jazz edge - homeschool pianocloud.homeschoolpiano.com/lesson_files/hspfreetrial.pdf · jazz edge...

JAZZEDGE

WILLIE MYETTE’s

JAZZEDGE

JAZZEDGE

HomeSchoolPiano Free Lessons

© 2015 JazzEdge - More lessons at JazzEdge.com

JAZZEDGE

JAZZEDGE

Week 1

©2012 CorePiano™ – PianoWithWillie.com – All Rights Reserved – Copying & Sharing Permitted.

Pitch is lower Pitch is higher

C CC

The piano has 88 notes. They are broken into black notes and white notes. Not all keyboards have all 88 notes. The notes to the left of the keyboard sound lower than those to the right. Remember, lower is not softer.

Think of the left side of the piano sounding like ‘el-ephants pounding on the ground’ and the right sound-ing like ‘birds chirping in the trees.’ Elephants live low (ground level) and birds high up in the trees. Voila! Now you know low sounds vs. high sounds.

One of the most important notes that we need to find at the piano is the note ‘C’. To find C, first take a look at the black notes of the keyboard. Do you spot the 2-3 pattern? They follow a pattern of 2-3, 2-3, etc. If we play the note to the left of a group of 2 black notes, that note is C.

You might of heard of the note middle C. This is a C that is closest to the middle of the keyboard. I like to tell students that it is usually close-to, or directly under the name of the piano.

Here’s a tip: try counting up in half-steps from the very far left note on the piano. If you count up 40 half-steps...you have found middle C.

Low vs. High Notes

Finding ‘C’

Where’s Middle C?


Pitch is lower Pitch is higher

C CC

The piano has 88 notes. They are broken into black notes and white notes. Not all keyboards have all 88 notes. The notes to the left of the keyboard sound lower than those to the right. Remember, lower is not softer.

Think of the left side of the piano sounding like ‘el-ephants pounding on the ground’ and the right sound-ing like ‘birds chirping in the trees.’ Elephants live low (ground level) and birds high up in the trees. Voila! Now you know low sounds vs. high sounds.

One of the most important notes that we need to find at the piano is the note ‘C’. To find C, first take a look at the black notes of the keyboard. Do you spot the 2-3 pattern? They follow a pattern of 2-3, 2-3, etc. If we play the note to the left of a group of 2 black notes, that note is C.

You might of heard of the note middle C. This is a C that is closest to the middle of the keyboard. I like to tell students that it is usually close-to, or directly under the name of the piano.

Here’s a tip: try counting up in half-steps from the very far left note on the piano. If you count up 40 half-steps...you have found middle C.

Low vs. High Notes

Finding ‘C’

Where’s Middle C?

JAZZEDGE

JAZZEDGE



JAZZEDGE

JAZZEDGE

Week 1


When we move from one note to the very next note, this is called a half step. Here are some different examples of half steps. There are two places on the keyboard where two white notes next to each other form a half step. This happens between the notes B to C and E to F.

Whole Steps are equal to (2) half steps. Another way to think of this is a whole step moves by 2 half steps. You can also think of a whole as “having a note in be-tween.” Notice in the examples to the right how there is one note sandwiched between each whole step?

Here are some examples of whole steps.

We use our special musical alphabet to name the notes on the piano which goes from A to G. It is easier to see this if we start on C. Notice how after getting to G, we start over at A again. There is no ‘H’ in music!

Half Steps

Whole Steps

The Musical Alphabet

C D E F A B C D etc..G

E BF C


We number our fingers so that we know which finger goes on which note. The numbering system is simple: thumbs are #1...pinkies are #5. Take a look at the graphic below to see the fingering layout.

When we apply a set finger pattern to a section of music, we call this our fingering. Passages of music usually have set finger patterns because that fingering has worked for most people. For instance, if the music went from middle ‘C’ to ‘G’, you would most likely use 1 & 5 when playing with your right hand. Now, that is not to say that you can not use your thumb and ring finger, or 1 & 4. When you see a finger number written in the music, it is merely saying “Hey, this fingering works!” You’re free to change the fingering as you see fit.

