Professional Documents
Culture Documents
Book I
A PRACTICAL COURSE IN JAZZ IMPROVISATON ON THE VIOLIN
2010
Foreword
This book is aimed at musicians who which to enter the world of Jazz music by ear and bypass the complicated rules of jazz rhythm, melody, harmony and styles. This book will guide the student in how to perform jazz music, how to improvise in a variety of styles and also prepare you for more advanced jazz studies. Before beginning the course it is required that the student has undertaken several years of classical violin study. Teaching music, in particular jazz, has much in common with the teaching of other skills where the aural transmission of knowledge is at the core of good teaching, in fact, the basic principle of Do as I do lies at the heart of this course. This method works by the student understanding and reproducing the musical material and through this step by step, continuous repetition of the teachers performance the student will slowly absorbed the methodologies involved. There are twelve compositions by the author which make up the musical content of this book. Each of the pieces demonstrates a different aspect of jazz including the Most commonly repeated passages and Harmonic patterns.
Composition Structure
Each piece consists of a theme and several choruses of improvisations which are designed to illustrate the specifics of one style or another. Each piece is included in both the keys of C and Bb along with the authors comments and instrumental accompaniments of the study. The authors comments are aimed to resolve the problems present by each tude and its unique educational features. The compositions are presented in order of their melodic and harmonic complexity beginning with the simplest ones.
ii
Supplemental CD
The author of this book has recorded each piece on a CD which comes as a supplement to the book. The CD also contains accompaniment tracks for all the pieces. *********************************************** Although this book is primarily aimed at violinists, virtually any musician on any kind of instrument, including scat singers can use the material presented to their benefit. The book can be of great value to music teachers as well as composers and arrangers. The author hopes that this book will facilitate the study of jazz music for many musicians.
iii
Table of Contents
About the Author Foreword Composition Structure Supplemental CD Table of Contents Introduction Basic Jazz Traditions Jazz Violin Problems & Recommended Solutions Fingering Intonation Articulation Rhythm Improvisation Method of Study Comments on the Supplemental tudes Specific Features of Each tude tude No. 1 tude No. 2 tude No. 3 tude No. 4 tude No. 5 tude No. 6 tude No. 7 tude No. 8 tude No. 9 tude No. 10 tude No. 11 tude No. 12 i ii ii iii 1 2 3 4 4 6 6 6 6 7 9 11 11 11 11 12 12 12 13 13 13 14 14 14
Introduction
Jazz as a genre of music originated at the beginning of the 20th century and the use of the violin as a solo instrument within jazz arose within the first few decades of the century. At first the development of the violin as a solo instrument within jazz took some time, mainly due to the prominence of more traditional jazz solo instruments such as the trumpet, clarinet, trombone, saxophone, piano etc. However, the 1920s saw the formation of the first jazz orchestras which began to include some string sections. Shortly after this a number of world famous and superb improvising violinists emerged such as Eddie South, Joe Venuti, Stuff Smith, Stphane Grappelli and many others. This group of prominent violinists created a bright violin style based on the New Orleans Jazz style and on the swing style. During the 50s and especially during the 60s and 70s of the last century a new generation of jazz violinists came to the stage, players like Harry Lookofsky, Jean-Luc Ponty, Michael Urbaniek, Didier Lockwood, David Goloschekin, Jerry Goodman and many others, who played in more contemporary jazz styles such as bebop, jazz-rock, modal jazz, etc Today the violin is accepted as an integral part of jazz music all over the world, this is despite the fact that it is used less in concerts that many other jazz instruments. Despite a fairly rich history, the violin as a jazz instrument, with its vast array of expressive musical possibilities still awaits its full realisation as a jazz instrument
Intonation
In jazz precision of intonation is more important that in classical music. This is due to the melodies in jazz being based on complicated harmonies, with many complex chords and dissonances. This is why one should only practise with a harmonic accompaniment all the whilst listening as an outsider to check for tuning problems.
Articulation
Jazz music requires highly expressive articulation, precise and bright attack with a clear release of the sound or instantaneous drop in volume. To achieve this one must hold the bow tighter than in classical music and press it against the string with more force. The left hand is responsible for effects such as intonation shifts during a note, glissandos, slow deep vibrato or a quick trill, all of which requires a very light touch on the fingerboard. To achieve this, the left hand must not be supporting the violin. It must be held firmly between the chin and shoulder.
