De Giae: JAZZ KEYBOARD 1 PROGRAM Definitive Voicings TEXTBOOK © 1994 Grove/Rasch Music Education SystemsJAZZ KEYBOARD 1 Definitive Voicings BO) Be) m= Sy ©1994 Grove/Rasch Music Education SystemsLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 INDEX LESSON 5 TEXTBOOK Introduction ... Voicing Department Continuation of more Chromatic Definitive Scale Degrees Preparations and Resolutions of DI/RA Preparations and Resolutions of LI . Combining DI with LI. Right Hand Shapes Melodic Phrasing Department Melodic Turns .. Melodic Turn Variations Combining Embellishments WROVauRwur Sequences 10 Solo Piano Department 1 Concept 11 Free Lead . 13 Modulation Department Keyboard Settings Department .. Keyboard Setting #7 . Keyboard Setting #8 . Mixing Setting #7 & 8 .. Technique Department .. ‘WORKBOOK Introduction ... Voicing Department Exercise #1: Example: 7 - 3 Voicing With Chromatic Defi Exercise #1: (IImi7 - V7(+11) - Ima7.. Exercise #2: (lImi7 - V7(+11).. Exercise #3: (V7(411) - Ima7 Exercise #4: Example Voicing With Chromatic Definition of LI Exercise #4: (Ilmi7 - V7(+9) - Ima7 .. Exercise #5: (IImi7 - V7(+9) Exercise #6: (V7(+9) - Ima7 Exercise #7: Example Voicing With Chromatic Definition of RA . Exercise #7: (IImi7 - V7(b5) - Ima7 .. Exercise #8: Example: 7 ~ 3 Voicing Combining Chromatic Definition of LE & DI Exercise #7: (IImi7 - V7(+11,b9) - Ima7 Exercise #9: (IImi7 - V7(+11,b9) Exercise #10: (V7(+11,b9) - Ima7 Exercise #11: Example: 7 - 3 Voicing Combining Chromatic Definition of ME & LI. Exercise #7: (IImi7 - V7(b13,+9) - Ima7 ..... Exercise #9: (Ilmi7 - V7(b13,+9)... Exercise #10: V7(b13,+9) - Ima7 .. Continued on next pageDICK GROVE - JAZZ KEYBOARD 1 LESSON 5 Exercise #14 ~ 19: Applying Melodic Turns to Target Note: Exercise #20: Applying Melodic Turns to a Double Line Exercise #21: Exercise #22: Exercise #23: Exercise #24: Exercise #25: Exercise #26: Exercise #27: Exercise #28: Exercise #29: Exercise #30; Exercise #31: Exercise #31: Exercise #32: Exercise #32: Exercise #33: Exercise #34: Exercise #35: Exercise #36: Exercise #37: Exercise #38: Exercise #39: Summary .. The BossaNova Concept Dick Grove Trio Performance Lead Sheet: ‘Canto’ Coming Attractions ~ Lesson 6 .... Recommended Practice Schedule .. Practice Log INDEX CONTINUED Melodic Phrasing Department Applying Melodic Turns to ‘Quiet Shadows’ Solo Piano Department Supporting Melody Notes with 7 ~ 3 Voicings ~ Major Chords Supporting Melody Notes with 7 - 3 Voicings - Min9th Chords Supporting Melody Notes with 7 ~ 3 Voicings ~ Dom 7 Chords Supporting Melody Notes with 7 ~ 3 Voicings ~ IImi7 = V7 ~ Ima7 Supporting Melody Notes with 7 ~ 3 Voicings ~ lIimi7 - V7 .. Supporting Melody Notes with 7 - 3 Voicings - Ilmi7 - V7 .. Supporting Melody Notes with 7 ~ 3 Voicings - V7 - Ima7 .. Supporting Melody Notes with 7-3 Voicings ~ V7 ~ V+7(b9)- Ima7 Supporting Melody Notes with 7 - 3 Voicings ~ V7(b9) ~ Ima7 .. Modulation Department Example — Hearing Key Centers Moving Down in PerSths Hearing Key Centers Moving Down in PerSths Example — Hearing and Key Centers Moving Up Chromatically 64 Hearing Key Centers Moving Up Chromatically Keyboard Settings Department Keyboard Setting #7 (‘Later In Time’) Keyboard Setting #7 (‘The Way You Look At Me’ Keyboard Setting #8 (‘Acapulco Adventure’) Combining Keyboard Settings #7 & 8 ... Combining Keyboard Settings #7 & 8 (‘Old Friends’) Combining Keyboard Settings #7 & 8 (‘In A Mood’) Combining Keyboard Settings #7 & 8 (‘Bittersweet’) Practice ScheduleLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 Page 1 | INTRODUCTION | We now start the last half of the Jazz Keyboard 1 Course. We will be concentrating on combining both hands, playing the melody (and rephrasing it), while supporting the melody with definitive voicings. To accomplish this coordination in a flowing, cohesive and musical manner, we will draw on the hours of practicing you have already put in, and depend on that familiarity with the definitive scale degrees of each momentary key. To this end, we will, for now, replace the Comping department with the Solo Keyboard department. This will continue to the end of this course. Voicings Department: in Lesson 5 we will continue our experience with adding chromatic definition to the definitive 3rds and 7ths of each chord. Again, this involves the tones of the key center that have a relationship of chromatic half-steps. Each ‘additional layer’ of voicing possibilities build from the previous ones, giving you a logical and natural way to increase your voicing vocabulary. This same emphasis will become the basis of hearing good improvisational melodies, creating introductions and endings, as well as compositional explorations. The important aspect is that you will be able to naturally hear these chromatic tones. Melodic Phrasing Department in this lesson we will leam still another melodic embellishment to a target note. We will also delve more into combining the previous embellishments (passing and chord tones, neighboring tone combinations), with the new embellishment, (turns), introduced in this lesson. Comping Department: as mentioned above, we will for now replace this department with the Solo Keyboard Department. In this new department we will approach playing the melody with the closest 7 - 3 definitive voicing combination under the melody. There are many aspects to this keyboard approach, and will require these last four lessons to accomplish our goals. When we have finished, you should be able to play any lead sheet or sheet music of a song, fairly spontaneously, if not in tempo, with a consistent and musical pianistic sound. Modulation Department: with the addition of two more modulations, we are almost finished investigating the sound of any possible modulation. Next lesson (when we finish the last possible modulation), we will start the process of working with modulations into minor key centers. Keyboard Setting Department: our settings now will be focused on ones to use when playing the melody along with the supportive definitive voicings. Technique Department: two more major scales and some new exercises are introduced for build- ing finger strength and control. ‘As we move into this half of the course you should be aware that all the playing required of you in the various exercises, are also a review of the first four lessons. We are building on the foundation established to this point, and you should continue to better hear and understand all the material covered to this point. Dick GroveLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 Page 3 LESSON 5 pe) fe eae 1. Starting with the premise that we hear minor to be a form of altered major tones, the investigation of the possible chromatic half-steps in a key center requires mastering two more relationships. 2. We are always raising or lowering a diatonic tone of the major scale a half-step. This is the natural way the ear relates to these chromatic tones, and thinking in this manner provides a natural way for our ear to understand the complexity of the problem. The significance of the idea will continue to become more and more important, as we use this understanding to better hear improvisational melodies, voice more complex chord shapes (the Jazz Keyboard 2 course), and in general, evolve to the point where you can flow through complex harmonic and melodic situations effortlessly. 3. Last lesson we started this section discussing the following point; that RE and LA can be considered active whole-steps, which implies that their natural resolution is not by half-step, and therefore not predicable to the ear. This scale degree relationship then focused on the fact that when these active whole-steps connect chromatically to the diatonic scale tone above or below, wil f chord forms. This means that you will be able to hear high extensions of chords (+11ths, b13ths, altered 9ths and Sths), simply by raising or lowering a diatonic scale degree tone. Itis not necessary to sing the root of the chord and move vertically up the chord until you get to the 11th or 13th. The beauty of the approach is that it connects these more difficult harmonic problems to the ear in a very direct, simple and functional manner. This is required to really be able to play and hear music spontaneously. 4. We also touched on the point that these altered scale degree tones have an even greater significance in that they sound ‘doubly active’, as the tone is not only not a resting tone, but it is also a tone that is not within the restriction of the major scale. It is considered a more pro- jecting tone. These tones therefore have a great power, and naturally draw attention because of their chromatic nature. This also is a very basic characteristic of modern jazz music. The word ‘chromatic’ musically means ‘color’, and that is the cornerstone of modern jazz playing. 