (CrroMaTic SCALES: with each hand separately, beginning on Ab, Band C (avo octaves) ARPEGGIOS: the common chords of F and By majors, and A and C minors, in root position only, with each hand separately (tsvo octaves}, Three Pieces One chosen by the candidate from each of the three lists: Blues, Standards and Contemporary Jazz. HEAD. AC the outset, the notation of the head should be closely followed. While there may be variation in details of melody, rhythm or phrasing, the result should be coherent, srvish and ‘musical and not alter the technical demand, Soo. The guideline right-hand pitches and left-hand part are given as a starting-point and to, indicate the style, It is expected that candidates will expand upon the given niasical materials as their experience allows, also using other pitches, voicings and figurations. AFTER THE SOLO(S). Everything afier the solos) may be embellished in a number of ways, from a few simple additions or variations to a more extensive reworking. Exact repetition should be avoided. ‘Ar Grade 1 such embellishment might mean making small melodic or rhythmic changes oF dynamics or phrasing. Ar Grade 3 players might change the octaves at which material is played, introduce fills or revoice chords, At Grade 5 harmony may be varied or enriched with extensions, melodic lines may be thickened or omamented, and shythms and phrasing reinter- preted. Or none of the above and 4 completely different set of embellishments! Players have a range of options at all grades and may offer any musical embellishments in keeping with the style RELATED LISTENING. Every effort was made to ensure that the CDs listed at the foot of each piece were available ar the time of going to press. However, jazz recordings regulaely go in and ‘out of print, and if the one cited has now been deleted look for a compilation album by the same antist on the same record label, or buy’ a related alluum by the same musician or band Quick Study To play a four-bar passage for one hand only and improvise a four-bar comtinuation (see the syllabus for full details). The quick study may be played at sight or by ear Aural Tests See the syllabus for fall details of the aural tests for the grade The volumes of pieces and seales are published by the Board, together with books of sample quick studies and aural tests and a range of other support materials, Full details are given on the back cover of this volume 1998 by The Assia Bours of the Rural Schools of Msc No prt of this pation may be cupid or reprntuced in any nto by a means withone the poe pension of the public, Music origination by Rarnes Shae Engeaving Lad Prise in England by Cajgraving Lad, Thsiond, Novo2 4 Edited by Charles Beale Blues 1 Tim Rickarps Barrelhouse Blues 2 2 JOHN Myra Walking Blues 4 3 Dizzx Giuteseit, air Pete Charchill Birks Works 6 4 CHARLES BEALE, Blues for Tom 8 3 Jouan Joseret Allfarthing Blues 10 Standards 1 Buty Tartos, arr Linn Noble Lavish T knew how it would fel to be free 2 2 Bagr Howaro, ave: Pete Churcbill Fly me to the Moon (In other words) 14 3. CHARLES LLown, are Will Michael Sombrero Sam 16 4 Benwy Gooraan, arr Pete Churchill A Smooth One 1s 5. Morses Sm1oxs, arm Roland Pervin The Peanut Vendor (El Manisero) 20 Contemporary Jazz 1 Hw Warnen Swing Fun 2 2 Micetaet GaRKick Neat Feet 4 3. Terry SEABROOK Spanish Sketch 26 4 NIKKI TLes