Pew aASSCOCTaATRD RONARD OF PER ROVAT. SCHNOATS AP WUSTCThe Jazz Piano and Jazz Ensembles Syllabus sets out in detail the requirements of the exams, espe- cially those for scales, aural tests and the quick study: It ase contains the assessment criteria. The sufabus is obtainable from music deslets or from The Associated Board of the Royal Schools of Music, 14 Beclford Souare, London WCIB 3]G {please send a stamped addressed C3 envelope), Scales and Arpeggios To be played from memory, straight oF swing as directed by the examiner. ‘Sca_#s: in similar motion with hands cogether one octave apart, and with cach hand separately, in the following. forms Dorian of A; Misolvian on D; G major (nwo octaves) Major pentatonic on F; $3 pentatonic on G; Minor pentatoni¢ on A (five notes) Blues scale on D (one octave) CumoMAriC ScaLt: with each hand separately, beginning on D (one octave) AgPEGGIOS: the common chords of D major andl G ininor, in root position only, with each hand separately (two octaves) Three Pieces ‘One chosen by the candidate from cach of the three lists: Blues, Standards and Contemporary Jaz. Heap. On the first plaving the fully notated head should be closely followed, but it may also. be interpreted more flexibly, with variation in details of melody, rhythm, voicing, phrasing, etc., provided the result is coherent, stylish, musical and docs not alter the technical Level. Soto. The guicetine right-hand pitches and left-hand part are given solely as a starting-point and to indicate the style. It is expected that candidates will expand upon the given musical mate 6 their experience allows, also using other pitches, voicinys and figurations. APrER THE $010(5). Everything afier the solo(s) may be embellished in a number of ways, fram a few simple aciditions or variations to a more extensive reworking. Exact repetition should be avoided, s0 as to achieve a more interesting result Ar Grade 1 such embellishment might mean making small melodic or rhythmic changes or sarying dynamics or phrasing, Mt Grade 3 players might change the octaves at which material is played, introduce fills or revoice chords. At Grade 3 harmony may be varied or enriched with extensions, melodie Tines may be thickened or ornamented, and shytiins and phrasing reinter preted. Or none of the above and a completely different sct of embellishments! Players have a Eange of options at all grades and may offer any masical embellishments in keeping with the style RELATED LiSTENING, Every effort was male to ensure that the CDs listed at the foot of each piece were available at the time of going to press. However, jarz recordings regularly go in and ‘out of print, and if the one eited has now been deleted look for 8 compilation album by the same artist on the same record label, or bay’ related album by the same musician or band Quick Study To play a cworbar passage for one hand only and improvise a nto-bar continuation (see the syllabus for fall details). The quick study may be played at sight or by ear Aural Tests ‘See the syllabus for fell details ofthe aural tests for the grade “The volumes of pieces and scales are published by the Board, together with books of sample quick: stuies and aural tests and a range of other support materials. Full details are given on the back, cover of this volume. Nove: the Jar: Piano exams will initially be available only in the UK. © 1998 by The Avoxinted Boned of dhe Rayal Schools of Music No pire ofthis pubhcation may be copis repreducel in ame orm oF by ane ancans witout the prior psrniaion oF te Pubishes Suni onginaio by Rares Mae Figrasing Lad 1shatet England by Caligraving Lad, Thevfor, Noel—r- 2 Edited by Charles Beale Blues 1 Duxe Eruunotox, ax, Richard Michael C Jam Blues 2 2 Ti RICHARDS On-Off Boogie 4 3. Pere CHURCHILL Blue Lullaby 6 4. Eppve Harvey Good Time Blues 8 5 CHARLIE Parker, a7: Richard Michael Now's the Time 10 Standards 1 SiGMUND RompeRa, ari: Malcolm Miles Sofily as in a Morning Suncise 2 2. SONNY ROLLINS, asx Lewis Riley St Thomas 4 3) McCor TyweR, ars: Niki Hes Contemplation 16 4 DDRICKS & BowaY TIMMONS, air Pete Churchill . 