ee Complete THE YOUNG PIANIST . EXERCISES MINUETS ETUDES PIECES EUROPEAN EDITIONHides SECIS ane dents great start 1d exercises and Plano Book 1 1139 Organ Book 1 T241 JAZZ _EXERCISES AND PIECES, by Osear Peterson, Another Ray Brown presentation of 9 select group of 10 exercise for the” young. musian. “Reinforces techniques begun in the fet bcs Piano Book 2 T140 Organ Book 2 T335, JAZZ _EXERCISES AND PIECES, by Oscar Peterson, ‘A Roy Brown publication of more Select exercises forthe young must fan The most ificto the sere, fontains longer selections Piano Book 3 T164 Organ Book 37586 COMPLETE JAZZ FOR THE YOUNG PIANIST, by Osear eterson. An excelent combinn tion of 28 exercises and minuets 19 ‘tudes and 13 Jaze exercises and pees forthe young plans omplete Pane 1398 omplete Organ 1397 JAZZ EXERCISES AND PIECES by Oscar Peterson Notes From The Author Jaz piano can be a very enjoyable musical experience from a listening standpoint, to everyone, both adult and youngster alike However, when a person, whether studied or not classically speaking, attempts to enter the Jazz world from a playing aspect, he often finds himself hamstrung by many varied musical in. adequacies. Very few people truly ever attribute their lack of ability to the proper cause, | feel. Many of them blame what they term their creative inability to conceive jazz phrases, without stopping to realize that a jazz technique in many ways is a com: pletely new form of technique when compared with the classical Itis with this primary aspect in mind that I have conceived this set of beginner's exercises. | feel that if the player honestly and sincerely learns the jazz exercises one at a time, and after having compieied one, then applies that learning to the litle jazz minuet that matches the exercise, he will be in effect conditioning the hands for proceeding into deeper jazz playing, It is vitally important that all fingering given in both hands be followed completely. In the exercises where no fingering is given in one hand, I feel that the player should instinctively have no trouble finding the proper digital position to give the greatest ease of hand movement, thereby achieving a better tonal result on the piano. Thope that this book of jazz exercises, minuets, etudes and pieces opens a new world of pianistic command to the avid young pianist sue ~ OSCAR PETERSON A partial listing of exercises and skills Strengthening The Fingers With Accent On Digital Control Exercise One And Minuet One Introduction To Left Hand Phrasing Control Exercise Two And Minuet Two ‘Strengthening The 4th And Sth Fingers Exercise Three And Minuet Three Introduction To The Blues Exercise Four And Minuet Four Waiking Bass Line Exercise Five And Minuet Five Boogie Woogie Exercise Six And Minuet Six Stop And Go Bass Figures Exercise Seven And Minuet Seven Steady Walking Bass Line Exercise Eight And Minuet Eight Exercise In Double Hands Exercise Nine And Minuet Nine Eighth Note Walking Bass Line Exercise Ten And Minuet Ten Double Melodic Line Exercise Eleven And Minuet Eleven Moving Line And Chords Exercise Twelve And Minuet Twelve Changing Rhythms Exercise Thirteen And Minuet Thirteen Developing Interpretation Exercise Fourteen And Minuet FourteenFOR THE 4A22 EXERCISES AND MINUETS. 5 EXERCISE NO.t 5 MINUET NO.t & EXERCISE NO.2 6 MINUET No.2 7 EXERCISE NO2 @ MINUET NOS 9 EXERCISE NO 9 MINUET NO.