Rhythm
Rhythm in jazz is the main medium of expression and is characterised by the feeling of swing. One can play on the beat or slightly after the beat but never before it. Therefore, the first recommendation is not to hurry, do not speed the tempo up. The second recommendation is to sharpen triples slightly is usually played as means that the quarter note in the triplet is played slightly longer than it should be. The third recommendation is to listen to the great masters of swing such as Stuff Smith. this
Jazz rhythms are a complicated and vast field. Subsequent books of the Jazz Violin Method will look at the theory of jazz music specifically from the point of view of violin techniques.
Improvisation
Musical improvisation is creating music whilst performing; composing it just a fraction of a second before it must sound. This is quite similar to the way we formulate our thoughts just before articulating them. Improvisation is based upon mastery of the musical language and on some qualities of the melodic and harmonic ear. These qualities can be trained and techniques to achieve this are explained later. In this book it is recommended that the technique widely used along language students, that is memorising standard wordings and language used in speech, is applied, in this case the memorisation of standard musical passages.
Method of Study
The main goal of this book is to root into the students subconscious memory some complex reflexes, feelings and knowledge based upon the existing basic jazz norms seen from the point of view of the violins specific features. It is suggested that notated music is avoided at all costs (like black New Orleans musicians once did at the beginning of the jazz era, who were often not even acquainted with notes), and that it is referred to only in extreme circumstances only for the most complicated or difficult passages. The main learning technique for working with the given music material is to memorise it by ear from the supplied recording together with the book, to sing it with accompaniment (naming the note that is sung as is often done in sight singing). Only after that, can one proceed to play the melodic material on the violin, trying to copy the tune, and using the printed notes only in order to verify the fingering and the neatness of the selected piece. The following procedure is suggested: 1) Listen several times to the chosen piece from beginning to the end. 2) Listen to the accompaniment repeatedly, in order to memorize its chord progression 3) Return to the notated violin part of the piece, listen to the first phrase of the violin solo (usually two bars) and try to sing it. It is normal for it to take as many as twenty attempts before a good result is obtained. 4) Move to the second phrase and learn it in a similar way. 5) Join those two phrases together. Then, the resulting passage should be sung repeatedly with the accompaniment, using the supplemental CD. 6) Using the same techniques sing the whole chorus and later the whole piece which will help you to memorise it. 7) After this, take the violin and begin to work with it. Take the first phrase again and play it by memory on the violin. Check yourself against the sheet music pay particular attention to tuning and fingering. Then repeat and play again and again until you have learnt this phrase by heart. 8) Afterwards learn the whole chorus in a similar way one phrase at a time. Then repeat the whole piece on the violin many times. This whole process should only be done with the accompaniment. It is important to resist the temptation of learning the whole piece by looking at the sheet music. This is a very important basic principle: aside from memorising the tune itself, one needs to form the reflex, which connects the imagined (anticipated) pitch heard by the inner ear to the finger positions on the fingerboard, and not the position of the notes on the page to the positions on the fingerboard. This will be unavoidable if one learns the whole piece at once straight from the page: this effect is well known in psychology - the first impression is immediately registered in the subconscious.
7
The accompanying chords are written above the staff line in Roman numeral notation. If one chord is marked above the bar it means that it is played on the first beat of the bar. If two chords are marked, then they are played on the first and the third beat. If there is no chord above the bar, then it means that the chord from the previous bar is being repeated.
Chords are marked in the following manner (in this example each chord is built upon the note C):
To mark a chord progression that is not in a particular key degrees of the scale are used. For example Im would signify a minor chord built on the first degree of the scale that the tude is in.
10
11
IIm7 - V7 - Imaj
This tude presents the most common chord progression and the simplest way of building an improvisation - development of the theme with the help of additional melodic figurations. The study consists of three independent themes. Each one of these themes has its corresponding improvisation.
TUDE #2
Key: F major Tempo: = 110 Basic chord progression: IIm7 V7 - Imaj The chord progression is similar in its use to the previous tude. Although at first, the improvisation is developed around the theme, it later moves much further away from the theme than in the previous tude. A more complex musical language is used as well as a more intricate rhythmic structure.