18 5 Bon Hacaanr & Ray Baupuc, arr. Eddie Harney ‘The Big Noise from Winnetka 20 Contemporary Jazz 1 Maxtiy $rEaKe Becky's Song 22 2 MICHAEL Garnick Swing it and C 24 3 Nix Ihes The Firefly 26 4 Pere CHuncHn The Orchard 28 5 Pat Pesxerr Hard Science 30 [ACD for Grade 2is available concaning recordings ofall the pieces for the grad rogether with examples of aura tests, quick studies and scales. Three of the pieees, °C am Blnes “Moanin” and "Becky's Song’, are also presented on the CD in ‘miras one” versions, for you © ply along, with bass and drumsC JAM BLUES Duke Ellington arr. Richard Michael © 1943 by EMI Catalogue Partnership, EMI Robbins Catalog Inc., USA ‘Worldwide print rights controlied by Warner Bros. Publications Inc/IMP Ld. AB 2633D.C, al Coda Solo 12 bars in exam (RATED LISTMNIEG: Dube ETLington: (0 Jan Biueo! (many versions available) AB 2633ON-OFF BOOGIE Tim Richards Straight 8s 4 =112 Steady HEAD _ © 1997 by Schott & Co, Ltd, London, From Improvising Blues Piano by Tim Richards, AB 2633SOLOS, D.C. al Coda Solo 12 bars in exam + MOMS: Tate piece takeo ‘te ane fron the pleonuent of the right-hand chonis in dar 1 on on= and ofibeatoe Toe grace=note in bar 4 is optional, but should be played on the beat, together with the top note (C)- © RSUATED IISTINING: Pinetop Suith: 'Pinetop's Blues! and 'Pinetopts Boogia Woogie! tos fhe Plano Biuose Yooalion 1926-30 [iiagpic} AB 2633BLUE LULLABY Pete Churchill Medium Swing J = 160 Lightly rocking - ebb and flow Dm7 HEAD Dm/A 3 Dm7 {Break} to Coda © 1998 by The Associated Board of the Royal Schools of Musie AB 2633SOLO: : Dm7 Gm7 D& al Coda Dm7 Solo 24 bars in exant cova molto rit. Ee D/A ATsus Dm7 + HONS: Also t2y improvising using Dorian on D, ard explore using the notes 3 and Sb to zerlect the lett-nand chords. ‘ FALATED LISMINING: Frodie Mubburds Udttle Sunrloves' from Rub drt [Hip Bop Zesenoe) AB 2633,GOOD TIME BLUES Eddie Harvey Straight 8s Latin Rock 4 = 120 Heavy throughout HEAD & F7 Bi c7 FZ, c7 cto © 1998 by The Associated Board of the Royal Schools of Music AB 2633(SOLOS DS& al Coda Solo 12 bars in exam + PRIATED LIOTIBINC: Ramsey Lewis: ‘Tbe In Crowd’ from The Best of the Ramsey Iovis Trio [Wd] AB 263310 Row's THE TIME Charlie Parker arr. Richard Michael Medium Swing J = 126 No frills (HEAD F7 BLT © 1945 by Seren Gems-EMI Music Inc., USA. ‘Reproduced by permission of Screen Gems-EMI Music Ld, London WC2H OBA, AB 2633,uw SOLOS | BL7 Bo F7 D& al Coda Solo 12 bars in exam Gm7 c7 F7 c7 mf Cast cine| only) | FSATED LISTININIG: Cherie Parker: !os's the Tine! trom Bini's Best Bop on Verve {Verve} or Bint: The Original Recordings of Charlic Parker [Verve] AB 2633,12 SOFTLY AS IN A MORNING SUNRISE Sigmund Romberg arr. Malcolm Miles Medium Swing J =126 Light Dm © 1928 by Williamson Music Inc., USA Redwood Music Ltd, London NW1 8BD and Warner/Chappell Music Publishing Led, London W1Y 3FA. Reproduced by permission of International Music Publications Ltd. AB 2633,13 SOLO HEAD continues Dm A7 Dmé 5 a Dm AT Dm AT fe ‘+ TOTES: Aleo explore the notes of Aeolian on D in your solot ‘= FELATED LESTINING: Sonny Rollins: ‘Softly ae in @ uorning Sunrise’ from A Right at the Tillage Vanguard [Blue Rote] AB 2633id ST THOMAS Sonny Rollins arr. Lewis Riley Straight 8s J =76 Bright Calypso HEAD Dm7 Em7 Am? 2 G7 ¢c Ee AT Dm7 G7 to Coda © 1957 by Prestige Music Ltd AB 2633,15, Swing (optional) Em7 Am7 Dm7 G7 c D.C. al Coda c7 F Fo C/G G7 G Solo 16 bars in exam ‘+ PELATED LISTRMING: Sonny Rollins: 'St Thonas! from Saxophone Collosus [Original Jags Ciassies] AB 263316 CONTEMPLATION MoCoy Tyner arr. Nikki Iles Straight 8s / = 80 Reflective Am7 1974 