Finger Numbers

1

23 4

5 5

4 32

1

Left Hand Right Hand

C G51

JAZZEDGE

JAZZEDGE



JAZZEDGE

JAZZEDGE

©2014 JAZZEDGE CORP. All Rights Reserved. 401-331-0000 www.jazzedge.com

&

1

2

3

4

5œœœœœ

CorePiano Lesson - 11

Week 2The 5 Finger Scale


We number our fingers so that we know which finger goes on which note. The numbering system is simple: thumbs are #1...pinkies are #5. Take a look at the graphic below to see the fingering layout.

When we apply a set finger pattern to a section of music, we call this our fingering. Passages of music usually have set finger patterns because that fingering has worked for most people. For instance, if the music went from middle ‘C’ to ‘G’, you would most likely use 1 & 5 when playing with your right hand. Now, that is not to say that you can not use your thumb and ring finger, or 1 & 4. When you see a finger number written in the music, it is merely saying “Hey, this fingering works!” You’re free to change the fingering as you see fit.

Finger Numbers

1

23 4

5 5

4 32

1

Left Hand Right Hand

C G51

JAZZEDGE

JAZZEDGE




HSP - Free Trial Lesson

RHYTHM

©2014 JAZZEDGE CORP. All Rights Reserved. 401-331-0000 www.jazzedge.com Pg. 1

RHYTHM

Book 2 - Unit 1

Finding the upbeats:

Upbeats are the “ba’s”. They can happen anywhere within a measure.

Ex.Book 2, Unit 1 Rhythm

lesson by Willie Myette

44&1

&2

&Irregular bar

3

&4

&5

Œ Œ Œ œ œ œ œ Œ œ œ œ œ Ó

œ œ œ œ ‰ œJ œ œ œ œ œ œ

œJ œ œ œ œ œ ‰ œJ œ œ œ œ œ

‰ œJ œ œ œ œ œ ‰ œJ œ œ

œ œ œ œ œ œ ‰ œJ œ œ œ œ œ

©1/9/14 - JAZZEDGE CORP.From the lesson: "Unit 7 Rhythm" www.homeschoolpiano.com

Book 2, Unit 1 Rhythm

lesson by Willie Myette

44&1

&2

&Irregular bar

3

&4

&5

Œ Œ Œ œ œ œ œ Œ œ œ œ œ Ó

œ œ œ œ ‰ œJ œ œ œ œ œ œ

œJ œ œ œ œ œ ‰ œJ œ œ œ œ œ

‰ œJ œ œ œ œ œ ‰ œJ œ œ

œ œ œ œ œ œ ‰ œJ œ œ œ œ œ

©1/9/14 - JAZZEDGE CORP.From the lesson: "Unit 7 Rhythm" www.homeschoolpiano.com

Look for the 1/8th rest before an 1/8th note. Find the pattern in the rhythm examples.

Dah dee ba Dah Dah dee ba Dah

1

2

3

4

5

dee ba Dah Dah ba dee ba Dah dee ba Dah

ba dee ba dee ba Dah ba dee ba Dah Dah Dah

ba dee ba Dah Dah Dah ba Dah Dah

Dah dee ba dee ba Dah ba Dah dee ba dee ba

READING


Little Willie’s Strut

Swing q = ~110 - 120

Book 2 - Unit 1

™™

™™

4

7 1.

™™

™™

2.

10

44

44

&1

mf

C4 2

F G C

? ∑5

&F G C F F#º

1 2

? 1 2

&3G C G

? 1f

4

&C G 1 2 3 C

f?