6. In our first example of this lesson, we continue the possible alterations of the active whole steps of the major scale, and this time we focus on the sharped DO or its enharmonic, the flatted RE (RA), along with the sharped LA. (See Example 1 on the following page.)Page 4 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 Example 1 orc ere] 7. Using enharmonics, the altered DO resolving to RE can also be thought of as an altered RE resolving to DO. It is a matter of whether DO has been altered, in which case DI replaces DO, or whether RE has been substituted with RA. In each case, the altered tone that has been sharped or flatted, is prepared by a diatonic tone in the preceding chord, and then the altered tone resolves to a diatonic tone in the following chord. This three-tone relationship will eventually be thought of as a ‘line’ (as you sang in the exercises last lesson), or series of ‘target notes’ to be used for improvisation and melodic composition. The next example illustrates the enharmonic alternative of DI (RA). Example 2 6 —— 2 cox Se t & = x = >t — po ol 1A SO- FA MI Do 8. We will now place these tones in a vertical context, to understand them as functioning in either one form or another of the | chord, Ilmi7 chord or V7 chord of a tonality. 9. Our next example demonstrates how this works: the V7 chord becomes a V7(+11) form of dominant, prepared by the Ilmi7 chord and resolving to the Ima9. (See Example 3 on the next page.)LESSON 5 10. In this example you can see the line DO — DI — RE moving through the IImi7 - DICK GROVE - JAZZ KEYBOARD 1 11), Imad progression, supported by the definitive 7 - 3 voicing, with the root in the left hand Example 3 . st Supportive diatonic harmony consists of TI-DO & FA-MI | V3 ; mm -O Of 0 oo o< | Supportive diatonic harmony consists of TI-DO & FA-MI 15. Now the b13th (ME) is combined with the +9th (LI) of the V7 chord. Example 7 mo So 57. In the next example, we follow this modulation and the pivot tones, through a sequence of momentary key areas where each key center moves by a Per. 5th interval above the previous key center, or a Per. 4th interval below. Example 16 Dmiz7_ G7 Cma7 Ami7——-D7 Gma7 EtePage 16 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 a 58. Our second modulation is a change of momentary keys that move up the interval of a half-step. 59. To alter the original scale of ‘C’ to create the new scale (in this instance) of ‘Db’, the definitive tone MI prepares you to hear $O. SO now is altered to SE, which then pivots to change its function to FA of the new key center. Five tones of the ‘C’ scale has been chromatically altered to become the ‘Db’ major scale (RE to RA, MI to ME, SO to SE, LAto LE, and TI to TE. Example 17 Pere emer & boo Oo} o_o ‘| oe A y ree 60. In the next example, we follow this modulation and the pivot tones, through a sequence of momentary key areas where each key center moves by a half step interval above the previous key center. Paes oo oo Example 18 Dmi7_— G7 Cma7 Ebmi7 — Ab7 Dbma7 - - 4 a + = ] o res > | | | 4 Ds FtcLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 Page 17, KEYBOAI TTINGS 60. In our Keyboard Settings Department this lesson we will work with coordinating our hands in context to our Solo Piano approach, using the definitive scale degree tones below the melody notes. This will combine the ‘free lead of the melody during the duration of the chord symbol, with the harmonic support of the voicing played at the point of chord change. 61. The basis of this solution is the strong/weak measure unit, and the relationship of how we rhythmically use our hands to the primary beats of the strong and weak measures. First of all, when we are playing a melody, and perhaps rephrasing it rhythmically or embellishing the melody, we should be singing it in our head (or out loud). You should try to condition yourself to do this. Before you start to play, always remind yourself to sing! SETTING #7 | 62. Our first setting, playing both melody and supportive voicing, is to think down from the. melody nate at the point of each chord change, and voice the closest 3rd or 7th of the chord below the melody note, in a concerted, sustained rhythm. As the melody notes move during the supportive voices are to be sustained, or held. To do this you are asked to finger the moving melody with the 3rd, 4th and Sth fingers of the right hand, while holding the chord with the thumb and 2nd finger. The left hand can play one, two or three notes, depending on the placement of the voicing in the fundamental or melodic registers. The next example shows the application of Setting #7 to the melody and chords. Example 19 Dmi7 G7(b9) Cma7 Gmi7_Gb7 2 3 4 ! Fma7 Bb7(+11) Emi7 ‘Ab7(13) (bs 2] Seo.Page 18 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 63. 64. 65. Notice how the pedal is used when sustaining the voicing below the melody. Catch the pedal about half-way through the measure, and release it just before striking the next voicing. This allows you to physically move your hands to be in position for the next voicing, while still maintaining the smooth, connected harmony. The coordination of the right hand, playing the moving melody while holding down the 3rd and 7th of the chord may take some practice, but is a normal pianistic event. If you were reading written music, you would find many settings requiring you to do the exact same thing. The difference here is that you have to arrive at the result without it being written out for you, in other words, you will not see it written before you play it. [_ serrinc #8 | This setting j is the same as #7, with a different rhythmic placement. To start, both settings are considerec en’ two-hand’ voicings. This means that the harmony is divided between both hands. In this case, the melody is also involved, making two rhythms being played at the same time. In Setting #8, we ate going to solve the voicing problems the same way as in Setting #7, but stagger the rhythmic placement of the 7 - 3 voicing so Lat in : In the next example you will see the same eight measures of music shown in Example #19, treated with Setting #8. Example 20 a Dmi7 G7(b9) ‘Cma7 Gmi7_—Gb7 Open] [Openl & x” | Bea. aw | [Re] Seo Fma7_ Bb7(+11) Emi7 Ab7(13)LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 Page 19 66. 67. 68. 69. The staggered rhythmic placement in Example 20 accomplishes several goals: a. the melody projects more clearly when played alone on primary beats (1X) b. the entrance of the voicing provides forward motion into the next primary beat and functions as a ‘fill’, instead of a dead spot. c. it is physically easier to execute when split up Notice at Reference Point 1, how the staggered entrance of the voicing on 6X ‘feeds’ or leads into the chord change on 7X. This helps the music flow, and establishes the two rhythms that are played against each other more clearly (that is the rhythm of the melody against the rhythm of the chord changes). When a melody note is held while the chord rhythm moves, as in this situation, the staggered solution is very effective. You should look for these op- portunities, based on the placement of the melody of a song in relation to open primary beats. At Reference Points 2 and 3, the melody has been rephrased, to ‘make room’ for the chord voicing to be struck after the downbeat of the measure. In Example 19, the melody was phrased as four quarter notes in each measure. By making the quarter note on the first beat a dotted quarter, the chord can be played on 2X or 6X, cleanly and in the open. In measure 6 the melody is rephrased with a quarter note triplet, starting on 7X. We can now take Setting #8 another step, and demonstrate how, by rhythmically rephrasing and embellishing the melody, space can be used effectively to get a strong rhythmic flow to the performance. This ‘keys’ on creating open primary beats in which we can strike the 7 - 3 voicings, and on playing the melodic lines by themselves in the right hand, allowing for the natural fingering possibilities that are required to execute faster moving rhythms. Example 21 Dmi7 G7(b9) Cma7 Gmi7_— Gb7 3 Fma7 Bb7(+11) ; Emi7 Ab7(13)Page 20 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 70. 71. 72, 73. 74, 75. 