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 chat-
lenge from this aspect because it is fairty diffi-
cult 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 cohesive-
ness between the two hanc,s.
a MINUET T\r'ELVE
7 and chords n both hads. The minuet bear3 a
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 com-
dete complexion of a tune by changing his
articulation.
|'
a'
EXERCISE
NINE AND MINUET NINE
This is an exercise in double hands n which
once aga the player has a choice of artcula-
ton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to art-
culate with complete ease, hs hands must be
free Of any keyboard entanglements.
) (o
EXERCISE TEN AND 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 player achieves a fleei but cofrmed sense of
the primry sense of rhythmc mpetus in the
left hand whie playing the rght hand ties with
an even legato feel.
EXERCISE ELEVEN AND
MINUET ELEVEN
Many jazz pinists ncluding yours truty at var-
ous 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 nstrumen-
talst. 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
ilB
AND
VVe deal now with the aspect of a roving lir|.
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 AND
MINUET THIRTEEN
In exercse thirteen we prepare for changig
rhythms in both hads- Upon reaching the minu-
et, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the ex-
ercse 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
al
EXERCISE FOURTEEN AND
MINUE FOURTEEN
Exercse fourtee should be practiced until the
ntrpretation, Whert ths has been accom-
plshed, he should then appty this technque to
the minuet.
ocor pelerson
 t

FOR THE JAZZ PIANIST

Copyrshl o 1965by Toni MusicCo,and DoeMusicCo

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

fhis edili0nauthori?ed
lor sak in theUniledSlates.
Canada
ad Gea1
Sritain.
notes f rom the outhor
PREFACE
Jazz par'o can be a very enjoyable rnusical
experence from a listening standpont, to every-
one, both aclult and youngster alike. Howeve,
when a Derson. whether studied or not classic-
ally speakig, attempts to enter the Jazz world
from a playing aspect, he often fncls himself
harnstrung by many variecl musical inadequa-
cies. 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 stop-
png 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 com-
pteted one, then applies that learnng to the little
iazz mnuet that matches the exercise, he will
re i effect conditoning the hands for proceed-
ng into deeper jazz playng.
It is vitally important that all fingering gven in
both hands be followed completely. In the ex-
ercises 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 grven here,
N
EXERCISE ONE AND MINUET ONE
PLAYING NOTES
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. Sec-
onclly, 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,
EXERCISE TWO AND MINUET TWO
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.
EXERCISE THREE AND
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
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,
\ \ l
\t i N
a 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 har-
monic movement is employecl and after both
exercise ancl minuet have been learnecl thor-
oughly. the player shoulcl attempt to mprovise
his own.ght hand lines on the background
f)
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 chat-
lenge from this aspect because it is fairty diffi-
cult 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 cohesive-
ness between the two hanc,s.
a MINUET T\r'ELVE
7 and chords n both hads. The minuet bear3 a
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 com-
dete complexion of a tune by changing his
articulation.
|'
a'
EXERCISE
NINE AND MINUET NINE
This is an exercise in double hands n which
once aga the player has a choice of artcula-
ton, However, the fingerng shoutd be studied
carefully so that he reatzes that in order to art-
culate with complete ease, hs hands must be
free Of any keyboard entanglements.
) (o
EXERCISE TEN AND 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 player achieves a fleei but cofrmed sense of
the primry sense of rhythmc mpetus in the
left hand whie playing the rght hand ties with
an even legato feel.
EXERCISE ELEVEN AND
MINUET ELEVEN
Many jazz pinists ncluding yours truty at var-
ous 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 nstrumen-
talst. 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
ilB
AND
VVe deal now with the aspect of a roving lir|.
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 AND
MINUET THIRTEEN
In exercse thirteen we prepare for changig
rhythms in both hads- Upon reaching the minu-
et, if any clifficulty is experienced, the ptayer
shotld leave the mnuet and retuan to the ex-
ercse 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
al
EXERCISE FOURTEEN AND
MINUE FOURTEEN
Exercse fourtee should be practiced until the
ntrpretation, Whert ths has been accom-
plshed, he should then appty this technque to
the minuet.
ocor pelerson
JAZZ EXERSIgE No.1
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JLZZ MINOET No.l

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JAZZ MIN(IET No.4

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JAZZ EXERCISE No.b

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JAZZ MINLIET No.5

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JAZZ MINUBT No.6

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\IAZZ EXERCISE No.7

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JAZZ MINUET No.7

JAZZ EXERCISE No.8
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JAZZ MINUET No.S

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JAZZ EXEIICISE No.9

s ! 1 Z Z i ) ? l " I a a z z

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JLZZ MINOET No.9
16

JAZZ EXBRCISE No.1O

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JAZZ MINUET No.tO

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t8

JAZZ EXERCISB No.l1

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JAZZ II{INLIBT No.tl
20

JAZZ EXERCISE No.12

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JAZZ MINUNI NO.12

 2l

ZZ EXEP.CJISB No.13
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MINUET No.l3
JAZZ EXERCISE No.14
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JAZZ MINI.JET No.14

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