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  • ABRSM Jazz Piano Pieces Grade 4

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    125906312 ABRSM Jazz Piano Pieces Grade 4

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    5K Ansichten41 Seiten

    ABRSM Jazz Piano Pieces Grade 4

    Hochgeladen von

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    © All Rights Reserved
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    von 41
    TT? 4CCAOTAMRN Mann an mam Nnovit CoONaAnter an une J ‘The Jazz Piano and Jazz Ensembles Syllabus sets out in derail the requirements of the exams, espe cially those for scales, aural tests and the quick study. It also contains the assessment criteria, The sellabus is obtainable from music dealers or trom The Associated Board of the Royal Schools of Music, 24 Portland Place, London, WIB ILU (please send a stamped addressed C3 « Scales, Arpeggios and Broken Chords To be played from memory, straight or swing as directed by the examiner. ‘SALES: in similar motion with hands together one octave apart, and with each hand separately, in the following forms: Dorian on E and C; Mixolydian on A and F, Lydian on G and Es, D and Bb majars (ewo octaves) Major pentatonic on G and Fb; Minor pentatonic on E (two octaves) Blues scales on Bb and E (one octave) CuROMATIC SCALES: in similar motion with hands tagether one octave apart, and with each hand separately, beginning on any black key named by the examiner (two octaves) ARDLGGIOS: the common chords of A und E> majors, in root position only, in similar motion with hands together one oetave apart, and with each hand separately (swo octaves) BROKEN CHORDS: formed from the chords of C7, G7, Am? and Gm7, with each hand separately, according to the pattern shown int the syllabus Three Pieces One chosen by the candidate from each of the three tists: Blues, Standards and Contemporary Jazz, HEAp. At the outset, the notation of the head should be closely followed. While there may be variation in details of melody, rhythm or phrasing, the result should be coherent, stylish and musical, and not alter the technical demand, Soto. The guideline right-hand pitches and left-hand part are given as a starting-point and to indicate the ste. Iris expected that candidates will expand upon the given musical materials as their experience allows, also using othet pitches, voicings and figurations, AFTER THE SOLO(s). Everything affer the solo(s) may be embellished in a number of ways, from a few simple additions or variations to a more extensive reworking. Exact repetition should be avoided. Ar Grace 1 such embellishment might mean making small melodic or rhythmic changes or varying dynamics or phrasing, At Grade 3 pla ht change the octaves ar which macevial is played, introduce fills of revoice chords. at Grade § harmony may be varied or enriched with extensions, melodic lines may be thickened or ornamented, and rhythms and phrasing reinter- preted. Or none of the above and a completely different set of embellishments! Players have a ange of ogtions at af grades ancl may offer any musical embellishments in keeping with the style RELATED LISTENING. Every effort was made to ensure that the CDs listed at the foot of each piece were available at the time of going to press. However, ja77 recordings regularly go in and out of print, and if the one cited has now been deleted look for a compilation album by the same artist on the same record label, oF buy a related album by the same musician or band. Quick Study To play a four-bar passage and improvise » four-bar continuation (see the svllzbus for fll details). The quick srndy may be played ar sight or by ear Aural Tests See the sillabus for full details of the aural tests for the grade ‘The volumes of picces and scales are published by che Board, together with books of sample quick studies and avral rests and a range of other support materials, Full details are given on the back cover of this volume. © 1998 by The Asoclated Hoan the Heya] Sdhoak of Music No pur ofthis pubation may be copie oF repraduced in any form or by any means without the prior permission of the Mosic origination by Barnes Music Engraving Lad Printed Hogland by Calgraving Led, Thetford, Noell 4 Edited by Charles Beale Blues, 1 THELONIOUS MONK, art: Richard Michael Blue Monk 2 2. But KixcHonn Three-Four Blues 4 3. CHARLES BEALE Oscar’s Boogaloo 6 4 Mites Davis, arr: Richard Michael Freddie Freeloader 8 5 WAYNE SHORTER, arr Eddie Harvey Footprints 10 Standards 1 Harry JAMES, D&E ELLINGTON, JOHNNY Hopses & Dox Georcr, 1. Michael Garrick a I'm beginning to see the Light 1B 2. Hoacy Caramicart. & Sipxey Anon Lazy River 16 3. TaaD., arn Liaw Noble Nobody knows the Trouble I've seen 18 4 CHARLIE SHAVERS, ax Simon Woolf Undecided, a 8. Scort JOPLIN, ary: Brian Priestley Original Rags 24 Contemporary Jazz 1 CHARLES BEALE Shh! 28 2. Putt Peskerr Ina different Light 30 3. Crus BarcuELor Heading Home 32 4 Liam Nowe Blues for Pete Johnson 3 5 Joun Mri TKON (Memories of Ike) 36 ACD for Grade 4 is available comaining recordings of all the pieces for the grade, cogether with examples of aural tests, quick studies and scales. Three of the pieces, “Freddie Freeloader’, Undecided" and ‘Heading, Home’, ae aso presented on the CD in “minus ane” versions, for you co play along, with bass and drums BLUE MONK Thelonious Monk arr. Richard Michael Medium Swing J =88 Deliberate HEAD Bb7 EUT Bb7 © 1954 by Bocu Music Lid SOLOS Eu7 Ee BOT bebe 21 D.C. al Coda Solo 24 bars in exam FT i = ‘TOTES: also try improvising using the blues scale or Bb and the minor pentatonic on Bb. SRSIAPED LIOTHNING: Thelonious Workis 'Blus Bonk’ frox Tielonéous aionk Trig/Slue lionks Voluse 2 [Prestige] AB 2635, THREE=FOUR BLUES Bill Kinghorn Swing 4=96 Slow Jazz Waltz HEAD © 1998 by The Associated Board of the Royal Schools of Music AB 2635, | (soLos | Cm7 F7 cm7 c7 D.C. al Coda Solo 24 bars in exam Dm7 G7sus c F7 G7 SOMES: Also try improvising using Wsolydiar on © and the minor pentatonic on Ce ‘ HEEATED LISTHWING: 121 Bans: Bapathy/A Sinple Hatter of Conviction [Fexve] AB 2635 OSCAR'S BOOGALOO Charles Beale Straight 8s J = 104 Funky HEAD 2 As = = = = Pte ad ey 7 ao “

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