76. Reference Point 1 illustrates using an embellishing turn on the ‘G’, then anticipating the down- beat of the next measure. By striking the chord Cma7 short, on the downbeat, the right hand now plays alone, allowing the player to ‘finger’ the 16th note triplets without sustaining the harmony notes at the same time. The faster moving melody, in the open, projects very clearly and at the same time is in a setting that makes it playable. At Point 2, the melody in the 4th bar (that contains two chord changes), has been rephrased to make 7X an open primary beat, and allows the voicings to be struck cleanly and rhyth- mically. At Point 3, the final measure has been energized with a melodic anticipation into the whole note, while the rhythmic pattern in the voicing ‘fills’ in underneath the held note. The general idea is that although there are countless ways to rephrase and embellish a melody line, the goal is to create open primary beats, around which natural jazz rhythms are played. These rhythms are ‘time rhythms’ based on the same ideas as we have previously practiced in the comping department of earlier lessons. The idea is to be able to hear both elements of the music (the melodic line and the chord rhythms), by ear. You could actually sing both elements rhythmically, as you play, as one or the other are being played at one time. MIXING SETTINGS #7 & 8 When we interpret a song, we are deciding musically how we wish to play each measure. Itis normal to employ either of these settings within a portion of a song form; meaning that we can use one setting for a certain number of measures, and then the other for another series of measures, or n the tw. Depending on the tempo of the music, is a normal to use #7 when chords are changing more rapidly (one chord per beat, or one chord every two beats), while #8 works great when the chord in force lasts four to eight beats. You want the solution that you hear the most naturally, rather than a solution you work out mathematically. The ‘key’ to this approach is that you need to ‘hear’ the rhythms. That is why we recommend that you sing as you play! You can also switch between the more sustained, connected rhythms for the melody and chords, and the more rhythmic, syncopated adaptations, like those shown in the last example. As the same eight bars can be approached differently every time played, you are after the spontaneous solution that is playable physically, flows in a natural rhythmic manner, and the one that allows for your individual treatment of the melody (which is what the listener is really paying attention to). When you work this through in the exercises for this lesson, | would not suggest trying for the ‘perfect solution’. It is better to practice with the intent of conditioning yourself to hear the rhythms (either sustained or rhythmic) and the treatment of the melody, as you gradually become more comfortable embellishing the melody spontaneously. Again, remember to sing as you play!LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 Page 21 aie} iel8)3 77. This lesson we will play two more major scales, and start a series of exercises to build some finger independence. First, practice the scales shown below, following the fingering num- bers shown above or below the notes. Practice each hand separately, then together. Always play in tempo. Start slow. Strive for evenness and the same amount of weight on all notes. 78. In Exercises #3 - 9, you are to hold one note sustained, while striking another note, with the given fingering, Play all tones legato (long), and at your own tempo. Some exercises are in treble clef and some in bass. When these exercises are easy to play, increase the tempo. | TECHNIQUE EXERCISE #1 | 1-2-3-4-5-4-3-2 = 1-2-6324. 5-43-22 - 1-203-1-23-4-5 © 403-201-3201 Behe 3-2 1-2-3-4 - 5-423-221-2234 = Fede 3e2-1-3-2e1 - 2-321-263-4058 TECHNIQUE EXERCISE #2 |Page 22 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 TECHNIQUE EXERCISE #3 meow eee eww eee ee eeLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 TECHNIQUE EXERCISE #6 Page 23 TECHNIQUE EXERCISE #8 303003 4 4Page 24 DICK GROVE - JAZZ KEYBOARD 1 LESSON 5 IE EXERCISE #9 |Dick Grove’ JAZZ KEYBOARD 1 PROGRAM Play-Along Exercises WORKBOOK © 1994 Grove/Rasch Music Education SystemsLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 25 INTRODUCTION A WORD FROM DICK GROVE: Lesson 5 starts our work with playing the melody and supportive voicings, solo style. In this area, we are really combining many of the aspects of the previous lessons that we designed to prepare you for this goal. By this time, much of the material covered should be coming to you ‘second nature’. This is important, because your attention will need to be focused on new problems and aspects of the music. As we are in a sense, complicating the procedure, be aware that you do not have to ‘think’ the notes you are playing. When you ear understands the music itself, based on the notation on the music, then that ‘sense’ of the voiceleading and movement should become more automatic and flowing. Your ear, when playing the melody and harmony, will concentrate more on the melody notes and melodic rhythms, with the supportive harmony more on ‘automatic pilot’. Our work with embellishments is still exploring other possibilities, while our settings in this lesson will concentrate on some possibilities combining the melody with the harmony. In this lesson, the play-along tracks are quite extensive, utilizing two cassettes instead of only one as in previous lessons. To coordinate the following exercises with the cassettes, we have labeled the cassettes: Cassette 1 and Cassette 2. Each cassette than has an A side, and a B side. This means that your legend for each exercise can direct you to, for example, Cassette 1, Side B. All footage numbers are approximate, as different playback machines can run slightly faster or slower. Use these indications as reference number. As long as you move through the exercises in order, the following exercises will be available for you. Hope you enjoy this lesson! Dick Grove PS ~ We have another performance on TRACK 20 (cassette footage: 390 of the Cassette 2, side B) - the Dick Grove Trio with Adrian Rosen and Jack LaCompte Hope you enjoy it.LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 27 EXERCISE #1 ae eal EXER. #1a: | Cassette 1: A003 1, We are now working with adding more of the possible chromatic definitive scale degrees to the 7 - 3 definitive tones that define the major scale, In Lesson 4 we worked with the b9 (LE), which connects LA to $O, and the b13th which connects MI to RE. In this lesson we add the +11th, which connects DO to RE, (DO, DI, RE). When the diatonic definitive tones are added to support these color tones, we end up with a pianistic, modern voicing, comprised of leading tones, and the diatonic preparation and resolution of the chromatic definitive tone DI. x . The example for Exercise 1 demonstrates adding DI of the scale (which defines the +11h of the V dominant chord). The 7th of the IImi7 prepares the +11th, and the 9th of the Ima7_ resolves DI to RE of the scale. The sequence is therefore DO - DI - RE. This is the line to sing .. When changing keys, the pivot tone is heard by singing SO, SI/LA of the new key. w In the example, the II - V — | progression is demonstrated in a sustained rhythm, and with a more syncopated ‘time’ rhythm. You can arbitrarily play either of these suggestions, or play your own ear rhythms. It is best if you mix up different rhythmic solutions, by ear. & . The exercise now is to be played in different key centers. You are to follow the top note melody, which is written for you, and which reinforces the ‘line’ explained above with the chromatic definition. Each change of key uses a pivot in which RE pivots and becomes DO of the next key center. At bars 12 to 13, the pivot changes to SO/DO, and continues as before. 5. The exercise repeats once, with the pivot of LA/DO bringing you back to the first key center. CHROMATIC DEFINITIVE TONES Bo & =o G Dmi7 G7(+11) Cma9 Dmi7 G7(+11) Cma9 rp. | P S Continued on next pagePage 28 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 Lota tenia ste eal Dmi7 — G7(+11) — Cma7 Emi7_ A7(+11) Dma7 e e ts + 1 2 3 4 F#mi7 B7(+11) Ema G#mi7 C#7(+11) F#ma7 5 6 7 8 -Bbmi7 Eb7(+11) Abma7 Cmi7 F7(+11) Bbma7 9 10 1" 12 Gmi7 C7411) Fma7 Ami7 D7(+11) — Gma7 4 + fe a ae = “ 6 6 Bmi7 E7411) Ama7 C#mi7 F#7(+11) Bma7 —s Ss 18 19 20 Ebmi7 Ab7(+11) Dbma7 Fmi7 Bb7(+11) Ebma7 VARY $ ber om 4 Te GB i i ] e 2 22 29 24LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 29 SSS 1343 Celh 7d aL Ne eal | | EXER. #2a: | Cassette 1: A080 Eee 1. In Exercise 2, we are playing only the Ilmi7 to the altered V7(+11), without resolving to the ima9 chord. 