J'ALL PIANO STUD]ES 1,
John Kember
CONTENTS
Bah-ba-doo bah
Anticipation
Early bird
Left hand drive
End notes
ln sequence
High five
Allwhite on the night
Rest easy
Serious syncopation
So what!
Step time
Window shopping
lce cool
Open spaces
Valse semplice
Three's a crowd
Southern belle
Romance
Feeling good
Smalltalk
Night life
O 1995 by Faber Music Ltd
This edition O 2005 by Faber Music LtdBloomsburT HouseT4-77 Great Russell Street London WC lB 3DACover illustration by Vikki LiogierMusic processed by Christopher HinkinsPrinted in England by Caligraving LtdAll rights reserved
|SBNl0:0-571-52400-lEAN l 3: 978-0-57 1 -52400-6
poge 3
poge 4
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page 6
page 6
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poge 8
page l0
page 12
poge 13
poge 14
poge 15
poge 16
page 17
poge 18
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page 22
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poge 3 I
FAB'Off MUSIC
lntroduction
)azz, rockand popular music use the same notation as the more established 'classical' forms, but
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 recognise and perform commonly-used time patterns with stylistic phrasing
o understand anticipation (syncopation) of both notes and chords and to perform them
within a rigid temPo
O play against the beat in either hand, whether with single notes or chords
O form chords and recognise the sounds, textures and movements of notes within chords
o 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 and
techniques, and also develop the confidence to extemPorise in a variety of iazz styles.
Aspects of iazz rhYthm
Pulse
The impofrance of keeping a regular pulse, and of the necessity to count cannot be over-
emphasized. you must always know where the first beat of the bar/measure is. This is particularly
vital when improvising, where a similar sense of four- and eight-bar/measure phrase lengths is also
essential. Using a metronome when you practise can be very helpful in developing a good sense
of rhythm.
Swing rhythm -s-ln this book, pieces to be played with a'swing' feel are indicated: 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.
Anticipation (moving 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
rest, it is better played staccato, or with an accented staccato.
1-, BAH-BA.DOO BAH_s_ Swing rhythm
) - l2o (swing,f = J,hl 4/-l-l \
IGm Ebmaji D7sus4 D+s Gm Dgb
I 2
tu
ttsemi-staccato
,!f p "!f
5 FineI
a)
p f- 1- 1t-
--Gm cp4 pb D (cm) D/A G
Ebmal7
53
13 D.C. al FineI
L,J L' tl
--p
4
sb Gm/D D DÆf CmGm
O 2005 by Faber Music Ltd.
'1
CÆq
This music is copyright. Photocopying is ILLEGAL.
2. ANTICIPATIONMoving a note or chord fdrward by half a beat
A#dimz G/B
5
tu!.?,!f
,fi!' -OJ
DCG Am7 A#dimz G/B G/B Am7
9
atp
+ +' trt+_v t,_-- +' ',-:' _-.- r/a
-4
CG Am7 AfdimT GIB G/B Am7 D
t3
a)!:,!f
he. I
f
G Am7 AfdimT GIB D3c GlB Am7
553
53
53I
3II7
7
pa)
v2' .7p
I
J
CG GIB c#aim EmlD D CID Dtbet G+6
3. EARLY BIRDAnticipation of lst beat
)-r2o5
a) "!flegato
295
fL
5Am
JJ
/
A
-J
| à)
t
tl Li
L
37
tat
"!f
5Em
4I
ft2)
4. LEFT HAND DRIVEAnticipation within a bass line
==-
,!f2l
4
5. END NOTESAnticipation of 4th and lst beats; delayed lst beat (common endings)
) = 96-1203I
3Dm DDI C Dm Dbl C
______1_____-_4-_-___------- f,a)
,!fI
e
I
,!f
( ffir
I
f
t_DDI CDm Dm
)=fi2
6. rN SEQUENCEAnticipation of melody through to chords
rzfi--.. /--ra2 | \
I5
Bm7 -5 (e)
,4
E7
IJ
G77
rl5
Dm
a)
e
tLt é
Dm7 G7 cmqt FmajT Bm7 -s (e) Am
tu I Y-l
"!f+' .->
t' v-r JJ' Jvf)I V I
'l^
+
G7Dm7 cmd' FmajT Bm7 -5 (e) E7 be)
I I.,
Dm? GTsusa G7 CmajT FmajT Bm7 -5 (9) E7sus4 gt (bs) Am
ÀJ -D-J
F;m7 FmajT Asusa/E
C\ +
AmTlG
ZJ
a)
? ap
? a
DmT lF G Am DmT lF G
26
Am Dm7 Dm Am
molto rall.l. I
3
^3-5
f3
3--------->
I 4F/zl
P
-(}
^
G
t0
8. ALL WHITE ON THE NIGHT
Bright 4 )=I44
Am Am+7 Am7
tZ
ta,
f
4 53?t r z-\l z7'y
C\+
Am6 Dme Emil
572
+ . +^2 ,,+^+
FmajT E7sus4 E7 Am
0I
La)
-Am+7 Am7 Am6 Amb6 Am
il
. -l---- I
tu l-l-.-LJ l_l
"!fl.,_-è)
tttt-
-
lr-"-'--làà
Dme GT lD Em7 AmTlE Fe DmTlF
16 a-\
ft ,,l.nl.