Sails 28 5 Rovanp Pena Saturday 30 A.CD for Grade 3 is available containing recordings of al the pivees forthe grade, st, quick studies and scales, Three of the pieces, “Birks Works, “I wis knew how it would fel to be Fee “Saturday, ae also presented on the CD in “minus one’ versions, for you to play along with bass and drums.BARRELHOUSE BLUES Tim Richards Swing J =100 Moving along G6 4 2 SOLOS © 1997 by Schott & Co. Ltd, London From Improvising Blues Piano by Tim Richards. AB 266D.C. al Coda DS cé G6 Solo 24 bars in exam + NOTES: Aiso try improvising using Lixolyaian on ¢ over tho G6 bars. ‘+ RELATED IISTMAING; Wi11 Reel: ‘Pitchin' Boogie! from The Piaro Blues: Paramount Voruse 1 1928-52 [iagpic) AB 2634WALKING BLUES John Myhill Medium Swing J =88 Carefree and confident {HEAD] % BIT Lo BW cr F7 Bb BI/D Eb GI/E F7 | Break © 1998 by The Associated Board of the Royal Schools of Music AB 2634D& al Coda Solo 12 bars in exam BL7 F7 = FE LF f aes mf (last time only) + = nt = =I SS = ) copa F7 B> B/D E> G/E F7 Co Bs o4 = ' _ 4 Ae 3 ape Fs ra = ve F ~~ ” — 25 f A ft fide ite |e b m7 = — = = ———— fe SSS + HOSES: Tae grace-notea in bans 10 and 25 axe optional. + SSSA GSB [Bit a Drews on ay bint! fron Kanses City shout [Pob2o] AB 2634BIRKS WORKS Dizzy Gillespie arr. Pete Churchill Swing J = 108 Cheeky Dm? C7sus Bi7 a Av HEA Dm7 EDA D7 a7 AT —7 4 BWA Dm7 c7 Bb7 AT © Copyright 1952 by Dizlo Music Corporation, USA, Windswept Pacific Music Ltd, 27 Queensdale Place, London W11. Used by permission of Music Sales Led. All righ's reserved. International copyright secured, AB 2634SOLOS Dm7 Gm7 Dm7 D& al Coda Solo 24 bars in exam E7 AT Dm7 EbA mp (last time only) Dm7 C7 B7 —7 4 BWA Dm7 G7 + RELATED LISTENING: Disay @Allespier 'Birse Works! trom Bixks Works [Verve] AR 2634BLUES FOR TOM Charles Beale Swing J =108 Feelin aheavy 2 HEAD & ag 5 G7 230 4 i i © 1998 by ‘The Associated Board of the Royal Schools of Music AB 2634c7 G7 ote D& al Coda D7 G7 Solo 12 bars in exam mf t_ FZ ast time only) )- copa Repeat ad lib, and embellish — twice in exam D7sus G7 CcIG G7 a i TS + HORE: Also try inprovioing using the 1 pentatonto on de + RAGATID LISTENNIG: Albext Collins: "Gold cold feeling! from Tor Pickin" [Alligator] AB 2634ALLFARTHING BLUES Julian Joseph Swing J = 120 Detached and groovy (GAD F7 SOLOS © 1998 by The Associated Board of the Royal Schools of Music AB 2634cs Bb7 F7 C7sus Bb7 F7 1G ae} [last time only joie 24 bars in exam BIZ F7 D7 ‘+ FELATED LISTMRING: Julian Josephs "iiss Simons! fron The Tangiage of ruth [Bast west] AB 2634I WISH I KNEW HOW IT WOULD FEEL TO BE FREE Billy Taylor arr. Liam Noble Straight 8s Rock J = 104 Driving, but with a light touch LHEAD | 8 AT Dm? cm7 3 Bb C7sus F 1 to Coda ci m7 Be FIC C7sus_ FF 1 2 © Copstight 1964 by Duane Music, Inc. Allrights reserved, Used by permission. AB 2634B “SOLOS F Dm7 Bb C7sus oF D.