Etudes For Jazz Piano by Dick Hyman original compositions designed for the study of technical problems encountered in the playing of the great jazz pianists PRICE $10.00 RECORD INCLUDED 0yer dysoy THE AUTHOREtudes For Jazz Piano by Dick, Hyman original compositions designed for the study of technical problems encountered in the playing of the great jazz pianists Etude No, 1 -+ AZALBA RAG (dedicated to Scott Joplin) Etude No, 2 -- DECATUR STOMP (dedicated to Jelly-Roll Morton) Etude No. 9 = CUTTIN’ LOOSE (dedicated to Janes P. Johnson) Etude No. 4 -+ STRUTTIN’ ON A SUNNY DAY (dedicated to Earl Hines) Etude No. 5 -- IVORY STRIDES (dedicated to Pats Waller) Etude No. 6 -- PASS IT ALONG (dedicated to Teddy Wilson) Etude No. 7 -- SOUTH SIDE BO0GY (dedicated to Jimay Yancey Albert Anmons, & Meade Lux Lewis) Etude No. @ -- OCEAN LANGUOR (dedicated to Duke Ellington) Etude No. 9 -- ONYX MOOD (dedicated to Art Tatum) Etude No. 10 - BOUNCING IN F MINOR (dedicated to Erroll Garner) Etude No. 11 - BIRD IN THE ROUST (dedicated to Bud Powell) Etude No. 12 - DEEP GROOVE (dedicated to Oscar Peterson) Etude No, 13 - ROSES AND CREAM (dedicated to George Shearing) Etude No. 14 - TIME PLAY (dedicated to Dave Brubeck) Etude No. 15 - PASSAGE (dedicated to B411 Evans) KM Kendor Music, incPREFACE ‘The 18 pianists nose stylistic Innovations are represented in these etuaes nave col- ectively contributed to a boy af Eechniqe sich has cone to be known ax joze piano. In the course of their historic inprovisations, each player has comtributed specific material to an evolving Anertean keyboard! Idion. ‘Although the artistry of each pianist {9 as distinct, one froa the other, as are the respective Kesboard oanners of Bach, Chopin, and Prokofiev, there are clear eross-relation- ships among thon. They share a tradition of ehythmte improvisation, even two as different 28 Scott Joplin, whose ragtine out to be considored as sort of pre-jazz, and Bill Bvans, Shose Floating and impressionistic approach often daparted entirely from the world of dasce shyt. ‘The techaical demands of tho various ways in which people have played jazz plano are in certain respects different feo shat even a well-rounded classical pienist might have ene ‘countered. The mist imporvant of Uiese Hs the need for u stealy riythmic pulse In alaost fall jazz, the beat 1s compelling enough to got a normal foot to tapping. Certain worthy exceptions to this rule are aot within tho scope of the present studies. fae piece is to be playes! with a steady pulsation, even those such as tule No, 1, dedicated to Seott Jop- Tin, in which the mood i gentle and the manner elegant and rather “classical.” Joplin transcribed his own playlug to a greater excent than have any subsequent players In 0 doing, he has become more ensily accepted as a conposer rather than as an 1mprovisor, having through shear quantity of notation erogsed thet aysterious Line whlch for sone musi- ccologists stilt separates tho two. Wo do not know how Jeplin actually pertormed. His only Fecording as ln the form of piano rolls punched out for the popular market. Unfortunately, thono lacked the touch, sustain, and tempo controls of the comparable classical rolls. We are lett only mith the comoser's frequent maguserigt exhortation, mot fost. Nevertheless, JJoplie's carerot voice Yeafing, together sith his frequent phrasing and dynanic indications, ‘uqwost a polished but steadily raythaic eanner of perforsance. The combination of state- Tiness with a feeling of syncopated dance rhythm is the ain of the first etude, Azalea Rog. While each tude is Quilt on certain cechnical. dumanis found in the playing of the re- spective pianists, it sould be unfair to iaply