2. The pivot from measure to measure is DI/DO, which you should sing as you play. ‘The 12-bar exercise repeats one time. 3. The supportive diatonic definitive tones will be the same as in Exercise 1. 4. Follow the same approach for the rhythmic phrasing of the chords as in Exercise 1. Dmi7 G7(+11) — Ebmi7 Ab7(+11) Emi7_ A7(+11) Fmi7 _Bb7(+11) 1 2 3 4 F#mi7 B7(+11) Gmi7 C7(+11) Abmi7 Db7(+11) Ami7_—-D7(+11) es 6 7 8 Bbmi7 Eb7(+11) Bmi7 £7(+11) Cmi7—F7(4+11))— C#mi7_ F#7(+11)Page 30 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 wen] at Ae } EXER. #3a: | fata ex] ase] od 1. Exercise 3 resolves the +1 1th of the V7 chord to the Ima9 chord, without the preparation of the limi7. 2. The pivot from measure to measure is RE/DI, which you should sing as you play. The 12-bar exercise repeats one time. The RE/RA pivot modulates back to bar 1 3. The supportive diatonic definitive tones will be the same as in Exercises 1 & 2. 4, Follow the same approach for the rhythmic phrasing of the chords as in Exercises 1 & 2. Dmi7_G7(+11)_— Cma9_Ab7(+11)_—_ Dbma9_A7(+11)__ Dma9_Bb7(+11) ve Fe 7 ~ Ebma9 B7(+11) = Ema9_C7(+11) = Fma9_—Db7(+11) Gbma9_D7(+11) Ys 6 7 8 Gma9 Eb7(+11) Abma9 E7(+11) Ama9 F7(+11) Bbma9 F#7(+11) Bma9LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 31 EXER. #4a: i Cassette 1: A156 1 1. In this series of exercises, we are working with the last of the chromatic definitive tones. LI is the +5 of the IImi7(b5) chord and the +9th of the dominant chord. This completes the relationship of double alterations found with the b5/+5 and b9/+9 (LE and LI). . It is prepared by the diatonic tone LA, which is replaced with LI, resolving to TI of the scale in force (which is the ma7th of the Ima chord. In the example below, we start with the altered llmi7(+5), moving to the altered V7(+9), ending on the Ima7. In the example, the altered !1 - V — | progression is demonstrated in a sustained rhythm, and then with a more syncopated ‘time’ rhythm. You can arbitrarily play either of these suggestions, or play your own ear rhythm. It is best if you mix up different rhythmic solutions, by ear. B . This again demonstrates a ‘mixed’ Il - V - | version of an altered major scale, as the Il and V chords have altered chromatic definitive tones, while the last chord is a | in major (unaltered). & . The exercise now is to be played in different key centers. You are to follow the top note melody, which is written for you, (reinforcing the ‘line’ explained above), with the chromatic definition. Each change of key uses a pivot in which TI moves to DO, then pivots and becomes Ll of the next key center. At bars12 to 13, the pivot changes to FA/LI, then continues as before. 5. The exercise repeats once, with the pivot of SO/LI bringing you back to the first key center. 6. Think of the ‘shape’ on the first chord (the IImi7(+5), as an open 4th (#1), played down from the top note. poo L CHROMATIC DEFINITIVE TONES | oO oo @ Dmi7(+5)G7(+9) — Cma7 Dmi7(+5) G7(+9) Cma7 Continued on next pagePage 32 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | EXER. #4a: | Cassette 1: A186 | EXERCISE #4 TRACK #2 Dmi7(+5) G7(+9) Cma7 Emi7(+5) A7(+9) Dma7 1 2 3 4 Fimi7(+5) B7(+9) Ema7 G#mi7(+5) C#7(+9) F#ma7 5 6 7 8 Bbmi7(+5) Eb7(+9) Abma7 Cmi7(+5) F7(+9) Bbma7 p. t t r —— te. te ¥ For = ° 10 " 2 Gmi7(+5) C7(+9) Fma7 Ami7(+5) D7(+9) Gma7 : & = # z to— = oP 8 Bmi7(+5) E749) Ama7 C#mi7(+5) F#7(49) Bma7 Hoa is — =m ey 18 19 20 Ebmi7(+5) Ab7(+9) Dbma7 Fmi7(+5) Bb7(+9) Ebma7LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 3: 1030 Sd SLY Xe e974 EXER. # Cassette A220 1. Exercise 5, like Exercise 2, moves from the unaltered lImi7 to the altered V7(+9), without resolving to the Ima9 chord. 2. The pivot from measure to measure is a commontone, LI/LA, which you should sing as you play. The 12-bar exercise repeats one time. 3. The supportive diatonic definitive tones will be the same as in Exercise 2. 4, Follow the same approach for the rhythmic phrasing of the chords as in the previous examples. i) Dmi7 — G7(+9) Ebmi7 Ab7(+11) Emi7_ A7(+11) Fmi7Bb7(+11) 1 2 3 4 Fémi7 —B7(+9) Gmi7 C7(+9) Abmi7 Db7(+9) Ami7 —D7(+9) e 5 6 7 8 Bbmi7 Eb7(+9) Bmi7 E749) Cmi7_ F749) C#mi7_FA7(+9) 6 + ee = ee: 3 10 " 12Page 34 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | exer. #6a:__| Pastas | Cassette 1: A250 Biv Xe e772 1. Exercise 6 resolves the +9th of the V7 chord to the Ima7 chord, without the preparation of the Ilmi7. 2. The pivot from measure to measure is TI/LI, which you should sing as you play. The 12-bar exercise repeats one time. Bar 14 is in the same key as bar 1. 3. The supportive diatonic definitive tones will be the same as in Exercises 1 & 2. 4. Follow the same approach for the rhythmic phrasing of the chords as in Exercises 1 to 5. Ty Dmi7 G7(+9) Cma7 Ab7(+9) = Dbma7_ A7(+9) Dma7_Bb7(+9) 1 2 3 4 Ebma7 B7(+9) = Ema7 C7(+9) Fma7 Db7(+9) Gbma7 D7(+9) Gma7 Eb7(+9) o 6 6 7 8 ° Abma9 E7(+9) Ama9F7(+9) Bbma7 F#7(+9) Bma7 G7(+9) Cma9LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 35 EXERCISES #7 aL CG G5) EXER. #7a: | Cassette 1: A280 | . The enharmonic scale degree of the +11 (Di) is the bSth (RA). It is prepared by RE, and resolves to DO. In the following example, the leading line is placed in the bottom voice, with the other diatonic and chromatic definitive notes found in the top voices. You should be singing this line: RE - RA - DO as you play this exercise. . The Ilmi7(b5) chord contains the altered LE, which is resolving to SO. The diatonic definitive scale tones are found in the treble clef (the 7 - 3 of each chord). we In the example below, the progression is again demonstrated in a sustained rhythm, and with a more syncopated ‘time’ rhythm. You can arbitrarily play either of these suggestions, or play your own ear rhythm. It is best if you mix up different rhythmic solutions, by ear. * . The exercise now is to be played in different key centers. You are to follow the line, which is the RE- RA- DO resolution. Each change of key uses a pivot in which DO pivots and becomes RE of the next key center. At bars 12 to 13, the pivot changes to FA/RE, and then continues as before with the DO/RE pivots. 5. The exercise repeats once, with the pivot of SO/RE bringing you back to the first key center. | CHROMATIC DEFINITIVE TONES | Ea FS cy Dmi7(b5) G7(b5) Cma7 Dmiz(bs) G7(b5) Cma7 ¥: s Continued on next pagePage 36 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | 1>.¢3 lf 7g | Cassette 1: A300 | TRACK #4 Dmi7(b5) G7(b5) Cma7 ‘Cmi7(b5) F7(b5) Bbma7 | og ie be Bbmi7(b5) Eb7(b5) Abma7 G#mi7(b5) C#7(b5) F#ma7 _ be 5 4 F#mi7(b5) B7(b5) Ema7 Emi7(b5) A7(b3) Dma7 | A Gmi7(b5) C7(b5) Fma7 Fmi7(b5) Bb7(b5) Ebma7 | eo T | | PE P ‘S- e =xLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 37 Ebmi7(b5) Ab7(b5) = Dbma7 C#mi7(b5) F#7(b5) = Bma7 7 18 19 20 Bmi7(b5) E7(b5) Ama7 Ami7(b5) D7(b8)_ Gma7 at 2 23 2Page 38 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EXER. #8a: | Nene ty [acest A22]) ayo ee) 1. We now combine two of the chromatic definitive tones (DI and LE) with the diatonic definitive tones. In doing so, our setting will require us to play four notes in the right hand on the V7 chords. v . Each of the definitive tones is prepared and resolved. In the example below, you can see that LA prepares LE, resolving to SO, while DO prepares DI and resolves to RE (the 9th of the | chord). FA still resolves to MI, and DO to TI. You should try to sing this line: LA DO DI LE SO as you are playing the progression. w As before, the altered II - V - | progression is demonstrated in a sustained rhythm, and then with a more syncopated ‘time’ rhythm. You can arbitrarily play either of these suggestions, or play your own ear rhythm. It is best if you mix up different rhythmic solutions, by ear. B . This again demonstrates a ‘mixed’ II - V - | version of an altered major scale, as the V chord has altered chromatic definitive tones, while the surrounding chords are in major (unaltered). - . The exercise now is to be played in different key centers. You are to follow the top note melody, which is written for you, (reinforcing the ‘line’ explained above) with the chromatic definition. Each change of key uses a pivot in which $O moves to DO, which then pivots and becomes LA of the next key center. At bars 8 to 9 and 16 to 17, the pivot changes to SO/LA, then continues as before. wa . The exercise repeats once, with the pivot of TE/LA bringing you back to the first key center. a In playing 4 tones in the right hand, focus on the top 3 tones as a root position major triad shape, over the 3rd of the chord (TI). | CHROMATIC DEFINITIVE TONES \ Se Dmi7 G7(+11,b9) Cma9 Dmix G7(+11,b9) Cma9 oe oO t ag & = Continued on next pageLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 39 EXERCISE #8 | | EXER. #8a: Cassette 1: A352 arate ers Cassette 1: A380 | Lt in Ls Dmi7 G7(+11,b9) Cma9 Fmi7 Bb7(+11,b9) Ebma9 1 2 3 4 Abmi7 Db7(+11,b9) Gbma9 Bmi7 £7(+11,b9) Ama9 5 6 7 8 Ami7 D7(+11,b9) Gma9 Cmi7 F7(+11,b9) Bbma9 9 10 " ie Ebmi7 Ab7(+11,b9) Dbma9 F#mi7 B7(+11,b9) Emad Ey 13 14 18 16 Emi7 A7(+11,b9) Dma9 Gmi7 C7(+11,b9) Fma9 Bbmi7 £b7(+11,b9) Abma9 C#mi7 F#7(+11,b9) Bma9 —— ee ¢ 3 is | Fa 22 2 24Page 40 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 1343 Cel iad TRACK #4 1. Exercise 9 moves from the unaltered IImi7 to the altered V7(+11,b9), without resolving to the Ima9 chord. 