John Kember - Jazz Piano Studies Vol 1.pdf

J'ALL PIANO STUD]ES 1, John Kember CONTENTS Bah-ba-doo bah

poge 3

Anticipation

poge 4

Early bird

page 5

Left hand drive

page 6

End notes

page 6

ln sequence

poge 7

High five

poge 8

Allwhite on the night

page

Rest easy

page 12

Serious syncopation

poge 13

So what!

poge 14

Step time

poge 15

Window shopping

poge 16

lce cool

page 17

Open spaces

poge 18

Valse semplice

poge 20

Three's a crowd

page 22

Southern belle

poge 24

Romance

poge 26

Feeling good

poge 28

Smalltalk

poge 30

Night life

poge 3 I

l0

O 1995 by Faber Music Ltd This edition O 2005 by Faber Music Ltd BloomsburT HouseT4-77 Great Russell Street London WC lB 3DA Cover illustration by Vikki Liogier Music processed by Christopher Hinkins Printed in England by Caligraving Ltd All rights reserved |SBNl0:0-571-52400-l EAN l 3: 978-0-57

1

-52400-6

FAB'Off MUSIC

lntroduction more established 'classical' forms, but )azz, rockand popular music use the same notation as the are interpreted slightly differently: note values need not always be taken literally, but are used as a convenient way of indicating the rhythmic 'feel' of a pattern or phrase. Chords, broadly, function in the same way, but include various 'added notes'which give the harmony aiazzfeel. These progressiveJazz. Piono Studies aim to help you to:

o o

recognise and perform commonly-used time patterns with stylistic phrasing

understand anticipation (syncopation) of both notes and chords and to perform them

within a rigid temPo

O O o

play against the beat in either hand, whether with single notes or chords

form chords and recognise the sounds, textures and movements of notes within chords use either hand

to build and maintain a chord sequence

By playing these short studies and pieces, you should build up a rePertoire of styles techniques, and also develop the confidence to extemPorise in a variety of iazz styles.

and

Aspects of iazz rhYthm Pulse

The impofrance of keeping a regular pulse, and of the necessity to count cannot be overemphasized. you must always know where the first beat of the bar/measure is. This is particularly is also vital when improvising, where a similar sense of four- and eight-bar/measure phrase lengths essential. Using a metronome when you practise can be very helpful in developing a good sense

of rhythm. Swing

rhythm

ln this book, pieces

to be played with a'swing' feel are indicated:

-s-

Jl = i 'l'

This will give a relaxed feel, particularly in right hand single note lines and melodies. ln all other cases, quavers/eighth notes should be played straight.

o note or chord forward by half a beot) Any beat can be anticipated, but the first and third beats (usually the strongesQ are the most effective in giving a swing or jazz 'feel' to a simple melody or rhythm. lf the tied or anticipated note is accented, the phrasing becomes clearer and more stylistic, particularly if the preceding note is shortened. lf the anticipated note or chord is at the end of a phrase or is followed by a Anticipation (moving

rest, it is better played staccato, or with an accented staccato.

1-,

BAH-BA.DOO BAH

_s_

)

Swing rhythm

4/-

l2o (swing,f = J,hl

-

I

l-l

2

\

tu

,!f

t

t

p

"!f

semi-staccato

I

Ebmaji

Gm

D7sus4

D+s

gb

Gm

5

Fine

I

a)

cp4

pb

1-

-

f

p Gm

D

(cm)

D

--

1t-

D/A

G

Ebmal7

13

5 3

D.C. al Fine

I L,J

L'

tl

--p '1

Gm

O 2005 by Faber Music Ltd.

CÆq

4

sb

Gm/D

D

DÆf Cm

This music is copyright. Photocopying is ILLEGAL.

2. ANTICIPATION Moving a note or chord fdrward by half a beat

A#dimz

G/B

5

tu!.?

,

fi!'

,!f G

A#dimz

Am7

-OJ

C

G/B

Am7

G/B

D

9

at

+ +' p

_v

trt+ t,_--

+'

',-:'

r/a

_-.-

-4

G

Am7

GIB

AfdimT

C

Am7

G/B

D

t3

a)!:

he.