4 3

œ. œ# œ œ Œ œ. œ œ œ Ó ‰ œj œ# œ œ œ

˙ ˙ ˙ ˙ ˙ ˙

œ œ œ Œ œ. œ# œ œ Œ œ. œ œ œ Œ œ œ

˙ ˙ ˙ ˙ ˙ ˙#

œ œ œ œb œ œ œ ˙ ™ œ. œ œ œ œb œ œ œ

w ‰ œJœ œ# ˙ w

˙ ™ œ œ œ œ œ œb œ œ œ. Œ Ó

‰ œJœ œ# ˙ ˙ ‰ œJ

œ œ.Œ œ. Œ

JAZZEDGE

JAZZEDGE



SONG



Swing q = ~110 - 120

Book 2 - Unit 1

™™

™™

4

7 1.

™™

™™

2.

10

44

44

&1

mf

C4 2

F G C

? ∑5

&F G C F F#º

1 2

? 1 2

&3G C G

? 1f

4

&C G 1 2 3 C

f?

4 3

œ. œ# œ œ Œ œ. œ œ œ Ó ‰ œj œ# œ œ œ

˙ ˙ ˙ ˙ ˙ ˙

œ œ œ Œ œ. œ# œ œ Œ œ. œ œ œ Œ œ œ

˙ ˙ ˙ ˙ ˙ ˙#




‰ œJœ œ# ˙ ˙ ‰ œJ

œ œ.Œ œ. Œ




JAZZEDGE

JAZZEDGE





IMPROVISATION


IMPROVISATION

Pg. 1

Using notes from the melody, we can create an embellishment. An embellishment “kind of” sounds like the melody, except we might change the order of the notes, the rhythm or both! It is common for improvisors to use melodic embellishment when creating their own improvisation.

2

Book 2 - Unit 1

HSP unit 2 - 1 improvisation exampleslesson by Willie Myette

™™

™™

™™

™™

™™

44

44

44

44

44

44

44

44

44

&

21 4

C F G

?5

&C

1 4F G

?5

&Create a lick using the rythm below

&C

DONT USE THIS ONEF G

?5

&C

1 4F G

?

œ œ# œ œ œ Œ œ. œ œ œ œ Ó

Œ ˙ ˙ ˙ ˙

‰ œj œ# œ œ œ œ. œ œ ˙ Œ

˙ ˙ ˙ ˙

¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Ó

˙ ˙ ˙ ˙

‰ œj œ# œ œ œ œ œ œ Œ œ.

˙ ˙ ˙ ˙

©1/9/14 - PianoWithWillie.comFrom the lesson: "HSP unit 2 - 1 improvisation examples" Find more lessons at: http://www.pianowithwillie.com/


1

Here is an example of the first four measures of Little Willie’s Strut with melodic and rhythmic embellishment. Circle the changes between this example and the original.

™™

™™

5

7 1.

™™

™™

2.

10

44

44

&1

mf

C4 2

F G C F G

? ∑5

&C F F#º

1 2

? 1 2

&3G C G

? 1f

4

&C G 1 2 3 C

f?

4 3

œ. œ# œ œ Œ œ. œ œ œ Ó ‰ œj œ# œ œ œ œ œ œ Œ œ.

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

œ# œ œ Œ œ. œ œ œ Œ œ œ

˙ ˙ ˙ ˙#




‰ œJœ œ# ˙ ˙ ‰ œJ

œ œ.Œ œ. Œ

Here are the first four measures of Little Willie’s Strut as written. Make certain that you can play this well before moving to the next step.


IMPROVISATION

Pg. 1


2

Book 2 - Unit 1


™™

™™

™™

™™

™™

44

44

44

44

44

44

44

44

44

&

214

CFG

?5

&C

14FG

?5


&C

DONT USE THIS ONEFG

?5

&C

14FG

?

œœ#œœœŒœ.œœœœÓ

Œ˙˙˙˙

‰œjœ#œœœœ.œœ˙Œ

˙˙˙˙

¿¿¿¿¿¿¿ŒÓ

˙˙˙˙

‰œjœ#œœœœœœŒœ.

