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 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
poge 3
poge 4
page 5
page 6
page 6
poge 7
poge 8
page l0
page 12
poge 13
poge 14
poge 15
poge 16
page 17
poge 18
poge 20
page 22
poge 24
poge 26
poge 28
poge 30
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 \
I
Gm Ebmaji D7sus4 D+s Gm D
gb
I 2
tu
t
t
semi-staccato
,!f p
"!f
5
Fine
I
a)
p
f
-
1-
1t-
-
-
Gm cp4
pb
D
(cm)
D/A G
Ebmal7
5
3
13
D.C. al Fine
I
L,J
L'
tl
--p
4
sb Gm/D D Df Cm Gm
O 2005 by Faber Music Ltd.
'1
Cq
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!.?
,!f
,
fi!'
-OJ
D
C G Am7 A#dimz G/B G/B Am7
9
at
p
+ +'
trt+
_v
t,_--
+'
',-:'
_-.-
r/a
-4
C G Am7 AfdimT GIB G/B Am7
D
t3
a)!:
,!f
he. I
f
G Am7 AfdimT GIB D
3
c
GlB Am7
5 5
3
5
3
5
3
I
3
I
I7
7
p
a)
v
2'
.7
p
I
J
C G
GIB
c#aim EmlD 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
-J
|
)
t
tl Li
L
37
tat
"!f
5
Em
4I
f
t2)
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
3
Dm
DDI C
Dm Dbl C
______1_____-_4-
_-___-------
f,
a)
,!f
I
e
I
,!f
(
ffi
r
I
f
t_
DDI
C
Dm
Dm
)=fi2
6. rN SEQUENCE
Anticipation of melody through to chords
rzfi--..
/--
ra2 |
\
I
5
Bm7
-5 (e)
,
4
E7
I
J
G7
7
rl
5
Dm
a)
e
tLt

Dm7 G7 cmqt FmajT Bm7

-s (e)
Am
tu
I Y-l
"!f
+' .->
t' v-r
JJ' Jvf)
I V I
'l^
+
G7 Dm7 cmd' FmajT Bm7
-5 (e)
E7
be)
I I
.,
Dm? GTsusa G7 CmajT FmajT Bm7
-5 (9)
E7sus4
gt (bs)
Am
8
7. HIGH FIVE
Right hand developed from pentatonic scale
ArfllG
Dm/F G
Am
5 1
e ,
,!f
a
-J
a
G
_o
J
-D-J
F;m7 FmajT Asusa/E
C\
+
AmTlG
ZJ
a)
? a
p
? a
DmT
lF
G Am DmT
lF
G
26
Am Dm7 Dm Am
molto rall.
l. I
3
^
3-5
f
3
3
--------->
I
4F/
zl
P
-(}
^
G
t0
8. ALL WHITE ON THE NIGHT
Bright 4 )=I44
Am Am+7 Am7
tZ
ta,
f
4 5
3?
t r z-\l
z7'y
C\
+
Am6
Dme
Emil
5
72
+
.
+^
2 ,,+^+
FmajT
E7sus4 E7 Am
0
I
L
a)
-
Am+7
Am7 Am6 Amb6 Am
il
.
-l----
I
tu
l-l-.-LJ
l_l
"!f
l.,_-
)
tttt-
-
lr-"-'--l

Dme GT
lD
Em7 AmTlE Fe DmTlF
16
a-\
f
t ,,l.nl.
E7sus4 E7 Am Am+7
I9
1.5
J_
cresc.
+
Am7 Am6 Dme
22
G
(l
"tr
a
Em13 FmajT 876 Am
t2
)
=
104-120
9. REST EASY
Anticipation of 4th beat
5
J
5
G7
r3
Dme
5
Am C+6
C^uJ1
)