& 40 EXERCISE NOS 10 MINUET NOS 17 EXERCISE NOS 11 MINUET NOS 12 EXERCISE NO.7 12 MINUTE NOT 13 EXERCISE NO. 14 MINUET NOS 15 EXERCISE NOS 16 MINUET NO.8 17 EXERCISE NO.10 18 MINUET NO.10 19 EXERCISE NO.1T 20 MINUET NO.11 21 EXERCISE NO.12 21 MINUET NO.12 22 EXERCISE NO.13 22 MINUET NO.13, 23 EXERCISE NO.14 24 MINUET NO.14 1a22 ETUDES AND PIECES 26 ETUDE NO. 27 PIECE NO.1 28 ETUDE NO 29 PIECE NO2 30 ETUDE NOS 21 PIECE NOS 3 ETUDE NOS 23¢ PIECE NO 35 ETUDE NOS 36 PIECE NOS a7 ETUDE NOS, 238 PIECE NOG 39 ETUDENO? PIECE NO? 42 ETUDE NOS 43 PIECE NOB 44 ETUDE NOS 45 PIECE NOS 47 PIECE NO.10, Jazz EXERCISES 49 EXERCISE NO.1 51 EXERCISE NO2 53 EXERCISE NOS 58 EXERCISE NO. 57 EXERCISE NOS 60 EXERCISE NOS 61 EXERCISE NO? 62 EXERCISE NOS 66 EXERCISE NOS 65 EXERCISE NO.10 67 EXERCISE NO.11 68 EXERCISE NO.12 71 EXERCISE NO.13 ISBN 0.8496.2871.8NOTES FROM THE AUTHOR PREFACE Jazz piano can be a very enjoyable musical experience from a listening standpoint, to everyone, both adult and youngster alike. However, when a person, whether studied or not classically speaking, attempts to enter the Jazz world from a playing aspect, he often finds himself hamstrung by many varied musical inadequacies. Very few people truly ever attribute their lack of ability to the proper cause, | feel. Many of them blame what they term their creative inability to conceive jazz phrases, without stopping to realize that a jazz technique in many ways is a completely new form of technique when compared with the classical. It is with this primary aspect in mind that | have conceived this set of beginner's exercises. | feel that if the player honestly and sincerely learns the jazz exercises one at a time, and after having completed one, then applies that learning to the little jazz minuet that matches the exercise, he will be in effect conditioning the hands for proceeding into deeper jazz playing. It is vitally important that all fingering given in both hands be followed completely. In the exercises where no fingering is given in one hand, | feel that the player should instinctively have no trouble finding the proper digital Position to give the greatest ease of hand movement, thereby achieving a better tonal result on the piano. | hope that this book of jazz exercises, minuets, etudes and pieces opens a new world of pianistic command to the avid young pianist. OSCAR PETERSONOSCAR PETERSON OSCAR PETERSON, winner of innumerable polls as the No. 1 jazz pianist and acclaimed by many music experts as the successor to the crown of the late Art Tatum, was born August 15, 1925 in Montreal, Quebec. One of the five children of @ porter on the Canadian Pacific railway (Oscar himself is the father of five children}, he took up the trumpet at the age of five, and would probably be playing a horn to this day had he not been stricken with tuberculosis at the age of seven. A year in a hos- pital completely cured him, but his father decided ‘to switch him to the piano when he returned to the family band. Peterson immediately felt at home at the key- board. He played hymns and classical music until hhe entered Montreal High School. At that time he began to evince an interest in jazz. He attributes a great deal of his success to his mother, who, con: trary to the legend that parents discourage such things, helped him along when he decided on a career in jazz. In 1929 Oscar's sister Daisy persuaded him to drop in at a local studio where auditions were being given for an amateur contest. He got through the semi-finals in Montreal and went to Toronto to win the finals and a cash prize of $250. During his mid-teens, Oscar had his own 15- minute radio show on CKAC in Montreal and played many of the school dances. He met the noted Canadian pianist Paul de Marky, with whom he studied both classical and swing music. Later he began working with the Johnny Holmes orchestra, playing another series of broadcasts “Johnny was really responsible for building up my technique,” Oscar recalls. “At the time | was concentrating too much on boogie-woogie num: bers, and | hadn't developed a style of playing slow numbers and other types of material.” Soon he decided he was ready to make some records. A local RCA Victor executive readily agreed to the idea and Oscar cut his first sides. Three of these collectors’ items are still available in an anthology, “Great Jazz Pianists Of Our Time,” on RCA Camden. ‘After leaving Johnny Holmes’ band, Oscar formed his own trio. He