2. The pivot from measure to measure is a commontone, LE/LA, which you should sing as you play. You can also sing the ‘double line’: LA DO DI LE The 12-bar exercise repeats one time. 3. The supportive diatonic definitive tones will be the same as in previous exercises. 4. Follow the same approach for the rhythmic phrasing of the chords as in the previous examples. nN Dmi7 G7(+11,b9) C#mi7 F#7(+11,b9) Cmi7 F7(+11,b9) Bmi7 E7(+11,b9) : = # ee 1 2 a 4 Bbmi7 £b7(+11,b9) Ami7 D7(+11,b9) Abmi7 Db7(+11,b9) Gmi7 C7(+11,b9) F#mi7 B7(+11,b9) — Fmi7 Bb7(+11,b9)_ Emi7 A7(+11,b9)__ Ebmi7 Ab7(+11,b9) e a 10 1 12LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK : Page 41 EXER. #10a: | Cassette EXERCISE #10 TRACK #4 EXER. #10b: Cassette 1: A470 1. Exercise 10 resolves the +11,b9th of the V7 chord to the Ima7 chord, without the preparation of the IImi7. 2. The pivot from measure to measure is SE/LE, which you should sing as you play. The 16-bar exercise repeats one time. At bar 8, the pivot RE/LA changes to the key of 'F’, and then the sequence continues pivoting SE/LE. On the repeat, the pivot moves MI/LA. 3. The supportive diatonic definitive tones will be the same as in Exercises 1 & 2. 4. Follow the same approach for the rhythmic phrasing of the chords as in the previous exercises. Dmi7 G7(+11,b9) Cma7_ F7(+11,b9) Bbma7Eb7(+11,b9) Abma7 Db7(+11,b9) eo 1 2 3 4 Gbma7 B7(+11,b9) Ema7 A7(+11,b9) | Dma7 G7(+11,b9) Cma7 ee &s 6 7 a Gmi7 C7(+11,b9) Fma7_Bb7(+11,b9) Ebma7Ab7(+11,b9) Dbma7 Gb7(+11,b9) be Ha 10 " 2 Cbma7 E7(+11,b9) Ama7 D7(+11,b9) Gma7 C7(+11,b9) Fma7Page 42 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EY — EXER. #11 | Cassette 1: B003 | EXERCISE #11 ave G2) 1. Our remaining altered dominant chord contained the combined chromatic definitive tones (LI and ME) that are played with the diatonic definitive tones. In doing so, our setting will require us to play four notes in the right hand on all three of the IImi9, V7(b13,+9), Ima9 chords. v . Each of the definitive tones is prepared and resolved. In the example below, you can see that LA prepares LI, resolving to TI, while MI prepares ME and resolves to RE (the 9th of the | chord). FA still resolves to MI, and DO to TI. You should try to sing the top line LA LI TI, or the combined line: LA MI ME LI TI as you are playing the progression. As before, the altered Il - V - I progression is demonstrated in a sustained rhythm, and then with a more syncopated ‘time’ rhythm. You can arbitrarily play either of these suggestions, or play your own ear rhythm. It is best if you mix up different rhythmic solutions, by ear. w * This again demonstrates a ‘mixed’ II - V - | version of an altered major scale, as the V chord has altered chromatic definitive tones, while the surrounding chords are in major (unaltered). cad The exercise now is to be played in different key centers. You are to follow the top note melody, which is written for you, (reinforcing the ‘line’ explained above), with the chromatic definition. Each change of key uses a pivot in which TI pivots to become LA. At bars12 to 13 the pivot changes to MI/LA, then continues as before with the TI/LA pivot. 5. The exercise repeats once, with the pivot of SE/LA bringing you back to the first key center. | CHROMATIC DEFINITIVE TONES Dmi9 G7(b13,+9) Cma9 Dmi9 G7(b13,+9) Cma9 N aa oO | | i f1? Ea oF | SPECIAL NOTE: The chord symbol V7(b13,+9) is often written enharmonically as V+7(+9). You should play the voicing the same way, regardless of how it is written. Both will be used in-exercises.. Continued on next page | |LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 43 EXERCISE #11 BLY a2) | EXER. #11b: Cassette 1: BO73_ | Dmi9 G+7(b9) — Cma9 Emi9 A+7(b9) Dma9 FS. + eae | 2 3 4 Fémi9 B+7(b9) — Ema9 G#mi9 C#+7(b9) F#ma9 +e A i | 8 7 8 Bbmi9 Eb+7(b9) — Abma9 Cmi9 F+7(b9) — Bbma9 vy @ 10 " 12 Gmi9 C+7(b9) Fma9 Ami9 D+7(b9) Gma9 ° “ 18 8 Bmi9 £+7(b9) Ama9 C#mi9 — Fi#+7(b9) Bma9 a — ; ‘G3 = ee ho * ° ~ Ebmi9 Ab+7(b9) Dbma9 Fmi9 Bb+7(b9) — Ebma9Page 44 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 —_—_—_—_ | EXER. #12a: | ee as EXER. #12b: | | Cassette 1: B111 aritaa cl Cassette 1: B145 —— $$$ oe ——_ 1. Exercise 12 now moves the Ilmi9th to the altered V7(+11,b9) chord. 2. The pivot from measure to measure is a commontone, LI/LA, which you should sing as you play. You can also sing the ‘double line’: LA MI ME LI. The 16-bar exercise repeats one time. The supportive diatonic definitive tones will be the same as in previous exercises. 4, Follow the same approach for the rhythmic phrasing of the chords as in the previous examples. Dmi9 G+7(b9) Emi9 A+7(b9) F#mi9_— B7+7(b9) G#mi9 C#+7(b9) Bbmi9 Eb+7(b9) Cmi9 F+7(b9) — Dmi9_ G7+7(b9)_ Cma9 e +s Fmi9 Bb+7(b9) Gmi9 C+7(b9) Ami9__D7+7(b9) Bmi9_—_-E+7(b9) C#mi9_ F#+7(b9) Ebmi9. Ab+7(b9) Fmi9. Bb+7(b9)— Ebma7LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 45 ~~ | EXER. #13a: Cassette 1: B171 EXERCISE #13. TRACK #5 EXER. #13b: Cassette 1: B204 | 1. Exercise 13 now resolves the altered V7(+11,b9) to the Ima9 chord. 2. The pivot from measure to measure is a commontone, LI/LA, which you should sing as you play. You can also sing the ‘double line’: LA MI ME LI. The 16-bar exercise repeats one time. 3. The supportive diatonic definitive tones will be the same as in previous exercises. 4. Follow the same approach for the rhythmic phrasing of the chords as in the previous examples. Dmi9 G+7(b9) Cma9 A+7(b9) Dma9 B7+7(b9) Ema9 Db+7(b9) 1 2 3 4 Gbma9 Eb+7(b9) Abma9 F+7(b9) Bbma9_G7+7(b9) Cma9 5 6 7 8 Emi9 A+7(b9) Dma9_ B+7(b9) Ema9 Ci#+7(b9) F#ma9 Eb+7(b9) e tT 8 10 " 2 Abma9 F+7(b9) Bbma9 G+7(b9) Cma9_A7+7(b9) Dma7Page 46 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 MELODIC PHRASING | EXER. #14a: EXERCISE #14 "EXER. #14b: | Cassette 1: B230 | TRACK #6 | Cassette 1: B268 1. This lesson discussed ‘turns’ and detailed how to apply this embellishment to a target note, using a rhythm that you play by ear, determined by the tempo, length of time of the target note, etc.In Exercises #14 and 15, you are to apply turns and return to the same target note (i.e. the target note will be the first and last note of the ‘turn’ sequence of notes). This is typical of target notes that receive more than a beat of time. 2. In these exercises, you are to play the embellishments in your right hand, while in the left you can (1) play nothing, (2) play the root/7th of the chord symbol. The emphasis is on the right hand. 3. As tums, regardless of the rhythm you play, use fast moving rhythms of one variety or another, play them evenly, and with authority. Remember that the upper neighbor will generally be a scale tone, while the lower tone of the turn has many choices (refer to Example 10 on page 9). 4. Each of these 8-bar melodies will repeat twice (play through the 8 bars three times), and the track is presented in two tempos, slow, and moderately fast 5. In Exercises #16 and 17, the turn starts on one target note, then ends on a different note. In the music, you will see a small bracket which brings your attention to the two target notes. As exercises, you should try to apply these to every target note, for practice and experience. In real situations, they are of course, used more sparsely. 6. These exercises can be practiced two ways: the first is as explained above, the second is to then play the melodies, and combine turns with neighboring tone combinations and passing tones. 