E7sus4 E7 Am Am+7
I91.5
J_
cresc.
+
Am7 Am6 Dme
22G
(l"tr
a
Em13 FmajT 876 Am
t2
) = 104-120
9. REST EASYAnticipation of 4th beat
5J
5
G7
r3
Dme5
Am C+6 C^uJ1
)
û -.a)
flegato
3 )
1
+o+;>' 2 -: -
3
5
FmajT3
Dm7
4SG7 CmajT
5s1A1
- far;-
sub. p
.,
CmajT5
G7
.,
Dme
;;Am7
^13, 'I 13 13
r>
f PP
^
o+ 2'cresc.
?
5
FmajT
)ome/GDme c9+6
t3
10. SERIOUS SYNCOPATIONBright 4 ,J = 116 1.32
3 .-.| = : -:. I 4
Am AmTG Dme/F Esusa E
"fÊ a J-
5 +1> -^ 3
A!
35
E
45
Drng
3255gbe p* Esusa
.fÊ a ) }J
Am7/G Dme/F Esusa E
1 2 t \ t ! 1^213
a)--,r!r P
Dme sbsTo$ Esus4 E Am
t4
11. SO WHAT!
J = rzo Gwine Jl =,,l ))2
!t
3! FIAI57F
I
Gm
F
fr-J +-,1 =t
ryp
l\
f!. 1
I
ryP f
I5
c
rl4
Dm
I
/Ec
I3
F
F
l 5
=e
t
sub. p!.+tt
I3
gb(BD') 1
4
FlA Gm? F
t3 s--a : ,r3I
a-.f
,:+p
I
FGm?F/A(F)
t5
12, STEP TIME
)=Ma
a ,:llI
, t.,
Bbmaj?A Gm6 BblF Em?-5 Bb BbmajT
J
a ,ti-lf
, ,i+
B[nay'iA Gn6 BbTiF CllE Ca F
9
+'+.>1a)
FelE, FlEb Dm7 Dm Dm7 Gm
13 D.C. al $ poi al Coda
^
^
Cm9 F9 F? gb
17. coda Â
a
Cme 1inrr,' il r -\v'' J
Bbmajo
emTG
13. WINDOW SHOPPING
) = 120-126 Gwine .ll = .l .f)
G/F$ G/Ff
.t
im. t
G6 c'1lF\D/F$
)p1çlGÆ*
5t3I i t1 l_
p
1
GG6 G1/r\ C/E Cm/Eb GID À'lc* EmlD
t7
14. lcE cool.l = qo (swine.E = .l .f )
Dm Dm/C
5
èrt
"f3
i ^ trl  -. s I I
!, +-l yL 73 llrJ,f T3"tr
2 :l llt! I1
JI 3f ,rf 3
t8
15. OPEN SPACESExperiment with and vary the dynamics
.l = 1lo-116 Gwing JJ = J.l)54321r 1
Dl3
rf;
+_' ?(p)
|.+(.f)
a) ++ i} i>
Dl1 Ame De(no 3rd)
20
16. VALSE SEMPLICEA waltz with jazz-style harmonies
)=so I i
Gmaj? Am/D cmajT ArnTÆ GmajT
_l
pa 6 r
nlP
,ttèl
r t? IL ,Y aa!_
AmTD GmajT AmllD cmâj7 (*e) Ami/D
I6
GmajT Em? Am? fi Gmaj?
32
"l r }L tt ll:
,7
i __-- 5
ar)t al )T lr Iba
p
g t
C EmllD AmlD G AmlD cmajT
2t
)
f
AmtÆ
273
.,)t .l rÈ ,7 )t
,rf
) t
GmajT(+e) A^7/D Gmaj? F.m7
32
D? GmajT C EmTlD AmlD
--' 51 3 z .-------l--- --I---'. i .<OI .7 IT lr )Ê
iI
rnolto râll.
22
Get used to the rhythm before you begin: !f;
Jazz waltz tempo .J = 160
17. THREE'S A CROWDJazz waltz study
sb E4naj?
21
2
Ebmaj?gb
p
t-|"f
Ebmaj? Cm9 Fm9 Bbsusa sb
pr
3CmBte B,IAb Gm? Gm
13
,rr.__r
gbFm? Bb?(e) EDmaji E1
23
17
fr -.-,*
I \.--,Ab7 Ab6 Bbe
- Bb/Ab Cm? Gm Cme Cm
D.C. al $ poi at Coda2t
f.--r l\- |
Fm? Bb?p) Ebrnaj? 9b11'b Bb
25 Coda
"f-',-;
lrlp
-_i
EbmajT Ab
- Bb EbmajT Ab
- Bb
29
P
*._; S:PP
a,_-./ts,mal' 4b gb EbmajT
24
18. SOUTHERN BELLE
) = c.|12
Con ped. c G? CIG Cm6/G Cmaj?
