Jazz Hands. Book 2

Gregory Stone has transcribed these three selected preludes for one piano-four hands. For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve a sort of jazz Wohltemperierte Clavier but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs) and this set of three as published form a satisfying unit. The first opens with a blue-note riff which forms the basis of the first theme.Contrasting material follows making use of a distinctive repeated note figure then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin???s A minor Prelude with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence but dextrous syncopation gives it driving rhythmic energy.

A must have for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the real world. Highly endorsed! Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I\'ve already started practicing! - Kenny Barron In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one�s technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one�s ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands. - Todd Coolman It is understood that all musicians must play piano. Emiko\'s book fills a void for non-pianists addressing specific technical problems which will help towards being able to use the piano to improve and enlarge one\'s playing and composing, no matter what instrument you play. This is a hands-on book directed towards immediate results. - David Liebman

Incredible professional comping over the changes of landmark Miles Davis compositions by a noted master including: So What (slow) So What (fast) All Blues Blue In Green Nardis Eighty One Freddie Freeloader and more!!Why you should consider this and other Aebersold piano voicing transcription books: Ever listen to a great jazz pianist and wonder 'what’s he doing there?' Now you’ll know! Here as never before is an opportunity to see REAL jazz piano voicings and comping over REAL songs in REAL live musical settings. These historic books contain NOTE-FOR-NOTE transcriptions exactly as recorded of the exciting piano accompaniment from the World FamousAebersold Play-A-Long series. Not just for pianists there are many ways for ALL MUSICIANS to use these wonderful musical tools.Pianists: First listen closely to the pianist on the respective Play-A-Long recording (sold separately). Next reading from the book play along with him imitating his style. Finally TURN HIM OFF (using the special stereo separation on all of our CDs) and play along by yourself with the bass and drums. With the techniques learned you’ll soon be improvising your own accompaniment!Non-Pianists: Horn players arrangers and vocalists can use these books like dictionaries to look up favorite voicings they’ve heard on a particular Play-A-Long track. Written clearly for two hands even the most novice pianist can play many sections of these books.Teachers/Educators: Give your combo piano students instant jazz voicings and harmonies over a variety of Standards and styles. As personal tools they will enhance your own understanding of voicings and voice movement and provide you with better skills for accompanying your students.

Jazz Hands is a series of original jazz pieces for Piano by Mark Tanner which covers all standards from grade one through to red hot. Although the player may feel free to indulge in a spot of improvisation in response to the printed music there is no expectation to do so in any of the books. Nor are there any chord symbols or other bespoke abbreviations the like of which presuppose a degree of familiarity with the genre which may not actually be the case. Rather the idea is that the player will become gradually more confident and adept at playing in a jazz style as he/she works through the books. It may well be that a classically-trainedpianist has reached say grade 5 but feels currently at a more modest stage when tackling jazz. This is absolutely not a problem and indeed is all the more reason for the 'straight' player to extend their jazz skills to match.The title of this series 'Jazz Hands' derives from the familiar exuberant gesturing seen in music theatre fingers spread and extended with palms facing upwards an effect frequently amplified by a convulsive shivering of the hands. Cheerleaders have tended to make widespread use of jazz hands while the concept has also found its way into revues Broadway shows and films as well as contemporary dance. In the current context I am of course referring to the jazz pianist's hands which in only the most ambitiously spaced Art Tatum chord would require the player to stretch the digits to such an extent as in the aforementioned theatrical sense. The term 'jazz' has been adopted and adapted in a multiplicity of ways (not unlike 'classical' indeed) so that it no longer tells us very much about the music itself. Aficionados immediately recognise the better-known subgenres such as 'bebop' or 'New Orleans' styles and may even be able to distinguish 'smooth' from 'groove' or 'fusion/crossover' from 'postmodern'. And yet these are just labels not music. In an understandable bid to define all that we hear