7. SING THE MELODIC PHRASING AS YOU PLAY! Cma7_F7 Bbma7 Ebma7 — Emi7 Av Continued on next pageLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXER. #15a: Cassette 1: B286 | Uw Gmi7 C7 EXER. #16a: 2 Cassette 1: B309 | Fmi7— Bb7 EXERCISE #15 TRACK #6 Ebma7 EXERCISE #16 TRACK #6 EXER. #16b Cassette 1: B323 } EXER. #17a: Cassette 1: B336 | Dmiz7 G7 EXERCISE #17 TRACK #6Page 48 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EXER. #16: eee #18 | EXER. #18b: | | Cassette 1: 8358 TRACK #7 | Cassette 1: B382 | Return to new note Ami7 D7 ‘Gma7 Cma7 EXER. #19a: 392 Cassette | mane abd | nated 7a c7 F6 E7(b9)LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 49 (EXER. #20a: EXERCISE #20 Cassette psc) TRACK #8 Exercise 20 is based on a typical jazz chord progression, with a sequential melody that lends itself to adding turn embellishments. The rhythmic phrasing is such that it forces you to execute rapidly. The brackets all indicate a natural place to use a turn, either returning to the same target note, or to a different note. This exercise repeats three times, and is in two different tempos, slow and moderately fast. Pay good attention to executing the subdivisions of the beat evenly, and authority.’Play the shape’ by accenting the highest note of the melodic fragment (i.e. the first attack of each turn should be played stronger. Dmi7 G7(b9) Cmi7_—-F7(b9)_ Bbmi7 —Eb7(b9)_ Abma7 , oe be Nhe 1 ' 2 3 4 Dmi7 G7(b9)_ Cmi7 F7(b9) Bbmi7 —_£b7(b9) Abma7 be,Page 50 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | EXER. #21a: | aa ea ] | [Acesetelte RASA seem 1. We now finish this segment with a complete tune, with which you are to practice applying your turn embellishments, as well as neighboring and passing tones. It is important to realize that every time you play the track, you can and should, play it differently. The goal here is to be spontaneous in your presentation of the melody. Learn to be spontaneous, and feel okay about it, while staying within the discipline of the tempo, meter, harmony and melodic target notes. 2. The track repeats once, and is in one tempo. | ‘QUIET SHADOWS’ BossaNova | Ami7 Ami7/G F#mi7(b3) B7(b9) 3 — T 1 2 3 4 Emi7 Emi7/D C#mi7(b5) F#7(b9) 5 8 7 8 Bma7 F7(b5) F7 Bbma7 Bmi7(b5) E7(b9) 9 10. i n 12 Ami7 Ami7/G F#mi7(b5) B7(b9) 3 m3 13 “4 6 6 Emi7/D C#mi7(b3) Fa7(b9)__ i so —— aS — SS a — 8 19 20 Continued on next pageLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 51 | a | Bmi7 G7(+11) c7(+11) B7(b9) 6, SS = a —— + = “” 2 te 2 a Emi7 A7(b9) Dmi7 G7(b5) 4 be es —t On : = === sae Bl a 2 1. Cma7 Fma7 Bmi7(b5) E7(b9) fh Gus i=] “2. Cma7 Fma7 Cma7Fma7_—— Cma7 ee ee ee ee ee ee eee ee ee ee 8Page 52 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 pl ee ee eee eee ee) SOLO PIANO EXERCISE #22 TRACK #10 2b; | EXER, #2: | A003 Cassette 1. These exercises are to work with placing the closest 7 ~ 3 definitive tones below the melody at the point of chord change. The first couple measures have been written in to serve as a model of how you should approach the exercise. 2. You are to play these exercises sustained and connected, with the second melody note of each measure functioning as a free lead while the harmony notes are held or sustained. 3. The exercise is played in two tempos, slow and moderately fast. There are blank measures if you wish to sketch in some of the voicings. Cma7 Fma7 Bbma7 Ebma7 Abma7 Dbma7 1 2 3 4 5 6 Cma7 C6 Fma7 F6 = Bbma7 Bb6 Ebma7Eb6 = Abma7 Ab6. Dbma7Db6 7 8 8 10 ” 2 C6 Cma7 F6 Fma7 Bb6 Bbma7 Eb6 Ebma7 Abé Abma7 Db6 Dbma7LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 53 EXERCISE #23 TRACK #10 1. This exercise works with placing mi7th chords below melody notes. The first couple measures have been written in to serve as a model of how you should approach the exercise. 2. Play these exercises sustained and connected, with the second melody note of each measure functioning as a free lead while the harmony notes are held or sustained. 3. The exercise is played in two tempos, slow and moderately fast. There are blank measures if you wish to sketch the voicings. Fami7 Bmi7 Emi7 Ami7 Dmi7 Gmi7 1 2 3 4 5 6 Cmi7 Fmi7 Bbmi7 Ebmi7 Abmi7 Dbmi7 Fami7 Fmi7 Emi7 Ebmi7 Dmi7 Dbmi7Page 54 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 [EXER. #24a: ee ra (EXER. #24a: | Cassette 2: A138 TRACK #11 Cassette 2: A181 | 1. Now we have dominant 7th chords with 3 and 4 notes per chord. The first couple measures have been written in to serve as a model of how you should approach the exercise. 2. Play these exercises sustained and connected, with moving melody notes of each measure functioning as a free lead while the harmony notes are held or sustained. 3. The exercise is played in two tempos, slow and moderately fast. There are blank measures if you wish to sketch the voicings. c7 F7 Bb7 AZ D7 G7LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 55 [ ae — | _ EXER, #25a: ee re EXER, #25a: | Cassette 2: A214 TRACK #11 | Cassette 1. Exercise #25 deals with IImi7 - V7 chords, with two notes per chord. 2. Follow the same procedure as the previous exercises in this series. Dmi7 G7 Cmi7 F7 Bbmi7 Eb7 ced ° 1 Ebmi7 ‘Ab7 C4mi7 a7 Bmi7 E7 8 Ami7 D7 Gmi7 c7 Fmi7 Bb7Page 56 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | ; Peay ERERPavES Cassette 2: A279 Dry ara ae) | Cassette 2: A320 I 1. Exercise #26 deals with Ilmi7 - V7(b9) chords. Follow the same procedure . i Dmi7 G7 Cmi7 F7 Bbmi7 Eb7 real 734 34 I é i Ebmi7 Ab7 Cemi7 Fa7 Bmi7 &7 4 4 1 = = oS i | Ra ——e : te ea | | 1 | | Ee t = I 8 “4 8 16 ” 18 Ami7 D7 Gmi7 c7 Fmi7 Bb7 i f : et Gs = =; o T - Za ILESSON 5 . DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 57 aa EXERCISE #27 TRACK #12 1. The progression in Exercise #27 moves from a IImi7 to a V7 with a double alteration of the +9 and b9. 2. Sustain the supportive 7 - 3 voicing below the melody. 3. The exercise is played in one tempo, and repeats once. 4. This time, the melody is presented in lead sheet form, and you should be able to execute the voicings without sketching the notes. Dmi7 G7 D#mi7 G#7 Emi7 A7 Fmi7 Bb7 Fami7 B7 Gmi7 c7 Abmi7 Db7 Ami7 D7 Bbmi7 Eb7 Bmi7 7 cmi7 F7 cami7 Fa7Page 58 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EXERCISE #28 BL Te Sak) | EXER. #28a: | Cassette 2: A387 | Wd 1, Exercise #28 resolves the V9 chord to the Ima7. 2. Sustain the supportive 7 — 3 voicing below the melody. 3, The exercise is played in one tempo, and repeats once. G9 Cma7 Fo Bbma7 Eb9 Abma7 Db9 Gbma7 B9 Ema7 Ag Dma7 co Fma7 Bb9 Ebma7 Ab9 Dbma7 Gbo Cbma7 Eg Ama7 D9 Gma7LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 59 EXERCISE #29 TRACK #13 EXER. #23a: Cassette 2: A101 | EXER. #23a: | | Cassette 2: A051 1. Exercise #29 resolves the V7 to the Ima7. The V7 starts with the 13th of the chord in the melody, moving to the b13 (ME), which then resolves to the 9th of the I chord. Add the Sth of the V7 chord to prepare the 9th under the b13th or +5 on 3X. 2. Sustain the supportive 7 ~ 3 voicing below the melody. 3. The exercise is played in two tempos, and repeats once. G7 G+7(b9) Cma7 Bb7 Bb+7(b9) Ebma7 Db7 Db+7(b9) Gbma7 | . I DO/MI £7 £+7(b9) Ama7 C7 C+7(b9) Fma7 Eb7 Eb+7(b9) Abma7 F oa F#7 F#+7(b9) Bma7 A7 A+7(b9) Dma7 F7 F+7(b9) Bbma7 L e eo 13 14 18 18 7 crt ‘Ab7 Ab+7(b9) Dbma7 B7 B+7(b9) Ema7 D7 D+7(b9) Gma7 n ee ee ee ee ee ee ee ee ee ee. ¢Page 60 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 in | | EXER. #30a: | cen xi) TRACK #14 Cassette 2: A456 1. In Exercise #30, the V7 resolves again to the Ima7. The V7 starts with the +11th of the chord in the melody, resolving to the 5th. Add the b9th (LE) below the melody, along with the 3rd and 7th of the chord. To resolve the b9th, move to the 5th of the major chord (you'll be playing the 3rd, 5th and 7th below the Sth of the I chord). 2. Sustain the supportive voicing below the melody. 3. The exercise is played in two tempos, and repeats once. G7(b9) Cma9 Bb7(b9) Ebma9 Db7(b9) — Gbma9 1 2 3 4 5 6 E7(b9) Ama9 Ab7(b9) Dbma9 B7(b9) Ema9 D7(b9) Gma9 F7(b9) Bbma7 A7(b9) Dma9 eo 13 4 18 16 7 18 C7(b9) Fma9 £b7(b9) Abma9 Gb7(b9) Cbma9LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 61 | (EXER, #31a: Lote et ed | Cassette 2: B002 pryte a iT 1, Following the text on pages 15 & 16, these exercises are designed to play and hear the pivot tones involved in each momentary key change. 2. In the first modulation exercises, we are changing keys by moving down a per 4th interval or up a per 5th interval. Your pattern is FA- DO - Tl- FA- MI- TI- DO/FA The cues are in reverse print. 3. Be sure to sing the definitive tones and their pivots as you play the exercises with 7 ~ 3 voicings. 