˙˙˙˙



1


™™

™™

5

71.

™™

™™

2.

10

44

44

&1

mf

C42

FGCFG

?∑5

&CFF#º

12

?12

&3GCG

?1f

4

&CG123C

f?

43

œ.œ#œœŒœ.œœœÓ‰œjœ#œœœœœœŒœ.

˙˙˙˙˙˙˙˙

œ#œœŒœ.œœœŒœœ

˙˙˙#̇

œœœœbœœœ˙™œ.œœœœbœœœ

w‰œJœœ#˙w

˙™œœœœœœbœœœ.ŒÓ

‰œJœœ#˙˙‰œJ

œœ.Œœ.Œ



IMPROVISATION

Pg. 1


2

Book 2 - Unit 1


™™

™™

™™

™™

™™

44

44

44

44

44

44

44

44

44

&

214

CFG

?5

&C

14FG

?5


&C

DONT USE THIS ONEFG

?5

&C

14FG

?

œœ#œœœŒœ.œœœœÓ

Œ˙˙˙˙

‰œjœ#œœœœ.œœ˙Œ

˙˙˙˙

¿¿¿¿¿¿¿ŒÓ

˙˙˙˙

‰œjœ#œœœœœœŒœ.

˙˙˙˙



1


™™

™™

5

71.

™™

™™

2.

10

44

44

&1

mf

C42

FGCFG

?∑5

&CFF#º

12

?12

&3GCG

?1f

4

&CG123C

f?

43

œ.œ#œœŒœ.œœœÓ‰œjœ#œœœœœœŒœ.

˙˙˙˙˙˙˙˙

œ#œœŒœ.œœœŒœœ

˙˙˙#̇

œœœœbœœœ˙™œ.œœœœbœœœ

w‰œJœœ#˙w

˙™œœœœœœbœœœ.ŒÓ

‰œJœœ#˙˙‰œJ

œœ.Œœ.Œ


JAZZEDGE

JAZZEDGE





IMPROVISATION


IMPROVISATION

Pg. 2

Now, try creating your own melodic embellishment for measures 1 + 2 using the rhythm provided. Use only notes from the melody. So, measure 1 would use notes: C D# E A

4

Book 2 - Unit 1

3


™™

™™

™™

™™

™™

44

44

44

44

44

44

44

44

44

&

21

C F G

?5

&C

1 4F G

?5


&C

DONT USE THIS ONEF G

?5

&C

1 4F G

?

œ

Œ ˙ ˙ ˙ ˙

‰ œj œ# œ œ œ œ. œ œ ˙ Œ

˙ ˙ ˙ ˙

¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Ó

˙ ˙ ˙ ˙

‰ œj œ# œ œ œ œ œ œ Œ œ.

˙ ˙ ˙ ˙



This time try to create your own melodic embellishment. A rhythm has been provided if you need it. However, try creating your own rhythms. Most important, keep the bassline steady, even if you mess up the RH!

Remember: you are just “messing around” with the melody, so don’t stray too far right now.

™™

™™

™™

™™

™™

™™

44

44

44

44

44

44

44

44

3Create a lick using the rhythm below

&C F G

?5

&C F G

?

4Create a lick using the rhythm below

&C F G

?5

&C F G

?

¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Ó

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

‰ ¿j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

©1/9/14 - PianoWithWillie.comFrom the lesson: "HSP unit 2 - 1 improvisation examples"

Find more lessons at: http://www.pianowithwillie.com/

©1/9/14 - PianoWithWillie.comFrom the lesson: "HSP unit 2 - 1 improvisation examples"

Find more lessons at: http://www.pianowithwillie.com/

2

jazz edge - homeschool pianocloud.homeschoolpiano.com/lesson_files/hspfreetrial.pdf · jazz edge...

Documents