The p!áyer shou¡d attempt d¡fferent types of art¡culation n o.der to obtain the finat tnd correct jazz feeliñg that he des¡res. In the minuet we emptoy fa¡rty lrusy l¡nes. The rnetody in the jazz m¡nuet should be played in a very legato manner in order to give the listener a sense of cohesiveness between the two hanc,s.ĮIGHT AND MINUET EIGHT Here we employ a steady watking bass figure ir the exercise. This gives us the ab¡lity to change from an elementary sense of rhythm¡c pattern in the left hand, introducing from time to t¡me a straight four as a form of retief. MINUET SEVEN we now erfiploy the stop and go bass f¡gures. lñcidentally th¡s should represent a great chatlenge from this aspect because it is fairty difficult to move the r¡ght hanct t¡ne to añy depth against á bass line that ¡s quite busy such as the one provided. This is a very ¡mportant exercise and should be thoroughty tearned before any other l¡nes are attempted against the left hañd. SIX AND MINUET SIX The left hand pattern now enters the form of boogie woogie.
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