also played in a band led by Maynard Ferguson's brother Percy. In Sep: tember of 1949 Norman Granz brought him to New York’s Carnegie Hall for a surprise guest appearance with “Jazz At The Philharmonic.” He was a sensation, and in 1950 made his first concert tour with the show. The association with Granz has lasted ever since; he recorded for the impresario’s Clef, Norgran and Verve labels, and for some years Granz has been his personal manager. For his work in the U.S. Oscar originally teamed with bassist Ray Brown as a duo on the JATP shows. Later a guitarist was added: first Irving Ashby, then Barney Kessel and Kenny Burrell, and from 1953-58 Herb Ellis. Subse: quently he used drums instead of guitar. He toured Europe with the JATP unit in 1952, '53 and ‘54, In 1955 he made his first concert appearances with Ella Fitzgerald in Great Britain. He and Ella have continued to tour together frequently, visiting Europe almost every year. Peterson has also been heard on numerous albums in the company of jazz musicians represent- ing every generation, among them Louis Arm- strong, Roy Eldridge, Buddy DeFranco, Stan Getz, Coleman Hawkins, Sonny Stitt, Lionel Hampton and various musicians on several albums of Norman Granz’ Jazz At The Philharmonic.EXERCISES AND MINUETSEXERCISE 1 AND MINUET 1 Exercise one attampts to give the player two things. Fist, svength. The player ‘mova from the middle ofthe righthand tothe ae finger of the right Rand, den 7 Toves from the thum of the ight hand tothe mide of th hand. Secondly. if EXERCISE No.1 bravtued propery, te payer shoul beable to achieve Beir dial contol on {his type of phasing without rocking the Hand from side to side Caypright © 1965 by Tomi Music Co, and Doe Muse Co. International Copyright Secured Made in US.A. All Rights ReservedEXERCISE 2 AND MINUET 2 “This exercise and minuat are mersly to induce inthe player the ability to phrase Hae lst hand whet cilled upon 10 do 50. Here slo he should ste for EXERCISE No.2 Sominiyeon wnat out MINUET No.2 =EXERCISE No.3 EXERCISE 3 AND MINUET 3 This exercise and minuet deals primarily with what fel are the two wakes ings ofthe jzz pianists igh han [the fourth an ith fingers). On playing this exercise land piace the plover should attempt to Keep the listener (or his instructor) trom ‘knowing that hei using his th finger on ha eght and Usually this sa pitfall n |izz playing. The student will notice that te ft finger i employed in the middle ‘of thephrase rather than a theond which the usual jay customMINUET No.3EXERCISE No.4 ° EXERCISE 4 AND MINUET & “This exercise and piece are meraly to give the baginner the chance to formulate in hi own mind she format and content of the bus vom a background standpoint. Very elementary harmonic movemant is employed and after both exercise and ‘minuet have bean learned thoroughly, the player should attempt to improvise his ‘might han lings on the background given ere10 EXERCISE No.5 EXERCISE 6 AND MINUET 5 We now approach the walking bess tine. | feel nove that with the movement ‘employed the player should giin a much firmer understanding of what © base player does forthe pianist on the ues in the primary sto. Again t state thet after command is gained of these two places, the player should attempt £0 ‘concave lies thi given Bax,u EXERCISE 6 AND MINUET 6 ‘The let hand pattern now enters the form of Boole woosie, This i # very EXERCISE No.6 momen ‘and should be thoroughly learned before any other lines are Attempted agaist the left hand, Incidentally thi should representa great chal Tanga from this aspect because i iffy eifficult to move the righthand ine 10 'ny depth aging bas ine that is quite bury such a: the one provide,12 EXERCISE No.7 EXERCISE 7 AND MINUET 7 ine stop and go bass figures. This giver us the ability o change ry sense of rhythmis pattern in the lft hand, introducing from time to timo a straight four 353 form of ret Te melody