that the capabilities of any one of thea are Ninited Uo those elements. On the contrary, each, lthough a unique stylist, hes adapted to many difterent playing contexts. For example, Bluse No. 2, Decatur Stomp, dedicated to Jetly-Roll Norton, empnasizes the hard quality of much of his up-tenpo playing. — orton, however, soaet ines played quite lyrically. In the present composition. the forcefulness nl powerful thythale drive are meant to suggest an early Now Orlears jazz band, qualitios fof which Ur, Morton was able to incorporats in his piano playing Etude fo. 3, Cuttin’ Loose, dedicated to Janes P. Johnson, deals primarily with the striding left hand. Serie piano, as Uits style cane to be Known, superceded ragcime with ‘2 brower rane nf harmony and with various Gechaieal devices, most inportantly u Loft-hant technique callin for large jus between sinele tones and answering four-part chords. Nate that Crum eh:s point on ta the sequener of the etuds, wghin-note figuros are to be plaged for the mnt part ab divisions of triplves, In those pieces whieh are not ent srely notated as triplets, the instruction £2 = J*H indicates this chytimic requirement. Etude Ni. 4. Struttin” On Sunny Day, dedveated to Bart dines, 19a study in ehythate displacement ant in socuro right-hapl netavon, Thu latter bring to this kind of playing a Planistic equivalent of lowis Arastrony” s Crumpet paying of the 1920"s. The trem Us the Planist’s may of Simulating Ue Arasering vikestn, TH addition, Left-hand tenths are intro~ fuer, to be plage with qual wright on ach tone. Elude No. 5, Ivory Strades, dndicated to Hats Maller, demonstrates @ stower vaLtad res finwmat of stride peano, adding leants of pedaling and dynamics. A touch buth gentle and firm 38 Franti nd Etute Sy. 6. Pass [¢ Mong, 48 meant to express Tray Wilsoe’ 3 Lait touch an pertectly even placemat of singte-mte Linen Mr. Milsons approack to the keyboard 1s Wozarteun, find the prosont pince strives to eapture this element ap KopBua No, 7. South Side Bougy, dedicated collectively to three Leating players of the Biapo blues style kom a5 hoozy-soopy. strenses independence of the hands. Simm Tances Avert sanons, and weate Lax Cewis, among otters, developed a technique in which x stesty lettshund oscinato andertiow contrasting counter-hythns in the Tieht. Etude No. 8. Ooran Langine, deals aith the sonoritice and dymtates of Duke Ellington's Blaving. The Sitingcon plano tn this piece is considered os a witror ime of the Ellington forehestra, sith its Leader's characteriatie eabellishwenta heard through hls ofehestration tute No. 8, Onyx Mood, inclaes just a Tew of the smorlative techaical demande of the fart Taton style == the perfect legato, tne repie runs im both hands, the smoothly passing Jereshand tenths. Note, too, that the right haw! 4s often called upon to supplement the tords of the Left, where filled tenths Feasire a grasp which wuld be othorsise autear Toe discordant chine eerect ta ene Last BAF van one Of Tatwn’s wany DLAYEQLIY expressi¥e devices tule No. 10, Bouncing In P Minor, dedicated to Erroll Garner, deat with the pianist’ s sottd touch, his’ fl dynamic range, his rapid chordal and oetave Lecnnigie, and bis stroe ming weitar-tike lett hand. ote that runing passagen in thls bright tempo are In even eheh nutes, althonn figures suck as J], T5)4 should be nlaved VIRSTRSIR) Bude So. UL, Bird fa The Roost, 1s°an"eapreation of Bat Poneli"E adaptation fort plano Of the bebop alto ont figures of Charlie Parker. Powell's touch at ibis bright Leap teed to be mard and rhyeanscally intense Eu No. 12, Deep Groove, dedicated to Oscar Peterson, is a comparable bop piece ex- Pressing certain technical donands to be