Latin Jazz star Michel Camilo on Left

Hand Independence
BY MICHEL CAMILO
October 9, 2013
When I began practicing the music of the great stride piano masters, I
noticed how they always seemed able to keep their left-hand beat steady as
it shifted between chords, counter-melodies, runs, and bass lines. I tried to
apply the same kind of independent approach by exploring the rhythmic
syncopations of Latin music. Here are some exercises in that style to help
build left hand independence. Also remember that the metronome is always
your friend, since it keeps your beat steady and wont let you slow down or
rush. Visit me online at michelcamilo.com.

Click sheet music images to enlarge. Scroll down for audio examples. All
examples 1986 by Michel Camilo. Published 1990 by Redondo Music
Sony/ATV Music PublishingBMI. Used by permission. All rights reserved.

1. Upper and Lower Layers

Exs. 1a through 1c all feature a groove inspired by La Comparsa by Cuban composer Ernesto Lecuona.

Try to feel the fourth and fifth bars of Ex. 1c as an eight note quintuplet, which is known as a cinquillo feel
and is an important part of Latin and Caribbean piano styles.

The whole point is to feel this as if the left hand is playing two layers: an upper melody and a lower beat
leaning on the fourth beat.
2. Pivot Points and Upper Chords

Exs. 2a through 2b deal with controlling your pivot point in the center of the keyboard, which would be the
upper chord.

Think of the lower bass line as an answer to the upper chords call. After your left hand hits the chords with
an upward ricochet from the wrist, quasi-staccato), it must then travel quickly down and find a new
placement in order to respond with the alternating bass lines that are either legato or staccato.

3. Leggiero Touch

Ex. 3a and 3b focus on how to keep a leggiero or light touch while becoming aware of the power present
in the palm of your hand. Try to play this passage with an even touch between your left and right hands.

At the same time, respect the dynamics by developing a slow, gliding centered position.

4. Pivot Points and Pedal Notes

Ex. 4 is similar to Ex. 2, but this time were dealing with a way of building tension by using the E pedal notes
and going to an even lower register. Here, your two left hand layers are even more apparent, really requiring
you to feel your two pivot points as part of your physical connection to the keyboard. You should practice this
exercise as a loop while improvising bebop lines or montunos on top of it.

Link: http://www.keyboardmag.com/fusion/1301/5-more-ways-to-play-likekeith-emerson/29287
[NB: audio file on url]