TUDE #3
Key: Eb major Tempo: = 130 Basic chord progression:
12
I6 - VI7 - II7 - V7
As in the first two tudes, at first the improvisation is musically linked to the theme, but later it is developed independently. Attention must be paid to the more flexible
articulation here, compared with the previous tudes.
TUDE #5
The key: = F major
Tempo: 170 Basic chord progression:
TUDE #6
Key: Db major Tempo: = 140 Basic chord progression:
13
VIOLIN METHOD
TUDE # 7
Key: Ab major Tempo: = 90 Basic chord progression:
I-IIIb7-I-VI7
This is an uncomfortable key. It is difficult however, the jump at the beginning of the chord progression sounds fresh and interesting.
TUDE #8
Key: G major Tempo: = 140 Basic chord progression:
b 7 I - IIbdim IIm7 III dim IIIm
This chord progression was extremely popular in the 30' s. Easy and pleasant to memorise
TUDE #9
Key: D major Tempo: = 120 Two basic chord progressions:
From all points of view this is probably the most difficult TUDE of them all.
14
Tempo: = 170
Basic chord progression:
TUDE # 11
Key: C minor Tempo: = 125 Basic chord progression: | Im7 | Im7 | Im7 | Im7 | | IVm7 | IVm7 | Im7 | Im7 | | VIbm7 | VIbm7 | Im7 | Im7 | This is one of the variations of the minor blues. It is arranged in the style of the 80's - 90's.
TUDE # 12
Key: Bb major Tempo: = 140 Basic chord progression: | I6 | IV7 | I6 | I7 | | IV7 | IV7 | I6 VII7 | VIIb7 VI7| | IIm7 | V7 | I6 VI7 | IIm7 V7 | This tude is composed in the form of the classic blues, one of the most widely practiced forms of blues. Improvising with small durations (in the 4th and 5th choruses) always creates a real complication for the violinist: it is not so difficult to think of the "music" itself, but it is difficult to manage in time to which fingers to play it with. This is why in difficult situations one must resort to use "prepareds" i.e. pre-learned passages and phrases composed and memorised beforehand.
15
16
Etudes in C
17
In C
Etude #1
Intro
&4 4 &
Theme I
Gm7
Dm7
G7
# #
B 7
C7
C maj
C maj
F maj
& . b . &
C maj
Fm7
b b b . b
. . w
A7 D7
. #.
G7
Impr. I
# #
C7
G7
# #
3
Dm7
Dm7
Gm7
& . . #. #. . # . & .
C maj F maj
3 r b . #. # 3
3
3
Fm7
. b .
D7
B 7
b 3 3 b b
3
b . . b #. & . .
A7
3 3
G7
# w & #
Dm7 C maj
Theme II
Dm7
G7
. .
F maj
& .
Fm7
B 7
Gm7
. .
C maj
C7
A7
b & . b . . b
. .
D7
18
Dm7 G7
Impr. II
&w
Gm7
Dm7
. . . . # . . . . . # .
G7 C maj C7 F maj
. . b . . b . . & . . . . . b 3 . & . b . b. . . . . . b
Dm7 G7 Fm7 B 7
b .
3 3
C maj
A7
Theme III
Dm7
D7
. b # . . #
G7
&
# . # . . .
Gm7
C7
. r r . . # .
F maj
& . # . . & . .
Fm7
C maj
. b
. . . . . . R # R .
C maj A7 D7
w . b. . . . # . . R .
B 7
. r # .
r . . . & . . # . b w .
Dm7 C maj Gm7
Impr. III
Dm7
G7
. . r . #. # . # .
G7 F maj
& . b . . # n . . . b
Fm7
b . . .# . . . . R R # .
C7 B 7
. & . . . . . R b. . b . . . . b
C maj D7
# . #. n
A7 C6
Coda
&
. r . # . . .
G7
r . .
# . .
19
In C
Etude #2
F - dur
&4 4
Theme I
Dm7
Gm7
. .
C7
. R
Gm7
C7
F maj
. .
C7
r . w & & #
F maj
# . .
F maj
. r # . .
Impr. I
.