z-î--;-\> 5,--..--.-\\
Am77lD D
l
O6:,nI) legato and exqresth)e
2 1[ 1L
7 I er7t\--rlz--\ I
r,r!f
r fr u<L_jr ,"t"4.î zl
72
r rr21
? Amt-s D(ul4 D7 C6/G Cm+7/G GG c B 87 Em Em7/c lG
9 ',-------:-- I
^t .' I [ l\ \ il\ii;1
.)l
.f.\.---2 'ioi
Alr'lC G/D GmajlD CmajT Bm? D7 D76 G7
z.-' r 51 5 4
Q) 1>. - 1+e/-
\t
(
l
I
I Yfr
C /G Cm6/G C C i1 me Am?/D D G c/D/c maJ
2
ù )14 a f-f ta,) '
'[r 7, f L P
25
EmB? EM Em? Am7 Am7 -5 Drsus,r D7 C6lG C.nllc G
t5
Am6lE
"f
G,/D GmaiTD cmâj7
Cm+7G A\aIlD CdimTD
22 2t
'a w_"4 "a +tè
CIG Em Ame/D D C/G Cr,.,lG G (
G/D GmajlD Cmaj? Bm Am7 Cnajl/D
fall.3 /-'
Em
37î
Am6lE
2 ?/'1.'t \ -1,
a, Erp- \
rdim,
I
r râ^
GG C/G Cm6/G5
A+e Ge6
76
1-9. ROMANCEVariations over left hand chord sequence
Poco rubato J = c.88
Am+7 Flm ?-s /A Dm6 E7sus4 E7
' 7r r"*pr" lrgoro '
} iJiJiJ à. û t J,rfiJ JU )
11I l' 2r I !l 53/-t-ÊÊ
RH. O
3I
a)p cantabile e espressixo
IJJJ---._-
SAtt *13++ ***ra
€-Am
FlmT 5 FmajT G'IF Emt Am/E
CmajTf Am/C E9IA
2 1 l
itJ J * * * f ttct
e P*mr+ FmajT GTIF
16
Em Am/E Dm E,ID Cmaj Am/C
I f, ---:-----a
1 i1
1/^
19
lr +**,!f,tt 1
<22
Bm7 E? Am GmajfF* Gl lp\ clE
233 2l2,/31
r-
,J ) )Be/D+ F;11tP\ CmajT D G G/F$
-^ i ç #;: /a- ) ), à t'"] ,--"--:-j
f2*22
ryP
G/FI E1 Am/E BYDï B,ID,' E
29 ;- 2 t r"rl k-*è' 2 r z r 'i]È-.
irr J ,t*rt*-p1Êt*C
Am+7c* AmlGi F{-r -s Fmaj? Cl/F Em7 A-Æ
33 it 3 -....\'--\4
a)
EI-lmT E7/D Cmaj?+5 AmlC Bm7
28
36 2 t
o ==_r_:_
_iJJ+
,fI JJ J tct*
E9IA 6 Am+7G+ AmlG Flmr -s
39 1t J
tAz+3
nlP
FmajT GlIF Em? Am/E
rall.
Ê1lD
"n4 t,--3--3 -i,=:::-é72 2 1é /,:
ppli4à
CmajTr5 An/C Bm7 E7
20. FEELING GOOD
Dm7
E9IA
Bright 4
l2
)=Ma42
EbmajT Gm9b
.ff
j
a)=_v - trfL=- "f
PrrTC BbeCm7 irr
29
4. 212
I
-t
Ebmaj? Dm? Gm
l3 45
t: It-t
Itl;/
f1.
Cm? Flt Gm fJ? te
17
.)lr
+
Ebmaj? gbF
21
Dm? Gm7
2t
tt) -
Cme Fl3 G?Dm7
:t
^a)
2p
I
tf
^
Bt osb
Cm7 F1l Abmaf
30
21. SMALL TALKSwinging right hand chords
Leisurely and legato .l = 84-88 (swing Jl = J )1
G GmajT G7 Cmâj7 c/D G CmajT
53 2
p3
....-___:,
nf ryP
)g- GmajT CmajT
I
Q) -''--P -'\,{ ryp
clD Gmaj? Cmaj? AmTsus Am7 CmajlD D
13
=' alJ"-:--
- ------>t,!f 3
Bm7 Em? Gmaj? CmajT L.r a-lz*n
3t
^17 Slower
ppJ+111 -U ad lib,
^
C cmajT C- CmajT C lD "Hu,
"
.l = rzo Gwine,!- =J'J)I ,---\2-l
DIn G-9D Dm
22. NIGHT LIFE
Bbi irolt Dm
51s
t'ryp f
Fr.
"f fr-.J r flr r
2-'
Dm G-?,/D Dm Bb? iz o Dm
t2i-\
Dm+?
.f++
p f
Dm
Grf lBb
l7
Grl 6 C7 +5 c7Fm/Ab
DriD7rJF,r1F.1 6F7
!1.]- l? b? h2 b2 +b+=-
ta-nw f
Fr. 7
Dm
Slower
Rr/Dm cm6/D Dm
20
a I,rw
//
Dm Gt"7Æ
a ternpo
Bb?
24
^
aFrô
Br1DDi c1 1e Dm