I

f

,!f

3

G

I7

Am7

AfdimT

c

GIB

5 3

3

I

a)

I

GlB

5 3

Am7

5

G

2' .7

p

v GIB

J

C

c#aim

EmlD

5

3

7

p

D

I

D CID

Dtbet

G+6

3. EARLY BIRD Anticipation of lst beat

)-r2o 5

a)

"!f legato

29 5

f

L

5

Am JJ /

|

A t -J 37

tat

"!f 5

Em

4I

t2)

f

à)

Li

tl L

4. LEFT HAND DRIVE Anticipation within a bass line

==-

,!f 2l 4

5. END NOTES Anticipation of 4th and lst beats; delayed lst beat (common endings) 96-120

)=

3

I

f,

______1_____-_4-

_-___------a)

I

,!f

,!f

e

I

3

Dm

DDI

ffi

(

r

C

Dbl

I

f t_

Dm

Dm

C

DDI

Dm

C

6. rN SEQUENCE Anticipation of melody through to chords

)=fi2

rzfi--..

/-ra2

rl

I

5

J

Dm 7

G7

\

|

,

I 5

Bm7

-5

4

(e)

E7

é

tLt

a)

e Dm7

tu

I

"!f +'

Dm7

cmqt

G7

t'

Y-l

FmajT

v-r

Bm7

(e)

-s

Am

JJ'

V

.-> cmd'

G7

GTsusa

I

'l^

FmajT

Bm7

-5 (e)

E7

I Dm?

+

Jvf)

I

G7

CmajT

FmajT

Bm7

-5

(9) E7sus4

be)

I

.,

gt (bs) Am

8

7. HIGH FIVE Right hand developed from pentatonic scale

1

,!f

_o

5

a

a-J

e

ç,

Am

ArfllG

Dm/F

G

G

ÀJ

-D-J +

C\

Asusa/E

FmajT

F;m7

AmTlG

ZJ

a)

p a

? DmT

Am

G

lF

a

? DmT

G

lF

molto rall. 26

3

l.

I

I

3

f

3-5

3

--------->

^ 4F/

-(}

zl

P

^ Am

Dm7

G

Dm

Am

t0

8. ALL WHITE ON THE NIGHT Bright 4

)=I44

tZ ta,

f Am+7

Am

4

t

r

z7'y

z-\l

3?

5

C\

+ Am6

Am7

Emil

Dme

5

+

FmajT

2 .

E7sus4

72

+^

,,+^+ E7

Am

0

I L

a)

Am+7

Am7

Am6

Amb6

Am

il . -l---tu l-l-.-LJ

è)l.,_-

l_l

tttt-

"!f

Dme

I

lr-"-'--l àà GT

Em7

lD

AmTlE

Fe

DmTlF

a-\

16

f t

,,l.nl.

E7sus4

I9

1.5

E7

Am

Am+7

J_

cresc.

+ Am7

Am6

Dme

22

G

"tr a

(l

Em13

FmajT

876

Am

t2

9. REST EASY Anticipation of 4th beat

) = 104-120

5 J

)

û

a)

-.

f legato r3

5

Am

C^uJ1

G7

Dme

C+6

)

3

5

1

o+;>'

2

5

3

FmajT

Dm7

s1 A1

+

-

-:

4S

3

CmajT

G7

5

f

-

ar;-

p

sub.

;

;

5

'

o+

2'

?

^

13

13

I

CmajT

G7

Dme

Am7

13,

.,

.,

r>

f

cresc.

PP

^ ) 5

FmajT

Dme

ome/G

c9+6

t3

10. SERIOUS SYNCOPATION Bright 4 |

,J

= 116 1.32 3 =

.-. -:.

:

"f

4

J-

a

Ê

Am

I

Dme/F

AmTG

Esusa

5

+1> -^

E

3

A!

4 5

Drng

.f Ê

32 55

3 5

p*

gbe

a Am7/G

13

E

Esusa

1 2 t

}J

)

Esusa

Dme/F

\

t

!

1^2

a)-,r!r

Dme

P

sbsTo$

Esus4 E

Am

E

t4

11. SO WHAT! J

= 2 rzo Gwine

Jl

=,,l

))

r-J +-,1

!.

=t

f

1

f

ryp

I

l\

!t

F

I

3!

I

Gm 7F

FIA

5

f

ryP

I

F

rl

I

3

c /E

F

I

4

5

c

Dm

l

5

!.+

=e

sub. t

I

(BD')

1

3

4

gb

s--a :

t3

,r

tt

FlA

Gm?

F

3

I

,:+

a-

p

.f

I (F)

F/A

Gm?