& al Coda 1 (ete) last time only F F F D C7sus m7 BP CTSUS Solo 16 bars in exam Bo FIC C7sus) F Bo FIC cio = Dm7 ‘+ TOUS: aiso try inprovising using the blues soale on F. “= FELATD ListamTMG: Bi1ay Taylor: "I ish T knew how it would feel to be free! fron Jess on a Sumex's Day [Castle Commnications] AB 263414 FLY ME TO THE MOON (IN OTHER WORDS) Bart Howard arr. Pete Churchill Up Swing J = 144 Keep moving HEAD Am7 e7 Am7 5 CA BT © 1954 ané 1982 by Hampshire House Publishing Corporation, New York, USA. Assigned to Tro Essex Music Ltd, Landon SW10 0SZ Iaxernational copyright secured. Ail tights reserved. Used by permission AB 26341s Dm7 G7sus cA Solo 8 bars each time in exam FA Be E7 Am7 wr HEAD continues Dm7 G7sus BLT av Dm7 yo [i ||? vie. Dm7 DbA CA [Fa} &7 Dm7 DbA CA ffl] — repeat once in exami a (optional) (optional) ‘| RELAMD LISTINING: Frank Sinatra: ‘Fly ne to the loon! from ily Ways Me Best of Prank Sinatra [Varner] AB 203416 SOMBRERO SAM Charles Lloyd arr. Will Michael Straight 8s J = 60 60s Latin Rock cry Di7 5 c7 D7 C7. e mf Pt © Copyright by Forest Farm Music, USA BMG Music Publishing Ltd, 69-79 Fulham High Street, London SW6. This arrangement & Copytight 1996 by BMG Music Publishing Ltd. Used by permission of Music Sales Ltd. All rights reserved. Intemational copyright secured, AB 2634c7 D7 c7 D7 c7 Db7 c7 D7 c7 D7 D.&% al Coda Solo 16 bars in exam c7 Db7 c7 Db7 c7 D7 c7 D7 c7 5 ze ) A j_ F 2 be play 3 times ‘+ MOTHS: Also try these right-hand notes over Dk7 in the Soles: 4 a or y arerelaad ‘en be be we —— + RELATED LIGTHEING: Horace Silver Quintet: ‘Song for my Tathex! fon Song Zor wy Father (Rue Note] AB 2634A SMOOTH ONE Benny Goodman arr. Pete Churchill Medium Swing J = 126 In the style of Benny Goodman — 30s big-band swing HEAD FIC > C7sus , FIC C7sus Be Bs? AT v7 G7 c7 Bb7 Bo FIC m7 F7 3 aoa Bb7 Be FIC Gm7 c7 © Copyright 1941 by Regent Music Corporation Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. AB 26349 SOLOS F FIA Bb7 Bo F/G D7 «G7 C7 «B® Bz AT ODT G7 c7 Cm7 FT By Be FIC Solo 14 bars in exam cm7 F7 B7 Bo F/G Gm7 C7 FIC C7sus , FIC C7sus AB 263420 THE PEANUT VENDOR (EL MANISERO) Moises Simons arr. Roland Perrin Straight 8s J =72 Latin -Son Montuno 4 7 2 last time to Coda c G F Cc OG © 1931 by E, B, Marks Music Corporation, USA. EMI Music Publishing Ltd (L. Wright), London WC2H OBA Reproduced by permission of International Music Publications Ld. AB 26342 SOLOS, Solo 16 bers in exam D.& al Coda cor; G7 (Pea-nuts!) Ca 4 T ‘TOTES: Also try improvising using the aajor pentatonic and 3 pentatonic on C and the blues scale on C- In bar 26 the chosa ef P 1s an brackets beomuse this chor change is optionaly if you Like, use the chord of 0 ‘througuout this bar. + Taam LISTINIHGs iongo Sartasarias tthe Foam Yenior’ dise/ kenge Ripa Wateiaeion lan (Fantasy AB 2634SWING FUN Huw Warren Swing J = 144 Joyous c Am D G/B cA (P (cwinkly) © 1998 by The Associated Board of the Royal Schools of Music AB 203423 GA GbA FA EA EbA DA C#A CA G G F E 28 3s G c Am D GB Em Am D G C Am D GB Em Am D G Cc Am D GB Em D.C. ai Fine Solo 16 bars in exane D G c Am D G/B Em Am oD ‘Clusters (any rhythm) + HORS: Alvo tay improvising using Doran and aixolyAian on G and the b§ pentatonic on G. In the Had choose clusters at any pitca and enjoy! The clusters at the end of the Solos may be extended or onitted ao you choose. «BELATED LISTSNING: Ferfect Houseplants: ‘Knees! from Perfect Fouseplants [ah Un) aa AB 263424 HEAT FEET Michael Garrick Swing J = 144 Dance neatly HEAD Fa ELA FA BA FA © 1098 by The Associated Board of the Royal Schools of Music AB 263423 Dm7 Dm6 Dm? Dm6 Dm7 D.C. al Fine be Dm7 be Soto 16 bars in exan: pe ate 4 HOTS: Also try Asprovising using Dorian on De © RELATED LISTENING) Michael Garrick Trio: ‘Brothers of the Botton Rou" from Pavting is sash Wazay AB 263426 SPANISH SKETCH