fount 1m hie playing =~ the single-note Lines In terspersd with thirds, the tri-tono run for both bands (in tbe first ending), the trewolos and clissand simulating a screaming brase section. Xr, Peterson, of coursé, Ts an over telaingly versatile and tectnieatiy accomplished pianist whose playing oapr tees wach ete than could be contained én one shore etude Buude No. 19, floses And Crean, dedicated co George Shearing, 4 @ stay in Loeato, 19 fupressivo dyaaies, in sonorous harmonies, and particulury in the smth passing OF charts fone to the otner ahich 18 know as block chord style. Theav five-part vires Mave een sricten for the liv hands with a respective three-note and two-note division, Woseer’ Bey may be more vesily played ty many plantsts nith four toten i tho Fight had and Only one, the lower octave melody, in the left.” Te should me noted that ir. Shearing’ vastly sccomplisted pisnism extends into eany other acoas in addition to this tect au Etude No. ld, Tine Ploy. dticated to Dave Brubick, iv a study in irregular acLers, scare which vas introduced to azz largely uy Wr. Rrubork*s T9G0's quartcl. The cisith tote has the sine Cine value throushout this playtol piece aad nay be play events Buule Wo. 15, Passage, dedicates to the Late BEII Evans, deals with Imprensialstic Aaceony and clarity of imer Lines. Aven in this piece, introwpeetive and porele at 1 "steady rhythmic pulse 18 regu Dick HymanEtude No. 1 Azalea Rag by DICK HYMAN dedicated to SCOTT JOPLIN Gracefully and not too fast (= 66)abo 7cy Etude No. 2 Decatur Stomp by DICK HYMAN dedicated to JELLY-ROLL MORTON Vigorously and warcato (488) co?Etude No. 3 Cuttin’ Loose by DICK HYMAN dedicated to JAMES P. JOHNSONAnas 7005) Dew abr Ay DrayEtude No. 4 Struttin On A Sunny Day by DICK HYMAN dedicated to EARL HINES QS Punch and not toe fact (19132) opener fpeseseserevesree loco 3 o oy See Fi 2 . pes a laa aie : dd » = SSS Se perere ty = laeeat & igetaeasasesesesetans iciipiesetirenit ise a ———__- —~— he * # AN) 3 [i f | oo | I lest itEtude No. 5 Ivory Strides by DICK HYMAN, dedicated to FATS WALLER Gently but firaly. a swinging bal lad (J =132) eH. 709) By? BI) cn oF 6? : ile ele) 23] 5= == 7 tate ro Tr . [ Bets ft eters ore iEtude No. 6 Pass It Along by DICK HYMAN, dedicated to TEDDY WILSON Cheerfully ond lightly (4=96) (a:FB) Bu.7008) Bban :Etude No. 7 South Side Boogy by DICK HYMAN dedicated to JIMMY YANGEY, ALBERT AMMONS, & MEADE LUX LEWIS Firmly but not hard. medium tenpo (J 120)Etude No. 8 Ocean Languor by DICK HYMAN dedicated to DUKE ELLINGTON Slowly ond languorously (+84) (a-7°3) Garba) A Tempo a P abe byPedEtude No. 9 Onyx Mood by DICK HYMAN dedicated to ART TATUM Slowly and legate (J=72)Anncrkbs) Oy - we \C f. ST pb? abate) NN oS feos wt i edd ce fetes a Dim eS SS == + feoowEtude No. 10 Bouncing In F Minor dedicated to ERROLL GARNER by DICK HYMAN Vigorousty. Hively seing (J=166) (9:73) Ar one See aati 4 ry eeeaeea sees == i so (9) +79 Ge El 4 fete slate pee Jke = t bg be vee veutBright and hard (2° 112) (2.73) Etude No. 11 Bird In The Roost by DICK HYMAN dedicated to BUD POWELLPres)Etude No. 12 Deep Groove by DICK HYMAN dedicated to OSCAR PETERSON Bright, suinging, and clean (d= 100) (a SaeSG Ee; ASEeanerss BP WR white key fair Asie) 297089) t 4Etude No. 13 Roses And Cream by DICK HYMAN dedicated to GEORGE SHEARING Legato ond sonorously. stesly (4-63) = mf legatoBees E7U8) Ams? D788) Gai 7H1G. 709 ¢ 91Peppy and playfully (3 (D=D throughour) 2120) Etude No, 14 Time Play by DICK HYMAN dedicated to DAVE BRUBECKea ” ab? arEtude No. 15 Passage by DICK HYMAN dedicated to BILL EVANS Stouly and intrespeceively (J+ 69) (a 3) BBESESEEEOBEEESE Sg. (C0) Art | moe) eit Ana 703) ha 0pb 709) 7(62)