in the laze min should be played in a very legato manner in order to gve the listener sense of cohesiveness between she two hands,EXERCISE No.8 13 EXERCISE 8 AND MINUET 8 Here we employ a steady walking bess figure in the exercise. Inthe minust we Employ fairy busy lings, The playar should attempt diferent types of articulation in oeder to obtain the fina nd corract jars feeling that he desires. In doing this hha should ten be able to realize how the jazz player (professional) changes the complete complexion of a tune by changing his articulation,14 MINUET No.816 EXERCISE 9 AND MINUET 9 “This is an exercise in double hands in which once again the player has a choice of Articulation, Howser, the fingering shoul be studied carefully so that he rel ‘hat im order to articulate with complete ease, his hands must be free of any gn ee 3 2MINUET No.9EXERCISE No.10 17 EXERCISE 10 AND MINUET 10 Exercise ten i vitally important for here we have the walking bass fine in eighth notes. Later Onin the mimuet, we adds line of ighth notes inthe right hand aso. “The trick here isto keep the primary sence of rhythmic impetus in the left hand wile playing the right and liner wth an even Tapa fel18 MINUET No.10EXERCISE No. 11 19 EXERCISE 11 AND MINUET 11 ‘Many jazz pianist including yours truly a various timas employ s double melodic line using two hands, Many times thsis use to gvea deeper rhythmic projection to the malic line. At other times is used in # ry feeeght mana (primarily Gluing fas tempos). Another aspect of the ability to play double ines s that tan be very effective winen the pianists doubling tha same ling as another nstrumen talst. You wil notice inthe minuet that both hands at various times get.achance to play background and lad. This i a exercise that shouldbe practiead carefully in ‘dr to gv the pianist the sblty to make this change as smoothly ss posible fo a ea es20 MINUET No.1EXERCISE No.12 MINUET No.12 21 EXERCISE 12 AND MINUET 12, We deal now with the aspect of 2 moving line and chords ‘minus bears avery close resemblance to the exercise here, 50 the exerase to the piece should be vary easy. It important lying harmony its proper thythonie value and tonal respect,22 EXERCISE No.13 EXERCISE 13. AND MINUET 13, In exerciteshirteen we prepare for changing rhythms in both hands. Upon reach ing the mind, any aificuty is exparionce, the player should leave the minuet sha return to the axercise, for tha sera lie in fst imprinting the depth ofthe ‘eles line in ithor hand. If any other trouble is encountered hore, the player Should retura to exerciee and minget number oven23 EXERCISE 14 AND MINUET 14 Exarcie fourteon should be practiced until the player achieves fleet but conlirmed senso of interpretation, When this has been accomplished, he should EXERCISE No.4 my ornate termine 5a noe 58 sae24 MINUET No. 14ETUDES AND PIECES26 ETUDE No.1 Copyeaat ©) 190 by Tom) Music Co, and Doe Mu27 PIECE No.128 ETUDE No.2 Cini 4PIECE No.230 ETUDE No.3PIECE No.3 313233 ETUDE No.434 PIECE No.4365 ETUDE No.5PIBCE No.537 ETUDE No.638 PIECE No.639 ETUDE No.74041 PIECE No.742 ETUDE No.8 213PIECE No.8 i.44 ETUDE No.9 a = 4 5 £bt4 445 PIBCE No.946a7 PIECE No.107 EXERCISES40 EXERCISE No.1 Copyright© 1966 by Tomi Muse Co, and Doe Mus ie Co. Internationa! Coputieht Secured "Maden USA. All Rigs Reseved51 EXERCISE No.252 0 ee ae wie foEXERCISE No.38455 EXERCISE No.45687 EXERCISE No.5585980 EXERCISE No.6er EXERCISE No.762 EXERCISE No.86364 EXERCISE No.965 EXERCISE No.1067 EXERCISE Noll8869 EXERCISE No. 127 EXERCISE No.13aN Compete \ ie a \ Coes ee7396 + $9.95 OSCAR? PHUEROSON on | J BA EXERCISES and PIECES for Piano and Organ Plus JAZZ PIANO SOLOS sicians / Magie and’ many others. In ‘uges Special Optional Ahythm Section 1398, COMPLETE Jazz FOR THE PIAN! ‘Oscar azz EXE PIECES, by 0: Fay Broun oe JAZZ EXERCISES AND BIECES, by Oscar Peterson. ay Brown presentation ot ihe 8 IsaN 084942871.8