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Part of the Jazzed about TM Series TM
from the M O
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Music Motivation Series
TM
(first edition)
Jazzed about
TM
Christmas for early intermediate - intermediate piano students
by J erald erald M. Simon First Edition Printed by
visit musicmotivation.com Music Motivation® books are designed to provide students with music instruction that will enable them to improve and increase their successes in the field of music. It is also intended to enhance appreciation and understanding understanding of various styles of music from classical to jazz, blues, rock, popular, popular, new age, hymns, and more. The author and publisher disclaim any liability or accountability accountability for the misuse of this material as it was intended intended by the author. author.
Copyright © 2009 by Music Motivation ® All Rights Reserved - International Copyright Secured. No part of this book may be copied, reproduced, or duplicated in any form by any mechanical, electronic or other means known or hereafter invented without written permission from the author and composer, Jerald M. Simon. For more promotional excerpt permission, contact Music Motivation®, P.O. Box 1000 Kaysville, UT 84037-1000 - info@musicmotiv
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Welcome to
Jazzed about Christmas TM
I hope you enjoy “Jazzed about Christmas”. This book contains 18 fun and easy to play play,, teacher friendly Christmas favorites. The 18 Christmas favorites are: (1) “Jingle Bells”, (2) “Jolly Old Saint Nicholas”, (3) “Up On the House Top”, (4) “Deck the Halls”, (5) “Joy to the World”, (6) “God Rest Ye Merry Gentlemen”, (7) “Hark the Herald Angels Sing”, (8) “O Christm Christmas as Tr Tree” ee” , (9) “Angels We We Have Heard On High”, (10) “Silent Night”, (11) “The First Noel”, (12) “Good King Wenceslas” , (13) “Bring a Torch Jeannette, Isabella”, (14) “I Saw Three Ships”, (15) “Still, Still, Still”, (16) “Dance of the Sugar Plum Fairy”, (17) “The Holly and the Ivy” , and (18) “We Wish You a Merry Christmas” .
It is the hope of the author and publisher that each of these Christmas arrangements will be fun, upbeat, and enjoyable to the teachers, students, performers performers and the listeners. listeners. In addition to having fun, students will learn the theory used to arrange each Christmas song. This book is perfect for Christmas recitals, family parties, school talent shows, etc. Have fun with each arrangement and enjoy enjoy the holidays.
Table of Contents
J erald erald M. Simon Dedicated to my wife, Suzanne (Zanny), my little girl, Summer, my father and mother Jerry and Denise Simon, my in-laws Brent and Wendy Cederlof and everyone who enjoys the hustle and bustle of the holidays. Happy Holidays and Merry Christmas!
I hope you enjoy the music. Have fun! Music is COOL! Connect with Jerald M. Simon facebook.com/jeraldsimon twitter.com/jeraldsimon cdbaby.com/artist/jeraldsimon youtube.com/jeraldsimon reverbnation.com/jeraldsimon
Introduction.................................................. Introduction........................... ....................................3 .............3 “Jingle Bells”...................................................................8 “Jolly Old Saint Nicholas”.............................................9 “Up On the House Top”.................................................10 “Deck the Halls”.............................................................11 “Joy to the World”.......................................................12 “God Rest Ye Merry Gentlemen”................................13 “Hark the Herald Angels Sing ”....................................14 “O Christmas Tree”.......................................................15 “ ”...............................16 “Silent ”................................................................17 AngelsNight We Have Heard On High “The First Noel”............................................................18 “Good King Wenceslas”................................................19 “Bring a Torch, Jeannette, Isabella”.........................20 “I Saw Three Ships”.......................................................21 “Still, Still, Still”............................................................22 “Dance, of the Sugar Plum Fairy”...............................23 “The Holly and the Ivy”................................................24 “We Wish You a Merry Christmas”............................25 Music Motivation® Products...........................................26
J erald erald M. Simon J MS J MS
Music that excites, entertains, and educates!TM - Let music motivate you! TM ®
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ntrodu tion Introduction Q Q
beginner/early intermediate Welcome to Jazzed about Christmas. This book is designed for the beginner/early piano student. There are 18 well known and loved Christmas holiday favorites in this book. Every arrangement in this book is in the key of C to help the piano players learn and understand the concepts in the key of C before attempting them in other keys (which can easily be done by moving chromatically or up to the right in half steps). The word chromatic simply means to move up or down using half step (i.e. C to C sharp, D to D sharp etc.)
These first five pages (pages 5 - 9) teach the theory used in each arrangement. Music theory simply
means understanding chords, scales, progressions, key signatures, patterns, etc., and knowing what to do with it and how to use it. Many musicians have learned music theory, theory, but have never learned how to use it. Many use music theory, but don’t know what it’s called and can’t describe what they’re doing and how they’re doing it. I want to teach you what to do with that that knowledge and how to use it in your your own playing. Let’ Let’ss get started! To begin, play the C major pentascale below - first with the right hand, then with the left hand, and finally both hands together. together. The word “penta” means five. This is a five note scale. The notes in the example below are: C, D, D, E, F, F, and G. When you play C, D, E, F, F, and G one after another, another, you are playing playing the first five notes from the C major scale.