F

p

t5

12, STEP TIME )=Ma

,:ll

a

I

Bbmaj?A Gm6

t.,

,

BblF Em?-5 Bb

BbmajT

J

a

,ti-l

,

f B[nay'iA Gn6 BbTiF CllE

,i+ Ca

F

9

a)

+'+.>1

FelE, FlEb

Dm Dm7

Dm7

Gm

D.C. al

13

$ poi al Coda ^

^ Cm9

17.

F9

F?

gb

coda

Â

a

Cme

1inrr,'

il

r

-\v''

J

Bbmajo

13. WINDOW SHOPPING ) = 120-126

Gwine

.ll

=

.l

.f)

emTG

G/Ff

G/F$

.t

im.

t G6

D/F$

c'1lF\

GÆ*

)p1çl

5

t3

l_

i t1

I

p 1

G6

G1/r\

C/E

Cm/Eb

GID

À'lc*

EmlD

G

t7

14. lcE cool .l = qo (swine.E = .l .f )

"f3 Dm

Dm/C 5

i ^ !,

,f

trl +-l 3

Â

I

yL 7 llrJ

I

T3

2

JI

s

-.

èrt

:l

1

f

3

"tr

,rf

llt! 3

I

t8

15. OPEN SPACES Experiment with and vary the dynamics .l

54 32 1r

= 1lo-116 Gwing JJ = J.l)

+_' rf;

|.+

(p)

1

? (.f)

Dl3

a)

++

i}

Dl1

Ame

i>

De(no 3rd)

t9

16

2-

Ê

Dll

G

Dl3

Drr

Gmaj?

22

?'

,I Ame

De(no 3rd)

1t;

l\

20

16. VALSE SEMPLICE )=so

A waltz with jazz-style harmonies

I

i _l

r

,tt èl

ArnTÆ

GmajT

6

a p

nlP

Am/D

Gmaj?

r AmTD

cmajT

t?

GmajT

IL

,Y

AmllD

cmâj7

a a!_

(*e)

Ami/D

3 2

"l

r

tt

}L

ll

,7

fi

Gmaj?

:

GmajT

Em?

Am?

I6

ar)t

i __--

al

)T

lr

C

EmllD

AmlD

5

Ib p

g

G

AmlD

a

t

cmajT

2t

)

f AmtÆ

27 3

.,)t .l

rÈ

,7

)t

t

)

,rf

A^7/D

GmajT(+e)

32

--'

51

z

3

.7

OI

F.m7

Gmaj?

IT

.-------l--- --I---'.

lr

i

)Ê

I

D?

GmajT

C

EmTlD

rnolto râll.

AmlD

i

.<

22

17. THREE'S A CROWD Jazz

Get used to the rhythm before you begin:

Jazz waltz tempo

.J

waltz study

!f;

= 160

2 1

p

2

sb

Ebmaj?

gb

E4naj?

t-| "f Ebmaj?

sb

Bbsusa

Fm9

Cm9

r

p

3

Bte

B,IAb

Cm

Gm

Gm?

13

,r

r.__r

Fm?

Bb?(e)

gb

EDmaji

E1

23 17

f I

Ab7

-.-,*

r

\.--,

Ab6

Bbe

-

Bb/Ab Cm?

Gm

Cme

D.C. al

2t

$ poi at Coda

f.--r Fm?

25

Bb?p)

Cm

l\-

Ebrnaj?

9b11'b

|

Bb

Coda

-_i

-',-;

"f EbmajT

lrlp

Bb

Ab

EbmajT

29

S:

*._; P

PP

4b

Bb

-

-

ts,mal'

Ab

gb

a,_-./ EbmajT

24

18. SOUTHERN BELLE

z-î--;-\>l

) = c.|12 O6:

Con ped.

2

1[

c

G?

,r!f

.'

^t

lz--\

CIG

fr

Cm6/G

r

,"t"4.î zl

u. -

1+e /-

(

\t C

/G /c

D7

Bm?

D76

5

4

I

Y

I

f

l

Cm6/G

C

G7

me

C maJi1

Am?/D /D

D

G

r c

2

ù

)14

a f-f ,)

B?

EM

ta

Em?

'

'[r

f

7,

Am7 Am7 -5 Drsus,r

D7

C6lG

L C.nllc

P 2 5

G

Em

t

5

Am6lE

"f G,/D GmaiTD cmâj7

A\aIlD

Cm+7G

2t

22

'a

Em

+tè

w_"4 "a

CIG

Ame/D

Em

G/D GmajlD

Am6lE

Cmaj? Bm fall.