Terry Seabrook Straight 8s 4 =72 With character HEAD 2. § ii te t i r to Coda FE FA FE FA F/E FA © 1998 by The Associated Board of che Royal Schools of Music AB 263427 [SOLOS FE FA AWG ADA AWG AbA D.C. al Coda Solo 24 bars in exam FE FA F/E FA FE FA ‘+ RELATED LISTHNING: Chick Coreas ‘Spain! fron he Aboustic und (67) AB 263428 SAILS Nikki Iles Straight 8s J =96 Reflective, but moving steadily on HEAD Dm7 Dm7'6 A__________1 Ped. simile Dm7 Dm7é cio 3 om7 BoA A7sus © 1998 by The Associated Board of the Royal Schools of Music AB 263429 cre Cm7 ~B7 BbA A7sus SOLOS] DS& al Coda Solo 16 bars in exam 25 (last tte onb) = L poy ogy le nb om Bes Fe o = = 4 - copa cm7 B7 BBA A7sus rall, — Dm7is + NSLATED LISTANIMG: Herbie Hanosoks "aiden Voyege! Zrom iadden Vajage [Bini Bote} AB 263430 SATURDAY Roland Perrin Swing J = 144 Optimistic ~in holiday mood HEAD Ba c G to Coda & GD bz G Gr CE 4c © 1998 by The Associated Board of the Royal Schools of Music AR 264431 {SOLOS Solo 16 bars ir exam CE o7 TNTERLUDE? INTERLUDE 7 f= Ho DS al Coda wits senea 9 CODA CE G/D D7 G A A 4 RELATED LISTING: Abguliah Thrahin: ‘African Gunt from 4trioan Sun [KAZ] AB 2634 ‘Printed im England by Cafigraving Limited Thetford Nortotk‘Whaat good is msic if it ain’t got that swing?’ Duke Ellington The Associated Board responds with ‘Jazz Piano’ ”, a comprehensive introduction to the world of jazz. A pioneering set of publications and a rigorously planned syllabus provide the building blocks you need to play jazz with imagination, understanding and style and to improvise effectively right from the start. Five books of graded pieces provide a wealth of jazz repertoire for you to play, from the great African-American tradition to the vibrant, dynamic and multi-cultural nature of jazz today. Throughout, there is a huge range of styles: funky rock grooves, up tempo swing tunes, calypsos, a bossa and other latin pieces, jazz waltzes, modal pieces, bebop style, gospel style, a rag, free jazz. There are classic tunes by the jazz greats including Duke Ellington, Miles Davis, Bill Evans and Thelonious Monk. And there are brand-new pieces specially commissioned from professional British jazz pianists and educators, providing an exciting snapshot of the contemporary scene. JAZZ PIANO TITLES Jazz Piano Pieces, Grates 1-5 (one book per grade) Jazz Piano Scales, Grades 1-5 Jazz Piano Aural Tests, Grades 1-3, Grades 4-5 (two books) Jazz Piano Quick Studies, Grades 1-5 Jazz Piano: The CO, Grades 1-5 (one CD par grade) Jazz Piano from Scratch: & how-to guide for students und ‘teachers (book and CD) Charles Beale Within each album there are 15 pieces presented in three categories — blues, standards and contemporary jazz. Each piece provides a head which contains all the characteristic voicings, phrasing and rhythmic patterns needed for a stylish performance. An improvised section follows, where guideline pitches and left-hand voicings are given as a practical starting point for your own solos. Accessible, student-centred and at the highest musical standards, these pieces will get you playing jazz confidently and creatively. Pieces, scales, quick studies, CDs, aural tests, how-to book ~ this set of materials provides a complete progressive method for playing jazz piano from scratch. So ‘give that chythm everything you got! h ¢ 5 + & < § c 8 Xu TWA OSLWTOOcCY