by Prestige Music Lad AB 2633,Fa Solo 8 bars in exam HEAD continues s Am7 Em7 ee Am7 ‘+ HELATED LISMUNG: Lodoy Tyrers ‘Contemplation’ from The Real sb0ey|[siwalwote]| AB 263318 MOANIN' Jon Hendricks & Bobby Timmons arr. Pete Churchill Medium Swing 4 = 104 With coolth HEAD Dm7 Gs Dm7 G Dm7 8 a © 1960 by Key Music Lid Key Music Lid. Onward House, 1] Uxbridge Street, London WS 7TQ. ll rights controlled for British Commonweal’, (excluding Canada, Australia and New Zealand). AB 2633,G7 c7 2 7 Bb7 AT . A Break | HEAD continues Dm7 G Dm7 G Dm7 f. 3 _ = a - qa as eS 5 —~ fs = + Toms: Aise tay Snprovining using Dorian on De po ‘+ FSUMDED LIGTINING: Axt Blakey and the Jess Uesoengexo: ‘omnin'' fron Bosnia! [Hue Bote]. Also available on he Bost of Art Blakey ard the Jass lessergers [3iue Bote] AB 263320 THE BIG NOISE FROM WINNETKA Bob Haggart & Ray Bauduc arr. Eddie Harvey Swing / = 152 Driving ‘Am7 (ightly) © Copyright 1941 by Warner Bros. Music Publisher for the United Kingdom and British Commonwealth (excluding Canada, Newfoundland, Australasia and ‘New Zealand) and South Africa: Lafleur Music Ltd. Reprociuced by permission of Boosey & Hawkes Music Publishers Ltd AB 2633ET D& al Coda Solo 8 bars in exam D/FE Am — a use AGS SSeS Dehn i Ct aaa The Big Koise [Falyoor) is AB 26332 BECKY'S SONG Martin Speake Straight 8s Calypso 2 =63 Light [HEAD] Fs Bb Cs F F7sus_F7 Bb AT Dm7 C7sus_ C7 © 1998 by ‘The Associated Board of the Royal Schools of Music AB 2633,D& al Coda Solo 8 bars in exam ‘RELATED LISTENING: Arrow: "inbo Calypso! trom The Best of arror, Voluns 2 [Aros] AB 2033,24 SWING IT AND C Michael Garrick Swing /=96 Slow Jazz Waltz © 1998 by The Associated Board of the Royal Schools of Music AB 2633Fine SOLOS DS& al Fine Solo 8 bars in exam ‘+ FITATSD LISTINTNGE Lichae Garrick Trios ‘Svellow on the Water" from A ady in wetting (ZAZA) AB 2633D/A cig D/A c oD © 1998 by The Associated Board of the Royal Schools of Music AB 2633,27 D.& al Coda D c Solo 16 bars in exam 8a OA he FIA G c , a === === fe ee Fo * 7 i] _——e __ f == SSS f E ‘+ HOMES: also try Amprovising using Dorian on D in bars Zle2 and the b3 pentatonic on G in bars 2-4. ‘+ RELATED LISMRNING: Ormette Colesant 'aablin!? trom Guage of the Contury (ktLantio] AB 263328 THE ORCHARD Pete Churchill Straight 8s / =92 Gently unfolding C/F cE Dm7 G7sus Gio F/A ie — Am/G © 1998 by The Associated Board of the Royal Schools of Music AB 2633,Dm? AAT cla G7sus Ge DS& al Coda Solo 8 bars in exam GIF C/E Dm7 G7sus_ G7 Fae C/G G7 c FLAT LITMAN: Jen Gaybarekt ‘ielve loons from Tvelve Koons [ucul AB 263330 HARD SCIENCE Phil Peskett Straight 8s {HEAD 120 Groove hard p79 G7sus A7sus D7o 2 G7sus A7sus Bb Am? G © 1998 by The Associated Board of the Royal Schools of Music AB 2633,31 SOLOS D7 G7sus A7sus D7 G7sus A7sus (loca) D.& al Coda Solo & bars in exam D7 G7sus A7sus D7 G7sus A7sus mf (last time only) BoA Am7 G BA Am? D7#9 A a (8a bassa ad lib.) ‘ RALATHD LISTENING: Hexbie Bancock: ‘Cantaloupe Island! from Cantaloupe Istand [Blue Note}. Also available on ‘The Sect of Fexbie Fanoook (Blue Bote] AB 2633 rnted in England by Callraving Limited Thetlord Norfolk 298‘What 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. 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 patierns 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 got 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 seratch. So ‘give that rhythm everything you got!” PIANO TITLES Jazz Piano Pieces, Grades 1-5 (one book per grade) Jazz Piano Scales, Grades 1-5 Jaz Piano Aural Tests, Grades 1-3, Grades 4-6 (two books) Jazz Piano Quick Studies, Grades 1-5 Jazz Piano: The CD, Grades 1-5 (one CD per grade) Jaz Piano from Scratch: A how-to guide for students and teachers (book and CD) Charles Beale (ablishing) Lied 18 stor Square Condon CTD 3G nied Kingeosn seascabrmpablshing y : < R B & ¢ & g : & nN THVOR OTLVTOOCCY