4. First, there is an example of four key changes, then starting on page 62, you are to go through the keys, following the same modulatory sequence. The entire exercise repeats once! 5. Play the example below, before you continue on the next page. Dmi7 G7 Cma7 Ami7 D7 Gma7 1 1 GE= = z . ae | | |DO/FA] ; Ez: + a ; ; ; ; i AZ Dma7 Bmi7 E7 Ama7 Continued on next pagePage 62 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 | _ EXER. #31 Cassette 2: B031 EXERCISE #31 BLN Sais) Dmi7 G7 Cma7 Ami7 D7 Gma7 2 3 4 Dma7 Bmi7__ 7 Ama7 in | Fami7 _B7 G#mi7 C#7 6 7 a Ema7 C#mi7 _F#7 Bma7 | 10 1 2 F#ma7_ Ebmi7 Ab7 Dbma7 i: | oy Continued on next pageLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Bbmi7 £b7 Abma7 Fmi7 Bb7 [ Lota Cel ea | foe iel sa) UL Ebma7 “Gab Ee Cmi7 F7 19 Gmi7 C7 Fma7Page 64 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 Pea xP TRACK #16 1. Our second modulation for this lesson is designed to play and hear the pivot tones involved in each momentary key change when changing keys by moving up a half-step chromatically. Your pattern is FA- DO - TI - FA- MI - SO- SE/FA The reverse print cues you for each pivot. 3. Be sure to sing the definitive tones and their pivots as you play the exercises with 7 ~ 3 voicings. 4, The example below shows you the first four key changes, then starting on page 65, you are to go through all the keys, following the same modulatory sequence. The entire exercise repeats once! 5. Play the example below, before you continue on the next page. Dmiz7_— G7 maz Ebmi7 Ab7 Dbma7 4 L Bae SSS mn BD bo Continued on next pagei LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 65 i Bateaey) | | aceeat) i Dmiz7 G7 Cmay Ebmi7Ab7——-Dbma7 I \4 _ nm | 7 2 3 7 Emi7__ A7 Dma7 Fmi7__Bb7 Ebma7 i (% i © 1} t i 2 i : ; ; ; | I Ema7 Gmi7_c7 Fma7 i | | 3 » 7 2 I G#mi7 C#7 Fi#ma7 Ami7 D7 Gma7 = | | men | I Loe — ——- —— = I —a 5 16 Continued on next pagePage 66 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 13 tS oN ey Coot Sel Bbmi7 Eb7 Abma7 Bmi7_E7 Ama7 re = =n 7 8 i 20 Cmi7F7 Bbma7 Cémi7—F#7 Bma7 4 © : MeO) En | Me) | | a 2 2 2 =LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 67 | [exer #33; | Buena | [kcsseete 25]8112]) A enea bg 1. These exercises are to practice Settings #7 and 8 in a solo piano context. In the first exercises, you are to apply Keyboard Setting #7 to the given melody and chord symbols, This means to place the closest 7 — 3 voicings below each melody note that occurs on a point of chord change, free leading the melody notes between chord changes. If chromatic definition is in the chord symbol (b9's), add LE of the momentary key center to the 7 - 3 below the melody. You could end up with four notes in the right hand at the point of chord change. 2. Ifthere is an open primary beat at the point of chord change, play the full 7 - 3 voicing on that beat, then enter with the melody note(s) as free lead. 3. The exercises in this series vary from four measures in length to an entire chorus of a song. Each exercise is played three times, and is played in two tempos. 4. | would suggest that first you work through the setting without the track, then start with the slower tempo, remembering to use your sustaining pedal. Read ahead so that you can get your hands into the next position before it is time to strike the new chord. Fma7 Bmi7 £7(b9) Ami7 D9 m7 pa 1 2 3 4 Bbmi7 Eb7(b9) Abma7 Gmi7 c7 EXERCISE #34 TRACK #17Page 68 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EXERCISE TRACK #17 EXER. #35a: Cassette 2: B183 LU 1. These exercises are to apply Setting 8 to solo piano. Place the closest 7 ~ 3 voicings below each melody note that occurs on a point of chord change, free leading the melody notes between chord changes. If chromatic definition is in the chord symbol (b9's, b13ths), add LE of ME of the momentary key center to the 7 ~ 3 below the melody. You could end up with four notes in the right hand at the point of chord change. 2. Ifthere is an open primary beat at the point of chord change, play the full 7 ~ 3 voicing on that beat, then play the melody note(s) as free lead. 3. This melody features many open primary beats, during which time, with Setting #8, you can stagger the hands, and create forward motion during these ‘dead’ spots. 4, Each exercise is played three times, and is played in one tempo. Work through the songs, then play with the tracks. Cma7 Fma7 F#mi7(b5) B7(b13,b9) 3 1 2 3 4 Bbma7 Ebma7 Emi7(b5) A7(b9) y 5 6 8 ‘Abma7 Dbma7 G7(b13,9) Db7 p_Dmi7(b5) G7(b9) |_CmazLESSON 5 aa Cell eal TRACK #18 1. In the following 8-bar melody, you are to determine the most natural approach as to using Setting #7 or 8. In practically all instances, a combination of the two will be the more musical solution, in which case it becomes a matter of letting the open primary beats ‘cue’ you as to when to use the staggered Setting #8 approach. 2. Open primary beats can be also created by rephrasing the melody (like in bar 5). The goal here is to conceptualize the approaches, and then, by ear, execute some version of the settings throughout the song. 4. Each exercise is played three times, and is played in one tempo. Work through the song, then play with the tracks. Ebma7 Dmi7 G7(b9) Cmi7 /Bb Abma7 Ebma7 Fmi7 — Bb7(b9) Gmi7_ Gb7 Abmi7 Db7Page 70 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 EXERCISE #37 TRACK #18 1. Inthe next song, you will need to combine Settings #7 and 8, and utilize all your variations of melodic rephasing, embellishing etc. 2. This track does not repeat, and is played in only one tempo, as a ballad. Fma7 Dmi7_ Gmi7Ami7Bbma7_ Ami7 Ab7 Gmi7 C7(b9) e 7 7 ee 1 2 3 4 Fma7_ Dmi7_—— Gmi7Ami7Bbma7A7_ Dmi7_—/C Bbmi7 Eb9 5 ee = 6 7 8 Fma7 — Bbmi7 Fma7 —A+7(b9)_ Dmi7/C Bbma7_ Ami7_ D7 ® 10 " 2 Gmi7 —£b7 Gmi7 — A+7(b9)_ Dmi7 /C Bbma7 /A Gmi7 C7 13 4 18 16 Fma7 Dmi7 = Gmi7Ami7Bbma7_— Ami7_Ab7 Gmi7 Gb7 Se oe wv 18 19 20 Fma7 Dmi7_ = Gmi7Ami7Bbma7A7_ Dmi7_—C #97 Cmié6 F7 ae 2 2 24 Bbma7 Ami7 D7 Gmi7 Bbmi7 Eb7 = — = oe t os = + e a= 28 28 a 28 Fma7_ Dmi7_— Gmi7Ami7Bbma7C7_ Dbma7 F6 SSS SSS -- 29 30 3t 82LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 71 [ EXER. #38: | ates Cassette 2: B303 | me eC) 1. In Exercise #38, you are to again utilize both settings, based on the phrasing of the melody, or the way you re-phrase the melody. 2. This exercise repeats one time, and is played in one tempo. Cma7 Bb7 Cma7 Bmi7(b5) E7(b9) 1 2 3 ‘ Gmi7 C7 Fma7 Bb7 x ot =— = = & So —to=ee Ie ee $ 7 3 Gmi7— C7 Fma7 Bb7 9 10 " 2 Cma7_—Ami7 Dmi7_ G7 maz Ami7 Dmi7_— G7 eo a oO 13 4 18 16 Cma7——Ami7 Dmi7 G7 C6 Bb9 Ami7Page 72 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 Lado ele eh) TRACK #19 1. In our final exercise, play this ballad, using either setting, and freely rephase the melody. maz £b7 Abma7 maz : SN MN = > ee ee oe sate SS Se | eae a | Fmi7 Bb7 Ebma7 Dmi7 G7 Gmi7(b5) C7(b9) Fmi7—_ G7(b9) | Ebma7 Bbmi7 £b7 Abma7 Abmi7 Db9 16 7 18 19 Gmi7 iF Emi7 A7 Ami7 D7 Dmi7 G7(13,b9) 20 21 22 e¢ 23 Cma7 -—3—_~—Ebmi7_ Ab7 Dmi7 G7(b9) C69 = = + To # Spe SSS} 25 26 a _LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 73 SUMMARY 1. These Keyboard Setting exercises are designed to establish a sense of design to the interpretation of voicings, and the coordination between your two hands. Through all of the Jazz Keyboard Courses, settings will be learned that will give you many, many ‘sounds’ that can be applied to the songs and compositions you will be playing. 2. In a broad sense, the Keyboard Setting concept is a pianistic approach to arranging at the keyboard in a spontaneous manner. The beauty of the approach is that once your ear and fingers have learned these settings, you can apply them to any song you wish. Some settings are more naturally applied to a specific tempo (like ballads), but there are many cross-overs of these possibilities. 3. You will find that some of the settings we will deal with are ‘trademarks’ of some of your favorite jazz pianists. They developed ‘their individual sound’, and part of what we think of as ‘that sound’, is their consistent use of the same settings, as a solution to their interpretation to the songs they play. 4. As referred to above, this ‘vocabulary’ of ways to approach a song is the equivalent to arranging at the keyboard. The measure of the approach is to develop the ability to execute settings spontaneously, or give yourself the luxury of predetermining the settings to play in an arrangement. Either way, the music you are playing will come across as making more musical sense, and also gives you the resources to play many choruses of a song without solving the problems the same way. 5. Our concept of scale degrees (first discussed in the ‘See It - Hear It / Hear It - Play It’ Musicianship Series) now ties these pianistic approaches together, so that the ultimate sound of your playing has a real professional, musical sound. All this should add to your enjoyment and satisfaction of playing. 