TT? AC CAOTAMRN NMNann nn mmm novit canmanter an une J‘The Jazz Piano and Jazz Ensembles Syllabus sets out in derail the requirements of the exams, espe cially those for scales, aural tests and the quick study. I aso contains the assessment criteria, The sellabus is obtainable from music dealers or trom The Associated Board of the Royal Schools of Music, 24 Portland Place, London, WIB ILU (please send a stamped addressed C3 « Scales, Arpeggios and Broken Chords To be played from memory, straight oF swing as directed by the examiner. ‘SCALES: in similar motion with hands together one octave apart, and with each hand separately, in the following forms: Dorian on E and C; Mixolydian on A and F, Lydian on G and Es, D and Bb majars (ewo octaves) Major pentatonic on G and Fb; Minor pentatonic on E (two octaves) Blues scales on Bb and E (one octave) CuROMATIC SCALES: in similar motion with hands tagether one octave apart, and with each hand separately, beginning on any black key named by the examiner (two octaves) ARDLGGIOS: the common chords of A und E> majors, in root position only, in similar motion with hands together one oetave apert, and wich each hand separately (so octaves) BROKEN CHORDS: formed from the chords of C7, G7, Am? and Gm7, with each hand separately, according to the pattern shown in the syllabus. Three Pieces One chosen by the candidate from each of the three tists: Blues, Standards and Contemporary Jazz, Esp. At the outset, the notation of the head should be closely followed. While there may be sanation in details of melody, rythm or phrasing, the result should be coherent, stylish and smausical, and nor atter the technical demand, Soto. The guideline right-hand pitches and left-hand part are given as a starting-point and to indicate the ste. Iris expected that candidates will expand upon the given musical materials as their experience allows, also using othet pitches, voicings and figurations, AFTER THE SOLO(s). Everything affer the solo(s) 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 Grace 1 such embellishment might mean making small melodic or rhythmic changes or varying dynamics or phrasing. At Grade 3 pla ht change the octaves ar which macevial is played, introduce fills of revoice chords. at Grade § harmony may be varied or enriched with extensions, melodic lines may be thickened or ornamented, and rhythms and phrasing reinter- pected. Or none of the above and a completely different set of embellishments! Players have a ange of ogtions at aif grades andl may offer any musical embellishments in keeping with the style RELATED LISTENING. Every effort was made to ensure thar the CDs listed at the foot of each piece were available at the time of going to press. However, ja77 recordings regularly go in and cout of print, and if the one cited has now been deleted look for a compilation album by the same artist on the same record label, oF buy a related album by the same musician or band. Quick Study “To play a four-bar passage and improvise » four-bar continuation (see the svllzbus for fll details). The quick srndy may be played ar sight or by ear Aural Tests See the sillabus for fall details of the aural tests for the grade ‘The volumes of picces and scales are published by che Board, together with books of sample quick studies and avral