-. a)
f
legato
3
)
1
+
o+;>'
2
-:
-
3
5
FmajT
3
Dm7
4S
G7
CmajT
5
s1
A1
- f
ar;-
sub. p
.,
CmajT
5
G7
.,
Dme
;
;
Am7
^
13,
'
I
13
13
r>
f
PP
^
o+
2'
cresc.
?
5
FmajT
)
ome/G
Dme
c9+6
t3
10. SERIOUS SYNCOPATION
Bright 4 ,J
=
116 1.32
3 .-.
|
=
:
-:.
I 4
Am AmTG Dme/F Esusa E
"f
a
J-
5 +1>
-^
3
A!
3
5
E
4
5
Drng
32
55
gbe
p*
Esusa
.f
a
)
}J
Am7/G Dme/F Esusa E
1 2 t \ t !
1^2
13
a)--
,r!r
P
Dme sbsTo$ Esus4 E Am
t4
11. SO WHAT!
J
=
rzo
Gwine
Jl
=,,l
))
2
!t
3! FIA
I
5
7F
I
Gm
F
f
r-J
+-,1
=t
ryp
l\
f
!.
1
I
ryP f
I
5
c
rl
4
Dm
I
/E
c
I
3
F
F
l 5
=e
t
sub. p
!.+
tt
I
3
gb
(BD')
1
4
FlA Gm? F
t3 s--a
: ,r
3
I
a-
.f
,:+
p
I
F Gm? F/A
(F)
t5
12, STEP TIME
)=Ma
a
,:ll
I
, t.,
Bbmaj?A Gm6 BblF Em?-5 Bb BbmajT
J
a
,ti-l
f
, ,i+
B[nay'iA Gn6 BbTiF CllE Ca F
9
+'+.>1 a)
FelE, FlEb Dm7 Dm Dm7 Gm
13
D.C. al
$
poi al Coda
^
^
Cm9 F9 F?
gb
17.
coda

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$
)p1l
G*
5
t3
I
i t1
l_
p
1
G
G6 G1/r\ C/E Cm/Eb GID 'lc* EmlD
t7
14. lcE cool
.l
=
qo
(swine.E
=
.l .f
)
Dm Dm/C
5
rt
"f3
i
^
trl
-.
s I
I
!, +-l
yL
7
3 llrJ
,f
T3
"tr
2 :l llt! I 1
JI
3
f ,rf
3
t8
15. OPEN SPACES
Experiment with and vary the dynamics
.l
=
1lo-116
Gwing
JJ
=
J.l)
54
32
1r 1
Dl3
rf;
+_'
?
(p)
|.+
(.f)
a)
++
i} i>
Dl1 Ame De(no 3rd)
t9
16