6. My attempt to explain and guide you through these steps to playing to your potential is designed to give you enough support and organization that you can feel like you are getting somewhere, and that you can hear the difference between trying to figure things out yourself, and what you have accomplished at each point of this process. 7. In this sense, by the end of five lessons, of just the first Jazz Keyboard 1 course, you should be realizing that you are on track to a solid, musical ability to express yourself. Hang in there, it only gets better! Dick GrovePage 74 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 ‘CANTO’ ‘Canto’ is a pretty bossanova. It is representative of the type of lyrical melodies that are character tc ofthis musical style. A bossanova- styled melody typically uses a great deal of syncopation in the rhythm phrasing of the melody, and if you play the lead sheet on the following pages, you too. can experience this type of connected off-beat phrasing. The bossanova has a straight 8th note rhythmic foundation (8/8 feel), and its rhythmic basis is a two-measure pattern. The pattern (used by the bass and drums as well as the piano left hand) is as follows: T+ 2 yy The harmonic structure uses normal II - V - | chord progressions, and features an important characteristic of the style; which is the strong half-step leading quality found in the progressions using chromatically altered chord forms This tune has a diminished 7th chord in bars 3 and 4, A diminished 7th functions as a Vil chord in a minor key center, and is the alternative choice of a dominant 7(b9). The diminished 7th in this tune is the alternate to an E7(b9), and works so well because it creates a descending bass line that moves from ‘A’ to ‘Ab’ to ‘G’. This type of leading is therefore, very typical of this style. There are some interesting lI ~ V ~| progressions in bars 9 through 24. Look at these chords in terms of how the scale degrees pivot to change from key to key. There is an 8-bar introduction to the arrangement using again, a typical bossa progression that has a very strong double leading line in the bass part ( the root & 3rd of the chords). This forms a double line, leading downward chromatically. The introduction section now becomes an interlude played at the end of each chorus of the song. An interlude is an new thematic section of a song or arrangement, that starts on a double bar. It can be from 4 to 16 bars long. The improvising is in a jazz style, but has both a connected, lyrical feeling in spots, and in others, more a main-stream jazz phrasing. Bossanovas in general, are more low-keyed than the normal rhythmic jazz performances we are all used to. In a sense, bossanovas are really approached conceptually almost like a latin ballad. Dick GroveLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK OOM Bass: Adrian Rosen Drums: Jack Lacompte Le DICK GROVE TRIO - TRACK 20 - B-380 ———, © 1975 Dick Grove Publications Ballad A7(+#11) Cma9 B7(+11) Bbma7 Abma9 G7(+11) Cma7 G#07 Ab°7 Ami7 5 6 > 8 G 2 cmiz/F F#mi7(b5) B7(b9) | — a bas ee wo a a rn Gmi7 /F Emi7(b5)_—A7(b9) Dmi7 G9 _G+7(b9) b aoe eS 4 1 SS ae : a %13 14 15 16 . Cmi7 7 Bmi7(bs) E7(b9) f ty St 2 + + SS 5 — +. 17 18 19 20 i: Emi7(b5) A7(b9)Page 76 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 “CANTO” - Continued B Dmi9 Dmi7/G Cma7 eos 26 ar 28 a A7(b9) Dmi7/G F7(+11) Cma9 B7(+11) Bbma7 A7 39 a 35 36 Abma9 G7(+11) Cma7 G#o7 B7(+11) Bbma7 AZ = + =. o 42 a 44 Cma7(+11) 45 46 47 48LESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 77 | RECOMMENDED id Yea (@ Gab 0) 0 | Here is is your recommended practice schedule for Lesson 5. Your month of practicing again has been divided into four weeks, and each week divided into six practice sessions of 45 to 60 minutes. You should only start to practice the exercises after you have watched the video, and studied and played the text information. Use this suggested practice approach in as effective a way as you can, but realize that you can adapt it quite a bit, to personalize your practicing for your own effectiveness. LESSON #6 COMING ATTRACTIONS!!! Lesson #6 continues our different ‘departments’ to the next level. In Voicings we will continue with more variations of the chromatic definitive scale degrees added to the diatonic definitive scale degrees. We will also review the entire concept of altered, chromatic tones in relationship to jazz, and the keyboard. In the Melodic Phrasing Department we will continue with arpeggiated embellishments. This finishes the basic four types of melodic embellishments that are the building blocks of good, melodic improvisation. In our Solo Keyboard Department, we will continue supporting the melody with definitive voicings. In the Modulation Department we will work on the last possible modulation, and start into modulations into minor key centers. In the Keyboard Settings Department (working closely with the Solo Keyboard techniques), we will work with more possibilities when supporting the melody with diatonic and chromatic definitive notes. In the Technique Department, more major scales and finger exercises. As an added attraction, we will start a brief History of Jazz Pianists in Lesson 6, continuing through Lessons 7 and 8 With Lesson 6 we will have laid the foundation for improvisation, and the fruits of this basis will give you increasing pleasure in your playing DICK GROVEPage 78 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 STUDY SUBJECT [EXERCISE #'s TRACK WEEK 1 #1 Chromatic Definition: #1a, 2a, 3a 27-30 #1 Technique: Exer. #1, 2 2 - - - #2 Chromatic Definition: #4a, 5a, 6a 31-34 #2 156 -279 Review Exercises: #1a, 2a, 3a 27 - 30 #1 042 - 155 #3 Chromatic Definition: #7a, 8a, 9a 35-40 43,4 280-440 Review Exercises #4a, 5a, 6a 31-34 #2 156 - 279 #4 Chromatic Definition: — #10a, 11a, 12a 41, 44 #5 441 -B144 Review Exercises: #7a,8b, 9b 35-40 #3,4 280 - 440 #5 Embellishments: #13a,14a-17a 45-47 #5,6 171 - 357 Review Exercises: #10b, lb,125 41-44 #5 A441-B144 #6 General Review: #la-17a 27-47 1-6 A042 - B357 WEEK 2 #7 Embellishment: #18a, 19a, 20a, 48, 49 #7,8 358 - 427 Review Exercises: #13b,14b-15a_ 45 - 47 #5,6 171 - 357 48 Embellishment: #21a 50,51 #9 437-474 Review Exercises: #18b, 19a, 20b 48,49 #7,8 358 - 427 #9 Solo Piano: #22a,23a.24a 452-54 #10,11 1-475 -C2-214 Review Exercises: #21a 50 #9 1-437 - 474 Technique: *** Exer. #3 -9 22-24 - - - #10 Solo Piano: #25a, 26a,27a 55-57 #11,12 214-387 Review Exercises: #22b,23b,24b 52-54 #10,11 C1475 2.214 #1 Solo Piano: #28a, 29a, 30a 58 - 60 #13,14 387-490 Review Exercises: #25b.26b, 27a 55-57 #11,12 24-652 #12 General Review: #18a - 30a 48 - 60 47-14 1-358 - C2490 Technique Exercises #1 and 2 can be played at the beginning of each practice session Technique Exercises #3 - 9 can be played at the beginning of each practice sessionLESSON 5 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 79 nasty fen) itmtocam® Eecrns Mines WEEK 3 #13 Modulation: #31 61-63 #15 B002 - 066 Review Exercises: #28a, 294,302.58 - 60 413,14 A387- 490 #14 Modulation: #32 64 - 66 #16 B067 - 117 Review Exercises: #31 61-63 #15 B002 - 066 #15 Review Exercises: #21 50, 51 #9 18437 -474 Technique: Exer. #3 -9 22-24 = - = #16 General Review: #la-17a 27-47 41-6 C1A042- B357 #17 General Revie #18a - 30a 48-60 #7-14 — C1358-C2.A490 #18 General Review: #31 - 32 61-66 #15,16 — C2B002- 066 WEEK 4 #19 —_ Keyboard Setting 133,34 67 #17 B119 - 182 Review Technique: #31 61-63 #15 B002 - 066 #20 Keyboard Settings: #35, 37 68-70 #17,18 183 - 302 Review Exercises: #33, 34 67 #17 BI19 - 182 #21 Keyboard Settings: #38 71 #19 303 - 339 Review Exercises: #35, 37 68-70 #17,18 183 - 302 #22 Keyboard Settings: #39 72 #19 340 - 358 Review Exercises: #38 71 #19 303 - 339 #23 General Review: #la-17a 27-47 #1-6 C1A042 - B357 #24 General Review: #18b - 30a 48-60 #7-14 ——C1-358-C2-490 Read Summary 73 Dick Grove Trio 74-76 #20 390 jon’t forget to use your Practice Log on the following page to help you fill out your | Satisfactory Progress Report, so you can send it in.Page 80 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 5 fl YOUR PRACTICE iKele; | FILL OUT/AFTER EACH Rise)LESSON SIX- Continue your course with the Lesson Six Video lesson by Dick Grove: the Lesson Six Textbook, Work Book and Play-along cassette. Lesson Six covers Melodic Phrasing with Arpeggiated Embellishments, Solo Keyboard, more Technique, Applying Modulation to Songs, more on Voicings, and New Keyboard Settings. Over 70 exercise tracks to work with, plus your video lesson/demonstration with Dick Grove and another performance with the Dick Grove Trio. GROVE/RASCH MUSIC EDUCATION SYSTEMS 5202 Willowhaven Avenue, Las Vegas, NV 89120 (702) 435-1184