37î

?/'1.'t

2

a, Er

r

p -

G

CdimTD

dim,

\

3

\/-'-1,

D

C/G Cr,.,lG G

Am7

Cnajl/D

r râ ^

I

C/G

5

Cm6/G

G

A+e

Ge6

(

76

1-9. ROMANCE Variations over left hand chord sequence

Poco rubato J = c.88

'

7r

r"*pr"

lrgoro

,rf

'

} iJiJiJ à. û t

iJ JU )

J

I a)

p

3/-t-ÊÊ

11 !ll'

2

5

O

RH.

Flm ?-s /A

Am+7

Ir I

Dm6

E7

E7sus4

3

---._-

cantabile e espressixo

IJJJ

*13++

SAtt

€-

FlmT

5

FmajT

***ra Am/E

Emt

G'IF

Am

CmajTf

E9IA

Am/C

1

2

itJ

J

*

*

* P*mr+

e 16

Am/E

Dm 1

E,ID

ttct GTIF

FmajT

f,

I

Em

f

l

1/^

---:-----a

Cmaji1

Am/C

19

r +** l

Bm7

,!f

,tt

Am

E?

<

1

22

GmajfF*

23

Gl

clE

lp\

2l

2,/31

3

r-

,J ) F;11tP\

Be/D+

-^

D

CmajT

G/F$

G

i ç #;: /a- ) ), à t'"] ,--"--:-j f

ryP

2*22 G/FI

29

)

E1

;-

2 t r"rl

irr

Am/E

BYDï

k-*è'

2

,t*rt*

J

AmlGi

Am+7c*

E

r z r 'i]È-.

1Êt*C -p F{-r

-s

it

33

B,ID,'

Fmaj?

Cl/F

A-Æ

Em7

-....\'--\

3 4

a)

I-lmT

E7/D

Cmaj?+5 AmlC

Bm7

E

28 36

t

2

o

iJJ+

==_r_:_

_

,f

I JJ

6

E9IA

tct*

J

Flmr

AmlG

Am+7G+

-s

1t

39

3

nlP

tAz+ GlIF

FmajT

Ê1lD

Am/E

Em?

rall.

t,--3--3 -i,=:::-é72 2 1é

"n4

/,:

ppl

i4à

Bm7

CmajTr5 An/C

E9IA

E7

20. FEELING GOOD Bright l2

4

)=Ma 4 2

f

.f EbmajT

9b

Gm

Dm7

j

- trf

a)=_v

L=-

Cm7

irr

PrrTC

Bbe

"f

J

29

4.

212 I

-t Gm

Dm?

Ebmaj?

l3

45

Itl;/

t:

f1.

It-t

Gm

Flt

Cm?

fJ? te

17

.)lr + Ebmaj?

2t

tt)

gbF

Dm?

Gm7

21 -

Cme

Fl3

Dm7

G?

:t

^ a)

p 2 Cm7

F1l

Bt

tf

I

^ Abmaf

o sb

30

21. SMALL TALK Swinging right hand chords

Leisurely and legato .l = 84-88 (swing Jl = J )1 5 3

2

p 3

G

GmajT

G7

Cmâj7

c/D

G

CmajT

....-___:,

nf )g-

GmajT

ryP

CmajT

I

-''--P

Q)

,{ clD

Gmaj?

-'\ ryp

Cmaj?

AmTsus Am7 CmajlD D

13

-

------>t ,!f Bm7

Em?

='"-:-- alJ 3

Gmaj? CmajT

L.r

a-lz*n

3t

17

Slower

^

-U

J+111 pp

ad lib,

^

C

cmajT C-

CmajT

C

lD "Hu,

"

22. NIGHT LIFE .l

= rzo Gwine,!- =J'J)

,---\

I 2-l

t'

f

ryp

DIn

G-9D

Fr.

Bbi

Dm

irolt

Dm

5

1s

f

"f Dm

G-?,/D

t2

.f

r-.J 2-'

Bb?

Dm

iz

r

o

i-\

++ Dm

f

p

Dm+?

flr r

Dm

Grf

lBb

!

l? b? h2

]-1.

Grl

Fm/Ab

6

F7

F.1 6

b2

+b+=D7rJ

F,r1

Dri

c7

C7 +5

l7

anw

Dm

t

Fr.

f

cm6/D

7

Rr/

Dm

Dm

Slower

20

I

a

,rw

// Dm

Gt"7Æ

Bb?

a ternpo

24

^

aFr ô DDi

c1

1e

Br1

Dm