2-
Dl3 Dll G
Drr Gmaj?
22
?'
1t;
,I l\
Ame De(no 3rd)
20
16. VALSE SEMPLICE
A waltz with
jazz-style
harmonies
)=so
I i
Gmaj? Am/D
cmajT ArnT GmajT
_l
p
a
6
r
nlP
,tt
l
r
t?
IL
,Y
a
a!_
AmTD GmajT AmllD
cmj7
(*e)
Ami/D
I6
GmajT Em? Am?
fi Gmaj?
3
2
"l r
}L
tt
ll
:
,7
i __--
5
ar)t
al
)T
lr
Ib
a
p
g
t
C EmllD AmlD G AmlD cmajT
2t
)
f
Amt
27
3
.,)t
.l
r ,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
)
i
I
rnolto rll.
22
Get used to the rhythm before you begin:
!f;
Jazz
waltz tempo .J
=
160
17. THREE'S A CROWD
Jazz
waltz study
sb E4naj?
2
1
2
Ebmaj?
gb
p
t-|
"f
Ebmaj? Cm9
Fm9 Bbsusa sb
p
r
3
Cm
Bte B,IAb Gm? Gm
13
,r
r.__r
gb
Fm? Bb?(e)
EDmaji E1
23
17
f
r
-.-,*
I
\.--,
Ab7 Ab6 Bbe
-
Bb/Ab Cm? Gm Cme Cm
D.C. al
$
poi
at Coda
2t
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---;-\>
5,--..--.-\\
Am77lD D
l
O6:
,nI) legato and exqresth)e
2 1[ 1L
7
I
er7
t\--r
lz--\ I
r
,r!f
r
fr
u<L_jr
,"t"4.
zl
72
r
r
r21
?
Amt-s D(ul4 D7 C6/G Cm+7/G G G 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
Y
f
r
C /G Cm6/G C C
i1
me Am?/D D G c
/D /c
maJ
2
)14 a f-f ta
,)
'
'[r
7,
f
L
P
2
5
Em B? EM Em? Am7 Am7
-5
Drsus,r D7 C6lG C.nllc G
t
5
Am6lE
"f
G,/D GmaiTD cmj7
Cm+7G A\aIlD CdimTD
22 2t
'a w_"4
"a
+t
CIG Em Ame/D D C/G Cr,.,lG G
(
G/D GmajlD Cmaj? Bm Am7 Cnajl/D
fall.
3 /-'
Em
37
Am6lE
2
?/'1.'t \
-1,
a,
Er
p
-
\
r
dim,
I
r r
^
G G C/G Cm6/G
5
A+e Ge6
76
1-9. ROMANCE
Variations over left hand chord sequence
Poco rubato J
=
c.88
Am+7 Flm
?-s
/A
Dm6 E7sus4 E7
'
7r
r"*pr" lrgoro '
} iJiJiJ
. t J
,rf
iJ JU )
11
I l' 2
r I !l 5
3/-t-
RH. O
3
I
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
l
r +**
,!f
,tt 1
<
22
Bm7 E? Am GmajfF* Gl
lp\
clE
23
3 2l
2,/31
r-
,J ) )
Be/D+ F;11tP\ CmajT D G G/F$
-^
i #;: /a- ) ), t'"] ,--"--:-j
f
2*22
ryP
G/FI E1 Am/E BYD B,ID,' E
29
;-
2 t r"rl k-*' 2
r z r
'i]-.
irr J
,t*rt*
-p
1t*C
Am+7c* AmlGi F{-r
-s
Fmaj? Cl/F Em7 A-
33
it
3
-....\'--\
4
a)
E
I-lmT E7/D Cmaj?+5 AmlC Bm7
28
36 2 t
o
==_r_:_
_
iJJ+
,f
I JJ J tct*
E9IA
6 Am+7G+ AmlG
Flmr
-s
39 1t
J
tAz+
3
nlP
FmajT GlIF Em? Am/E
rall.
1lD
"n4
t,--3--3 -i,=:::-72
2
1 /,:
ppl
i4
CmajTr5 An/C Bm7 E7
20. FEELING GOOD
Dm7
E9IA
Bright 4
l2
)=Ma
4
2
EbmajT
Gm
9b
.f
f
j
a)=_v
- trf
L=-
"f
PrrTC Bbe
Cm7 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)
2
p
I
tf
^
Bt
o
sb
Cm7 F1l Abmaf
30
21. SMALL TALK
Swinging right hand chords
Leisurely and legato .l
=
84-88 (swing Jl
=
J )1
G GmajT G7 Cmj7 c/D G CmajT
5
3
2
p
3
....-___:,
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
pp
J+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
5
1s
t'
ryp
f
Fr.
"f f
r-.J
r
flr
r
2-'
Dm G-?,/D Dm Bb? iz
o
Dm
t2
i-\
Dm+?
.f
++
p
f
Dm
Grf
lBb
l7
Grl
6
C7 +5 c7
Fm/Ab
Dri D7rJ F,r1 F.1
6
F7
!
1.
]- l?
b?
h2 b2
+b+=-
t
a-
nw
f
Fr.
7
Dm
Slower
Rr/
Dm cm6/D Dm
20
a
I
,rw
//
Dm Gt"7
a ternpo
Bb?
24
^
aFr

Br1 DDi c1
1e
Dm