1
2
3
4
5
C
D
E
F
G
5
4
3
2
1
F
E
D
For fun, when you’ve mastered the example above, try playing all major pentascales in every key moving up chromatically in half steps to the right. Below is the same example as the one above, but we are playing the five notes from the C major pentascale as intervals moving up and down. The word interval simply describes the distance between two notes. For example, C, played alone, alone, is called a first; C and D played together together is called a second, C and E played together is called a third, C and F played together is called a fourth, and C and G played together is called a fifth.
1st
2nd
3rd
4th
5th
4th
3rd
2nd
For fun, when you’ve mastered the example above, try playing the intervals in every key - moving up chromatically in half steps to the right. MM00001009
3
Introduction ntrodu tion Q Q
Jazz musicians enjoy using 6th and 7th chords (they also enjoy 9 th, 11th, and 13th chords, but we won’t discuss them in this book). We’ll start by learning the basic triads (three note chords) in the key of C. The chords follow a pattern (major, minor, minor, major, major, major, minor, diminished, major). This is the progression of all triads in every major key signature. Look at the progression in the key of C below.
C
D
E
F
G
A
B
C o
M
represents Major Chords
m
represents minor Chords
o
M
m
m
M
M
m
d
M
d
represents diminished Chords
Some of the chords are major, some are minor, and one is a diminished chord. Play the triads found in the key of C major major below. below. I tell students to “Say it and Play it!” TM That means to say the name of the chord, ie. C major, D minor, minor, E minor, etc., when you play it. Try it.
M
m
m
M
M
m
o
d
M
Now go backwards to the beginning.
5 3 1
C
C
D
E
F
A
G
B
1 3 5
For fun, when you’ve mastered the example above, try playing it with the left hand, then the right hand and vice-versa. Play the progression of triads triads up and down the keyboard one octave, two, three, and even four four octaves. You’ll be surprised at how easy it is to do and you’ll amaze yourself and others when you play this progression up and down the keyboard. Try it out. Now that you’ve played played the basic triads triads from the C major scale, lets talk about inversions. Every three note chord will have three positions because there are three notes. If we look at the C major chord, the three notes are: C, E, and G stacked on top of each and played at the same time. When C is on the bottom of the stack, the chord is in root root position. Think of a tree with the roots at the bottom going down into into the ground. If a strong wind uprooted the tree (and turned the tree upside down on it’s head) the order of the notes would no longer be C, E, G, but E, G, and C. Since C is on the top, we call this a C major chord, but it is in first inversion. If we take the E off from from the bottom and put it on top the order of the notes would be G, C, E. Since E is on the top, we call this a C major chord still, but it is in second inversion. inversion. Play the example below. below. Try playing the right hand, then the left hand, and then both hands together.
5 2 1
5 3 1
root
1
1 3 5
root
nd
st
2
1 3 5
5 3 1
5 3 1
(an octave higher)
1 2 5
1 3 5
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ntrodu tion Q Introduction Q
Now that you know how to play the basic C major chord, let’ let’ss add one note at the end. The C major chord is C, E, and G. We’re going to add an A to the end of it. Our chord will now be C, E, G, and A played together at the same same time. This is called a C major sixth sixth chord. Play the example below in root, first, second, second, and third inversions (since this chord has 4 notes, there is one more inversion than the three note chord). If you think this example is too difficult for you or your students to play, move on to the next ne xt example (but at least try to play it - you’ll never know how easy it is unless you try - and the more you try it the easier it becomes). There are no four note chords in this book - I promise! Don’t worry. worry. This looks more frightening than it really is. Think happy thoughts! You’re playing the same same chord (C major sixth) every time. time. You’re only changing st nd rd the order of the notes. Play the C major sixth chord in root position, 1 , 2 , and 3 inversions. And as always, remember to “Say it and Play it!”TM
45 2 1
5 3 2 1
1
1st
root
5 3 2 1
1 2 54
45 2 1
root
3rd
2nd
1 32 5
21 3 5
5 3 2
(an octave higher) 1 2 3 5
21 3 5
Now for the really fun part. Let’s talk about how to use the C major sixth chord. There are several arrangements in this book that use the C major sixth chord played as a broken chord. When you play a broken time. A blocked chord, however, is where you play all the notes chord, each individual note is played one at a time. together at the same time. Play the example below with the left hand. The notes are C, E, G, and A played one after another. another. Jazz musicians will sometimes sometimes refer to this as a walking bass.
C
E
G
A
5
3
2
1
Turn to page 13 and take note of the similarities between the left hand in measure 10 of “Deck the Halls”, and the example shown here. It’ It’ss a broken sixth chord.
If you feel adventurous, try this example in every key signature, moving up to the right in half steps each time. When you learn something in the key of C, always try it in every other key signature as well.
Now let’ let’ss really jazz up this left hand pattern. Instead of playing the notes as quarter notes, we will play them as eighth notes. The progression is the same, except for one additional note. After you play C, E, G, and A, simply cross the index finger finger over the thumb to the B flat and then come back down. Play the example below with the left hand. The notes are C, E, G, A, and B flat played one after another going up and coming down. Jazz musicians also also refer to this as a walking bass.