A Complete Course in Techniques and Styles-This latest entry in Backbeat's bestselling handbook series starts by exploring the humble beginnings of blues guitar through the early decades of the 20th century including profiles of such players as Robert Johnson Charley Patton and Son House. As the story moves into the '40s and '50s and blues players migrate to major urban centers author Adam St. James follows the evolution of the music at the hands of such electric blues kingpins as Muddy Waters Howlin' Wolf and B. B. King. Then it's the blues-rockers of the '60s '70s and '80s (including Eric Clapton Jimmy Page Jeff Beck and Stevie Ray Vaughan) before the story comes up to date with blues flame-keepers suchas Keb Mo' or Duke Robillard and some not-quite-traditionalists such as Robben Ford or Derek Trucks.A comprehensive section for mastering electric and acoustic blues follows this historic overview. Starting from the very basics it leads you into more advanced rhythm and lead techniques before examining four key styles: acoustic blues classic electric blues blues rock and jazz blues. The many exercises in the book are supported by specially recorded audio tracks on the accompanying CD.

Par MIER MARTHA. Book 4 of this series continues with four duets in jazz, rags, and blues styles. The duets are slightly longer than the duets in books 1 through 3, creating a satisfying performance experience for advancing students. 'These duets would be a great addition to any recital or performance experience is excellent for sight reading at a lesson with the teacher; or used to provide personal pleasure as the music is shared with the duet partner.' Jean Ritter, Progressions / Ensemble Music, Miscellaneous, Piano Music, Scores / Recueil / Piano 4 Mains

Jazz Hands is a series of original jazz pieces for piano by Mark Tanner which covers all standards from grade one through to red hot.Jazz Hands is a series of original jazz pieces for piano by Mark Tanner which covers all standards from grade one through to red hot.

inspiring confidence to play by touch- Making sight reading easier and more effective. A progressive set of imaginative pieces to take students and teachers step by step through the technique. Don't LOOK at the Keys! is a progressive series in three parts teaching piano keyboard geography by touch in an accessible enjoyable way making sight reading easier and more effective. In Book 3 pieces with wider leaps all over the keyboard follow careful instruction clear direction and comprehensive exercises to build confidence. The music offers a widevariety of styles including Jazz more traditional boogie woogie and to conclude a piece in 'stride piano' to demonstrate progress made by following the series - INSPIRATIONAL AND GREAT FUN! Why should I buy this book? It is the only book to practise pieces and give instruction to play piano by touch. It is not just another sight reading practice book of which there are many good ones already on the market. How does it do this? Step by step it instructs and develops the skill and confidence to look at the music instead of the hands. Book 1 starts by encouraging students (and their teachers) to find middle C by FEELING for the groups of two and three black notes. This is followed by a plethora of imaginative inspiring pieces to practise develop and improve the skills. Book 2 builds on a knowledge of scales and arpeggios. Book 3 HAS A SERIES OF EXERCISES TO PRACTISE AND DEVELOP THE ESSENTIAL KNOWLEDGE OF KEYBOARD GEOGRAPHY. To conclude there are two pieces to demonstrate the progress made by following the series.

Real Easy Book 2 - C Version. Following on from the great success of The Real Easy Book Volume 1, The Real Easy Book Volume 2 is perfect for students with a few years of playing experience, right up to working professionals. From jazz classics like Four, Scrapple From The Apple, and Dear Old Stockholm to contemporary tunes like George Benson's Mimosa and Donald Fagen's Walk Between Raindrops this selection of songs will keep you and your audience smiling. The Real Easy Book Volume 2 will save band directors countless hours of writing out scales for soloing, chord voicings, Guitar diagrams and Bass lines - they are all included with each tune. The educational material in this book has been developed in conjunction with Stanford Jazz Workshop. It works.

Complete Piano transcription book from Vol. 1 'How To Play and Improvise' - featuring Jamey Aebersold from the World???s most popular improv method. Every note is written exactly as played by Jamey Aebersold with chord symbols passing chords pedal markings etc. Total of 40 minutes of efficient musical piano accompaniment written for two hands.

William Gillock's timeless jazz originals have been transformed into engaging and very accessible duets by composer/clinician Glenda Austin.The book also comes with a play-along CD that includes separate Primo and Secondo parts giving the student the flexibility to rehearse as well as perform on their own when a partner is not available. Excellent collaborative pieces!Contents: New Orleans Nightfall; The Constant Bass; Mardi Gras; Dixieland Combo; Frankie and Johnny.