rests and a range of other stipport materials, Full details are given on the back cover of this volume. © 1998 by The Asoclated Hoan the Royal Sdhoak of Music No pur ofthis pubation may be copie or reprahuced in any form or by any meane without the prior permission of the Mosic origination by Barnes Music Engraving Lad Primed wt Hogland by Caigraving Led, Thetford, Nowfali4 Edited by Charles Beale Blues, 1 THELONIOUS MONK, art: Richard Michael Blue Monk 2 2. But KixcHonn Three-Four Blues 4 3. CHARLES BEALE Oscar’s Boogaloo 6 4 Mites Davis, arr: Richard Michael Freddie Freeloader 8 5 WAYNE SHORTER, arr Eddie Harvey Footprints 10 Standards 1 Harry JAMES, DUKE ELLINGTON, JOHNNY Hopaes & Dox Georcr, 1. Michael Garrick a I'm beginning to see the Light 1B 2. Hoacy Caramicart. & Sipxey Anon Lazy River 16 3. TaaD., arn Liaw Noble Nobody knows the Trouble I've seen 18 4 CHARLIE SHAVERS, ax Simon Woolf Undecided, a 8. Scort JOPLIN, ary: Brian Priestley Original Rags 24 Contemporary Jazz 1 CHARLES BEALE Shh! 28 2. Putt Peskerr Ina different Light 30 3. Crus BarcuELor Heading Home 32 4 Liam Nowe Blues for Pete Johnson 3 5 Joun Mri TKON (Memories of Ike) 36 ACD for Grade 4 is available comaining recordings of all the pieces for the grade, cogether with examples of aural tests, quick studies and scales. Three of the pieces, “Freddie Freeloader’, Undecided" and ‘Heading, Home’, ae aso presented on the CD in “minus ane” versions, for you co play along, with bass and drumsBLUE MONK Thelonious Monk arr. Richard Michael Medium Swing J =88 Deliberate HEAD Bb7 EUT Bb7 © 1954 by Bocu Music LidSOLOS Eu7 Ee BOT bebe 21 D.C. al Coda Solo 24 bars in exam FT i i ‘TOTES: also try improvising using the blues scale or Bb and the minor pentatonic on Bb. + RALAT LISTING: Thelonious Work: Blue Wonk" frox Melontous lionk riq/Blus Vonks Volune 2 [Prestige] AB 2635,THREE=FOUR BLUES Bill Kinghorn Swing 4=96 Slow Jazz Waltz HEAD © 1998 by The Associated Board of the Royal Schools of Music AB2035,SOLOS Cm7 F7 cm7 c7 D.C. al Coda Solo 24 bars in exam Dm7 G7sus c F7 G7 SOMES: Also try improvising using Wsolydiar on © and the minor pentatonic on Ce ‘+ HEEAPED LISTHMING: BII1 Bans: Bapathy/A Sinple Hatter of Conviction [Fexve] AB 2635OSCAR'S BOOGALOO Charles Beale Straight 8s J = 104 Funky [HEAD & 3 E7 32 a = = = = Ee SS . crs ao “ pert © 1998 by The Associated Board of the Royal Schools of Music AB 2635,Ber F BI/F F BUF to Coda @ po AB 263520 D.& al Coda C7sus F Solo 32 bars in exam Po | NOTES: Also try inprovising using Uixolydian on F ard the blues seale on Fe ‘SLATED SISTENUG hace Haden apd Hank Jonesy Steal buays Spirituats, Sans ant PELL Senge [Verve] AR 635a UNDECIDED Charlie Shavers arr. Simon Woolf Medium up Swing J =184 Pushing on HEAD BA 2 &7 Eb7 O7 = C7 I 2 F7 \c7 F7 (Bb OG c7 OF? Bb ANT AT BDA Bb7 Fm7 BLT EbA F7 eee ees =A Ss Music by Charlie Shavers Lyrics by Sid Robin Copyright 1939 and 1954 by Leeds Music Corporation, Assigned to MCA Music, New York, US; MCA Music Ltd, 77 Fulham Palace Road, London W6 for the world (exchiding North, South and Central America, Japan, Australasia, and the Philippines). Used by permission of Music Sales Ltd. All Rights Reserved. International Copyright Secured, AB 2635Solo 24 bars in examBoA E7 Eb7 Db7 ‘< FSUATED LISTENING: Count Baoier “John's Tdeat froa The