Jazz Fake Book with lyrics
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Here is a copy of a jazz fake book that includes the lyrics.
Not all titles are included here, for example "Night and Day" is not in this book, but perhaps you can find the lyrics on the internet. | ||
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4/20
Reminder: 1- Fingers curved. 2- Elbows not much lower than the keys Next lesson: Ab major and F minor |
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LISTZ. Consolation No. 34/20
m31 Major so all the A in the RH and LH are natural. m45 to m47 watch the accuracy of counting. Count mentally or even loudly to get each beat to match what you played before. m55 B is double-flat m57 watch the matching of the RH and LH counting 2 against 3 4/6 Synchronization between the different counting is pretty good. As the piece is played faster we will check if it remains in good shape. Layers: We need to separate the volume of your melody (louder) from the volume of the accompaniment (softer). Phrasing: Every phrase needs shape. Every phrase needs to start softer, grow and then decrease in intensity at the end. |
Pattern
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NEW: BACH from Well-Tempered Klavier Vol.1
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NEW: McDOWELL to a Wild Rose |
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NEW: CHOPIN: Mazurka in A minor, Op. 67, No. 4 (Posthumous) |
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To listen to the examples mentioned in the book, login to:
www.halleonard.com/mylibrary Enter code: 6133-3573-1227-6632 | ||
NEW: Jazz style:
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Jazz style -chart-: ALL OF ME |
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NEW: Jazz -chart: IF EVER I WOULD LEAVE YOU |
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NEW: MUSICAL THEATRE STYLE
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NEXT REPERTORY |
| GRANADOS Danza Nr.5 |
| graceful_ghost_rag_by_william_bolcom.pdf |
| ALBENIZ - GRANADA. 8/25/2020 |
| mournful_rag.pdf |
PASSED: Chart reading and Improvisation. Autumn Leaves12/1
Focused on the first two lines. 1- play through the melody 2- improvise based on the melody 3- improvise completely independent from the melody. Don't overplay too many notes on the RH, or it will become too difficult. Create nice melodies that are easy to remember You can improvise using notes from the G Major scale and other time, notes from the E Minor scale. Attached here below is a chart with the indications on when to use G Major and when to use E Minor.
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12/1
JURY PIECE CANDIDATE |
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PASSED but not polished enough for jury: Take Five, by Paul Desmond |
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3/23
Thank you for the recording. This piece is ready to pass, but still had rhythm problems, so it will not be a choice for the juries. It is one of those pieces with strange meter that will likely need you to listen to a lot of jazz to "get" the rhythm. 3/9 The rhythm of the intro is close but still not exact. Count all beats as equal rather than counting "one" longer than the others. To hear this clearly, record yourself playing, then watch it or listen to it and act as if you were the teacher. Check if you are counting all beats equally long or if you are counting some beats longer than others. Once the melody starts, your rhythm is correct. On 2nd page, m13, you lose the rhythm. The ending, similarly to the intro, doesn't have the counting right. |
Recording fastRecording slow with metronome
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PASSED: JAZZ STYLE -fully written piece-
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PASSED: SAM POST. Humidity3/9
m2 triplet m10 and on: clarity m20 beats 3-4 count m24-25 counting Send me the very best recording you can, so we can call it passed and add it to our jury list for the spring juries. 2/23 Goal: beginning to end in the same level of accomplishment. m5 triplet more like a triplet and less like a 16th-16th-8th. Think of it as a lazy triplet and it will sound right. m9. Same feeling. relax the triplet. m26-27 Clarity on the rhythm and pulse |
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4/6
Waltz number 1 Keep your fingers round and not over-extended. Phrasing: Reflect the shape of the melody when designing the phrasing. Each phrase is 8 measures long. Notice where the leading tones are going and lead the intensity of the melody up as the first half of the phrase Practice the fingering for the octaves: finger 4 for black keys finger 5 for white keys |
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