C7
r . w
F maj
Gm7
. .
& . r . .
Dm7
. r . . . .
Gm7
. R . . .
& . . . . . . # & . . .
F maj C7
. . .
F maj
. . . . .
C7
. . . . . . . .
Impr. II
Gm7
. . .
r & . . #. # . &
F maj
. .
C7 m # . # . R . b . . b . b. b n .
. b #. . . b . . . b. n . . . . . R
Dm7
3
3 & #. n . . # . b 3 3 3
Gm7
3 3 3
C7
. b . b . b . . # n . . . . . & R . . . . . 3
F maj C7 F maj
20
Impr. III
Gm7
& . . .
F maj
. .
Dm
. # n . . # n . #. 3 & . . . . . # n . . 3 3
Gm7
. r
C7
. .
. r
. & . . . # .
C7
Impr. IV
& . . . . . .
C7
F maj
Gm7
b b b .
Gm7
. . R # . . . . . . # . .
F maj
C7
& &
b n b # b w 3 3
3
F maj
. . . . r . . . . b n b
Dm7
# b #
F maj
& b n b # # b n
C7
C7
3 3 3 3
& b
3 3 3
F maj
F maj
. r # . . . r . . .
Gm7 Dm7
Theme II
. . . r . # n . . # . . . . . . & .# . . 3
C7
& . . . # . . .
F maj
Gm7
b n b
. . . J
F maj
C7
b n
&
. # n .
3
C7
r . . #. . .
21
In C
Etude #3
E b - dur
4 &4 &
Theme
C7
3 #
E 6
b b .
b
F7
n . r . b .
G7
. r . . b . b .
B 7 Gm7
b.
C7
& b
Fm7
b . b . . . R
E 6
b .
Fm7
. b b .
b # b &
B 7 G7
b bw
B 7
b . r # . b .
Impr. I
E 6 C7
. b R
. .
b b .
B 7
Fm7
b.
b . . . b b. . b
# b .
B 7
b b . n. n bw b.
G7
E 6
Impr. II b b . n b. E b6 . b b & . R
. n b. b . . . b .
3
& . . b . b . b b & . .
. b b. . . . b . . . . . 3 b Gm7 Fm7 B 7 . b b # . . b . . . b
C7
F7
22
C7
&
. .
Fm7
b E b6 , 3 . . b . . . . b . # & # . b . . b .
Impr. III
B 7
B b7 E b6 . . b . b . . # . #. . b b
. b . bR
& . . . b . b . . b b E b6 b b b . &
B 7
3 3 3 3
Gm7
C7
Fm7
b b
3 3 3 3
Impr. IV b E b6 . b . #. . n # . b . . . #. R
B 7
. b . b . . . b b n . . & . . b . . b # . #
G7
F7
. . b . . b . b . #
C7
r b. b. n. . b . b . #. b w
3
E 6
B 7
. b
&
B b7 #
E 6
b . b R . b n .
b .
23
In C
Etude #4
3
&4 4
C7
C7
1 A1 Theme
B 6
. r
C7
G7
F7
. b
w .
C7
C7
&
b.
r & .
A2 B 6
+5 F7
w
Dm7
Cm7
b
G7
G7
# . b
& .
Gm7
b b
F7
. r
C7
w
F7
& b # . . w
G7
B 6
Cm7
b
+5 F7
Dm7
&
C7
G7
F7
b bw
2 Impr. I A1 B 6
C7
. . # .
Gm7
b .
# b
G7
+5 F7
Dm7
b b . & b . . b .
G7
b . . b n. . . . . b 3 b A2 B 6 . b. . . b
& . . . . . . #
#. b
C7
b . n b
3
24
# . . # . . . b & . b
G7 C7 F7
Cm7
b
B 6
F7
+5 b F7 . b . . # n . b . n . R
. b . . b .
Dm7
. #.
+5 F7
w . r #
3
. . . . b. # . . . b . b . . b . b &
A2 B 6
F7
b . b . &
3
b .
3
G7
. .
^ ^ b ^ ^
~~~~ . . . b b b . . . & . b . . #. .
C7 Gm9
. . . . . . . & . b +5 B b6 C7 F7 F7 3 3 % bw b b n b n & . . b. n. # 3 3 . .
