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    RafaelSilveira
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    This document outlines 3 exercises for solo jazz piano practice. Exercise 1 focuses on implying a major 2-5-1 chord progression to a minor key. Exercise 2 develops a rhythmic motif first introduced in the first chorus of a piece in the second chorus. Exercise 3 starts two sections of a piece by outlining the chord with a rhythmic line that can then be developed in later choruses. The exercises are meant to be practiced in all 12 keys and different parts of tunes to develop improvisational skills.

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    Solo exercises

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    This document outlines 3 exercises for solo jazz piano practice. Exercise 1 focuses on implying a major 2-5-1 chord progression to a minor key. Exercise 2 develops a rhythmic motif first introduced in the first chorus of a piece in the second chorus. Exercise 3 starts two sections of a piece by outlining the chord with a rhythmic line that can then be developed in later choruses. The exercises are meant to be practiced in all 12 keys and different parts of tunes to develop improvisational skills.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    9 views1 page

    Solo Exercises

    Uploaded by

    RafaelSilveira
    This document outlines 3 exercises for solo jazz piano practice. Exercise 1 focuses on implying a major 2-5-1 chord progression to a minor key. Exercise 2 develops a rhythmic motif first introduced in the first chorus of a piece in the second chorus. Exercise 3 starts two sections of a piece by outlining the chord with a rhythmic line that can then be developed in later choruses. The exercises are meant to be practiced in all 12 keys and different parts of tunes to develop improvisational skills.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 1

    Paul Chambers Solo

    Exercises
    Exercise 1: Bars 1 - 3

          
       
    Implying a major 2-5-1 to a minor key:

                 
     
    Am7 D7 Gm7


    1

    Can be practiced on all 12 keys and on any place in a tune.

        
    ex:

      
            
               
    Bm7 E7 Am7


    Exercise 2: Bars 19-20; 51-52
    Rythmic motiff first established on A2 of the first chorus and then developed in the same place on the second chorus:

                
     
    19 Gm7 Aø D7

                     
     
    Gm7 Aø D7
    51

    3 3 3

                  
    Can be practiced as is in all keys, or by developing similar motiffs in the same way, in the same part of a chorus.
    ex:


    Am7 Bø E7

                     
    Am7


    Bø E7

    3 3
    Exercise 3: Bars 27; 91
    Starting these 2 C sections with a rythmic line that outlines the chord:


      
                    
    Cm7 F7


    B♭Δ
    27

            
              

    Cm7


    F7 B♭Δ
    91

    3
    Can be practiced by playing the exact line or a similar one in other keys,

       
         
    outlining the chord and then developing in a later chorus of solo.

           
    ex:


    Dm7 G7 CΔ



    3

             
      
           
    Dm7 G7 CΔ

     3 3 3

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