Bist of Barly Basie [GR] AB 263524 ORIGINAL RAGS Scott Joplin arr. Brian Priestley Straight 8s J = 168 Lively Sou, A HEAD Bea oon nnnnnnnnnnnernnnnrnnnnnerrnn ____| Ped. simite © 1998 by The Associated Board of the Reval Schools of Music AB 2035—7 Amn G/D O7 G Fine AB 203526 c Cte G Em t 4 G AB 2635,SOLOS DS& al Fine Solo 16 bars in exam AT Dm Fm c G7 c “= MOTUS: The baucketed notes in bar 52 may be onstteds ‘+ RELATED UrSTEING: Jelly RoI Morton: ‘Original Fags" tom Last Soustons [Commodore Records] AB 2035SHH! Charles Beale Swaight 8s /=76 Peaceful [HEAD GA ~~ y 7 a = Ped, simile © 1998 by The Associated Board of the Roya! Schools of Music AB 263529 C7sus CA C7sus CA C7sus Cm7 & to Coda @ D& al Coda ca Solo 16 bars in exam » Pe a es ) copa Eb7sus F7sus G7sus ‘| KATATED LISTING: Ouick Goreai ‘Where are you nou, a suite of eight pictures, from Plano Inprovisations Vol. 1 [524] AB 263530 IN A DIFFERENT LIGHT Phil Peskett Straight 8s / +60 Spacious, sparse - Ballad (HEAD] %, mp legato ‘pedal lightly C7sus, ‘ D7sus © 1998 by The Associated Board of the Rosal Schools of Music iti os lll alll,C7sus D7sus G7sus EbA Dm7 D.& al Coda Am? Solo 18 bars in exam mp (ast time only) jee) rit. Et AAG ‘RELATED LISMONDG: Keitn Jarrett: Malone" trod Fuoing You [acu AB 263532 HEADING HOME Chris Batchelor Straight 8s 2) = 100 Slow Gospel feel s GD D7sus G c Ped, simale eR GD « D7 G G G7 c G o ee sa S—== 8 - = rr Ee ie. = — I © 1998 by The Associated Board of the Royal Schools of Musie AB 283533 Solo 7 bars in exam HEAD continues D7sus kL D7 Tae GD B7 molto rit, Em7 7 aD D7 c G == NOMS: Play the somiquavers vith © slight triplet eel. ‘+ RELAPSD LISTING: Aretoa Franklins Aretha ison oF Soul [Mino] AB 2639,34 BLUES FOR PETE JOHNSON Diam Noble Swing J = 126 Rolling [HEAD G7 ; a ror | my sa FT 4 84 $4 _ - 2 34 a 7Z= ps oe 2. > 25 $e rio yh TOP OF PF eS ee ——— 7 =a eS eS a - ae vv a oe oe oe to Coda Ab Am p07 prs E? © 1998 by The Associated Board of the Royal Schools of Music AB 26353s “SOLOS D.C. al Coda [PZetey Solo 24 bars in exam||last time only G7 D7 ko ‘/RERAMD LismmNING; Pete Jcknaont Fete Voliled 195801939 or Pete Johnson 1959-1942 [Classics] AB 263536 IKON (Memories of Ike) John Myhill Slow Swing 4 =88 Slow and tender G7 C6 che Dm7 a7 cA Am7 EA B7 Dm7 G7 cé che Dm7 G7 cA BLA GIT Fa © 1998 by The Associated Board of the Royal Schools of Music AB 2635x to Coda Fma ca a7 Dm7 G7 ca G7 SOLOS, Cc Ay Dm7 G7 cA Am7 P. Ped. simile pedal lightly Dm7 a7 cA Am7 Fae B7 AE 263538 Cc AT Dm7 G7 cA Gm7 C7 Fa FmA cA Ay —— a D&S al Coda TEC) Sy 76 bars in exan ||last aime only Dm7 G7 cA G7 cA G7 + SOTES: This pleco is a tribute to the great yagz guitarist and teacher, The Isaacs (1! (* RELATED LISTENING! Listen to the many Ballads xecorded by Bat ding Cole and Pats Waller AB 2635‘What good is music 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 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 rhythm everything you got!” JAZZ PIANO TITLES Jazz Piano Pieces, Grades 1-6 (one book per grade) Jazz Piano Scales, Grades 1-5 Jazz Piano Aural Tests, Grades 1-8, Grades 4-5 (two books) Jazz Piano Quick Studies, Grades 1-5 Jazz Piano: The CD, Grades 1-5 (one CD per grade) Jart Piano from Scratch: A how-to guide for students and ‘teachers (book and CD) Charies Beale Som ovat, Awwrs sewe —_ OGTIWTAOCCY