F7
. .
Dm7
G7
&
Cm7
b w
F7
F7
Dm7
# w
G7
G7
C7
F7
Dm7
G7
b w &
Cm7
Dm7
# w
b
C7
F7
B b6 bw
25
In C
Etude #5
F - dur
&4 4
E7
Impr. I
F6
. .
. . # #
2
&
. R . # # .
. # . b. . . . R E b6 . . b.
D7
D 6
b b b
. R
C7
. r .
B /D
. r
. # . . # . R r # # .
F6 C7
Impr. II
.
4
4 . # r . b . .
E 6
b . r .
4
4 3 r . # . . n # . #.
^ ^ ^ . . b .
& #. #. . b. # . # . # . . . 4
# . # . n . n # . .
26
b 2 . b b . b n. . & b b . R . b b . . b b .
D 6 C7
b . b .
& b . . . . . . . . . . . . . b . &
B /D F6
& b n
. . w . R #
E
C7
b
F6
bo 3 # . R
C7/E . . . b . n
Impr. III
E7 # . . . . b . n . & . R # . b . . E b6 . . . . . & #. #. # . . # #. b. .
& b . . . b . . # . b # b n. b . b .
3 3
# . # . # . n. n # . . . #. . # & #. # . # . #. D b6 2 b . b . b b . b b b . b b n . . b . & . b . b . . b .
D7 C7
& &
. .
F6
. . . . . b
. . . . # . . n . #
n
F6
.
3
C7
. . . b n . . . b .
&
^ . . . . #. . . . . .
27
In C
Etude #6
D b - dur
&4 4
Theme I A1 D 6
b b .
B 7
b b
E m7
B7
Fm7
b .
G m6
& b n
b b
D 6
b b b
A 7
b .
D 6
. r b
B m7
b . b bD 6 .
B 7
n
B7
E m7
. b w b
Fm7
A 7
A2
b b
b .
b n
b b
E m7
b b .
b . R
B bm7
G m6
b b .
Impr. I
b n . bR
D b6 . b w
E bm7 A b7 A1 D b6 . r b. b . . b n b . b b.
b . b . . # # . # . # & . # . # . # .
B7 Fm7
. n r
B b7 . . . b . b. b . b . b. . & . b . . . . # b # E m7
b G bm6 . b . b b . & b . b . . . b . b b. n b . b . b .
D b6 . b b. b . b b . & b
b . b #. b . b n b . b. b n . b
A 7
D 6
B m7
b . b .
28
& . b . . b . . b . b. . b. b . b. b
Fm7 w # # #. . . b b . . & # n. # #. b . n B b7 E bm7 3 & b . b . b . b . # b . b . . . b . b b . . . b . G bm7 D b6 A b7 . b b . b . r . b . b b b n b. n b b . . . . b . b. b & b. b B7 D 6
E m7
A 7
A2 D 6
&w
B7
B m7
E m7
A 7
Impr. II A1 D 6
b b . . b. #. b. b. b .
Fm7
#. # & . # #.
B 7
&
b b . b b . b . b . b & . b . 3
G m7 D 6
b .
b .
b b. b . . b . b . . b . . b b. b . .
E m7 D 6
. . # # #
^ ^ ^ b ^ b
& b &
B m7
b . . b
E m7
A 7
A2 D 6
b b
b . b b. n . b b. n . b .
A 7
. . b
# # #
B7 B 7
Fm7
b b b b &
3
D 6
b .
A 7
b b b
B7
D 6
B m7
A1
b & b & b
b b
E m7
b . b
29
A 7
Theme II
D 6
. . b b
b b
Fm7
E m7
& b
D 6
. . b n . b b . . b . b b
A 7
n . # #. #. . # n B b7 b. . b . . b
Gm6
b
B m7
. . b
E m7
b b b
. . b b . b b
B7
D 6
bw b
Fm7
A 7
A2 D 6
b b . . b . b
b b n
. #
# . # . . b
E m7
b b . b . b. b b . b b
D 6
b . . b n . b b
D 6
B m7
b b . b . b. b. b b b b n & b A b7 b b n & . R
E m7 D 6 D 6
b . b
b b bw
A 7
b b. b b
B m7
b bw
b . b
b
A 7
A 7
b b. b b
D 6
D 6
E m7
b A b7 b n . b R
&
b .
b b
b bw
30
In C
Etude #7
A b - dur
4 &4
Theme
r b. . r . . r . . r b
A maj
A1 A
bmaj
b b b b b 3 b b & b b b b 3 b 3 3 3
B7
3
b .