C E G A B A G E
5
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3
2
1
2
1
2
3
As before, If you feel adventurous, try this example in every key signature, moving up to the right in half steps each time. time. Remember Remember,, when you learn something in the key of C, always try it in every other key signature as well.
5
ntrodu tion Q Introduction Q
On this page, I’ve included several left hand patterns to be practiced before playing the Christmas arrangements. These left hand patterns are well known jazz patterns I have included included and incorporated into each arrangement. Have fun with these. As with all exercises in this book, once you’ve played it in the key of C, always try to take it up u p chromatically, chromatically, in half steps, through every key signature.
This is a walking bass pattern created from the C major
5
3
2
1
5
3
2
2
1
1
2
1 (2)
1
1
1
5
5
5
5
1 (2)
1
1
1
5
5
5
5
This is another walking bass pattern. I used this left hand pattern in “Jingle “Jingle Bells” on page 10, and “Joy to the World” World” on page p age 14.
3
sixth I used left in “Deck the Halls”chord. on page 13. this It is left alsohand usedpattern in “Jolly Old Saint Nicholas” on page 11, but with a walking bass pattern created from the F major sixth chord.
This left hand pattern is often referred to as a barrel house blues pattern. The left hand rocks back and forth between the perfect fifth fifth interval interval (i.e. A and E) and either the major or minor sixth interval, (in this example I use the minor sixth interval which is A and F natural). natural). I used this left hand pattern in “God Rest Ye Ye Merry Gentlemen” on page 15.
I used this left hand pattern in “Up On the House Top” on page 12.
1 (2)
1
1
1
5
5
5
5
This left hand pattern is used in “Hark the Herald Angels Sing” on page 16.
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ntrodu tion Q Introduction Q
1
1
5
5
3
This left hand pattern is used in “I Saw Three Ships” on page 23.
2
This left hand pattern is used in “The First Noel” on page 20.
1
2
3
1
2
5
This left hand pattern is used in “O Christmas Tree” on page 17.
2
5
1
2
3
4
This left hand pattern is used in “Good King Wenceslas” on page 21.
5
5
3
4
1
2
1
2
5
4
3
2
3
5
3
3
2
1
(1)
(2) (1)
4
3
2
1
in “We Wish You a Merry Christmas” on page 27.
This left hand pattern is used in “Deck the Halls” on page 13.
2
(2)
5
1
This left hand pattern is used
3
2
1
3
2
1
2
5-1
This is a left hand ending I used in “Jolly Old Saint Nicholas” on page 11, and “We Wish Wis h You You a Merry Christmas” on page 27.
5
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Jingle Bells
Passed Off
arr. J erald erald M. Simon
jazzy
Music by J. Pierpont
2 or (3)
C37
3
2 1 2
1 5 3 2
3
Pedal ad-lib throughout throughout 5
F7
5
9
3 2
1
2
C7
1
2
G7
3
C7
13
F7
C7
G7
C7
1
5
®
Copyright © 2009 by Music Motivation (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit
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All rights reserved including the right of public performance for profit
Up On The House Top
Passed Off
arr. J erald erald M. Simon full of energy (have FUN)
Music by B. R. Hanby Hanby
C7
F
G7
C
C7
6
1 (2) 1
1
1
5
5
5
5
Pedal ad-lib throughout throughout
C7
F
C
G
11
G7
C7
16
G
C
F7
C
C7
F7
C7
G
Copyright © 2009 by Music Motivation® (ASCAP) International Copyright Secured
s li s a n d o
10
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Passed
Joy to the World
Off
smooth and bright
arr. J erald erald M. Simon
Music by George Frideric Handel
D min6
C
E min7
F Maj7 G /D
C
FMaj7
1
Pedal ad-lib throughout throughout
5
6
B dim/D
C
C7
5
3
2
1
2
1
2
3
11 A min
5
F Maj7/C
G sus
3
2
1
2
1
2
E min7/B
3
5
A min
16
2
1
2
3
D sus/G
F add2/C
Copyright © 2009 by Music Motivation® (ASCAP)
F Maj7/C G add2/D
3
2
C
1
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12
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Passed
Silent Night
Off
erald M. Simon arr. J erald peacefully
C M9
5
4
Franz X. Gruber 1818
C add2
A 7sus4
A min7
1 5
6
F 7
12
A min
C add2
G7
C add2/E
F Maj7/C
D m9
F Maj7/C
18
Pedal ad-lib throughout throughout
D min7/F
A m7 5
G 7sus4
C add4/F
E min7
E min7
F Maj7
G 9sus4/C
Copyright © 2009 by Music Motivation® (ASCAP)
D m/F
C M7
C Maj7
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17
Dance of the Sugar Plum Fairy cool and cautious
Passed
erald M. Simon arr. J erald
Music by Tchaikovksy
E sus/A
5
E
1 (2)
1
1
5
5
5
E dim/A
D min/A
E sus/A
Pedal ad-lib throughout throughout
D7
E
E sus/A
E
11
E dim/A D min/A
E sus/A
E
16
E sus/A
Off
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