. r . . r . b
B bm7 . 3 b b b . . r . . r & b 3 3 3 F7
3 3 3
b B bm7 3 r r & b . . . r b . . r . . b . . . b b 1 2
G 7 E 7
&
A maj
b b b
E7
b .
E 7
A2 A
bmaj b. . . . . . b . . b R R
b b 4 b 3 b b b 3 & b. b b 3
B7 F7
b . . . . b . b . . . R R R
A maj B m7
3 b 3 3 & b b 3 3
b. b .
B m7
b 3 . . b b b. . b & b b b 3 . b b . b . . b R . b . R R b
G 7 E b7 & .
3
r b n.
A b6
E7
. b n.
3
E b7
Impr. I A1 A maj
. b . r
B7
& b . .
. b b b b. b b . b . b
b F7 3 3 b . b . . . . b b b . b & b . .
A maj
3 3
31
b n &
3 3
b b . . b . b . . b . . R b. b .
B m7
B m7
& . . b b n
Impr. II A1 A maj
E 7
b.
b b b b #
A maj
B7
3
b b b b
E7
E 7
3 3 r . . r b. b . b b b r . . & b . b b b b . 3
b b b n
&
b n b b . b b . b b . . r . . r . b . b . . 3 3
A maj F7
3
3 b 3 & b 3 3 3
B m7
b. b . b .
32
b 3 & . b b . . . . b b. b b. b b . b b . b . b b . 3
G 7 B m7
& &
E 7
3
b n
3 3
A maj
b E7 E b7 b . b . b . b n # b b
A maj
A2 A
bmaj b
. b . b
3
b . b . b. b b. b b . b b b .
F7
3 3
B7
b n . b . b b
3 3 3 3
b A bmaj . b b . bw b. . . & . b b . b b. b b. . . J b
B m7 E 7
& b . b . b . r b . . r . . r . b & b b b b b
3 3 3
E7
E 7
Theme
A maj B7
A maj
B bm7 . r . . r . b . . b b . &
. . b . r . r . b
b b b
3
b
3 3
b b
3 3
b
3
F7
b 3 . b r
# r r r & b . . b . . b . b . . n b b
G 7
B m7
E7
E 7
A maj
b bw
33
In C
Etude #8
&4 4
B
% Theme
G6
.. b
Bm7
bo
D7
Am7
bo & #
1. Am7
# n
#
2. Am7
E7
#
G6
b &
Impr. I
G6
D7
j .. b b n J J
Am7
end
&
bo bA
3
#
Am7
D7
bo
b b
G6
b b b
Bm7
E7
& n
A
# #
b w
o bo Am7 Bb b b n b &
n
Impr. II
&
b b n
E7
Am7
#
D7
G7
G6
D7
G6
# #
34
o bo Am7 Bb b b n b n b b b & #
A
Bm7
Impr. III
n # n b # & # b n
E7 Am D7 G6 A
G6
Bm7
&
# b b # b b b n
E7 Am7 D7 G6
bo
Am7
bo
Am7
# b b J
D7
# n # # b n b b n b &
35
In C
Etude #9
A1
&4 4
Theme
D maj
.
E 7
E 7alt
b
A2 D maj
#.
Gm7
E 7
& b & b
E 7alt
D maj
j #
b b n b
D maj
b .
Gm7
b b
C9
E 7
D7
B G maj69
& #
F m7sus
b b #
B7 B7
& .
Fm7
# 3 # j # b
F m7 B 7
3
b
B 7
3
F m7sus
B 7
& w
Gm7
A7
A3 D maj
w b
E b7 #w
b .
D maj
E b7 w
E 7alt
b .
Impr. I A1 D maj
&
#w
j
E 7
& b
E 7alt
b b J b b
Gm7
b b n
36
D maj E 7
&w &
B G maj69
A2 D maj
E 7
D maj
E 7alt
b b
3
Gm7
b 3 b b b b
3
j j # # #
C7
D 7alt
& #
F m7sus
j# j #
F m7 B7
C 7(add11,13)
j#
# B7 # # # & # # # # #w
Fm7 B 7
F m7sus
b b
Em7
&
B 7
b b
A7
B 7
E m7sus
# #
E 7alt
& #w b & b
Impr. II
Gm7
A3 D maj
.
E 7
# # #
b b
b D maj B b7 b j # b b b b #
3
&
C7
15
j # b b # # b # #
3 4
G maj
& #
b b b # b b 4 b 1 4
3
F m7
37
b b b & b n
4 3 0 3 Fm7
B7 1
4 2 # # # # n # n # # # # # # # 3 4 1 1 2
& b b
b b b b
Em7
B 7
b b b #
b # b b &
A7 b # b b & b b B 7
D maj
b w
# J
E 7
b b &
E 7alt
Gm7
E 7
D maj
Coda
&
D maj
b b
E 7alt
w
E 7
Gm7
E 7
#w w
b
E 7alt
D maj
&w &
Gm7
# j
E 7
D maj
b
D maj
#w
E 7
38
In C
Etude #10
12
Impr. I
C6
&4 4
F7
# . #.
G7
# . .
C6
# n
C6
#. . # . . r # .
&
Dm7
& . . . . . . . # n. # . . .
Impr. II
C6
# . . # n . # . . & #. #. n . # . . . b . # .
3 b . b . . b . . . . . & # # . . n . # . . # #
F7
C6
. . # . # &
Dm7
G7
C6 . . # . # . . b . # . . #. # . . n . #
3
3 3 3 & . . # . n . # . . # . # b # n #
Impr. III
C6
b . b . . b . . # . b. n . b . # . . n # . # . n &
F7 C6
. #. . . b n . . . . . . & . . . # . . . b n
Dm7 G7 C6
Impr. IV
C6
&
. .
. . . . . . . . . . . . . . . . . .
39
. . . b. . . b . . . . n . & . . . . # . # . . b . # . . #. & . .
Impr. V
C6 3
3 3 3 3 3
r . . . . . . .
#
3 3
F7
3 3 b 3 # b b # b # b 3 3 3 3 3
#
3 3 3 3 3 3 3 3 3
Dm7
3 3 3 3
# # & # 3 3 3 3
G7 C6
3 3 3
Impr. VI
. . . . . . . . . . . . & . . . . . . . . . . . .
F7
3 3 3 3
C6
C6
3 3
3 3 3 3 3 3 & b b n
Dm7
3 & 3
. . . . & & . #.
C6 . . . . . . . . . . . # . . . G7
Theme
F7
b
G7
. #. S
C6
C6
Dm7
b n
cresc.
40
In C
Etude #11
8
&4 4
C - moll
.. b
Fm7
Cm7
b b b
Cm7
b b b b
3 3
b
Cm9
A m7
Impr. jI
Cm7
b b b b b b
b b b
n b
Fm7
& b b n b #
Cm7
b b b b
Cm7 Fm7
b b
b b b b & b b b b b
A m7
41
b b b b b
Cm7
&
Impr. III
Cm7
b b b b b
Fm7
b &
b b b b 3 b b &
3
Cm7
b b
Cm7
b
3
Cm7
& b b
Fm7
b b b
b b b b b b
b b b b b b
A m7
b b b b b b b b b b b b
b b b b b
Cm7
b
3
b
3
..
A m7
b b b b b b
3 3
Cm7
n b n b
Cm7
b b w
A m7
b b b b b b
3 3
Cm7
A m7
b b b b b b
3 3
42
In C
Etude #12
B b - dur
&4 4
B 6
B 7
& b . . b
A 7
b 4 # . #. n
Theme
E 7
Cm7
E 7
# . . b n . .
F7
b. b .
b #. # . n .
B 6 B 6
.
4 3
b G7 & b . b . b
Impr. I
B 6
# . # . n
b E b7 & # # . n . b . b . . b
E 7
B b6 G7 r . # . # . n b . . b B 6
b . b . .
#. # . .
Cm7
A7
F7
b B b7 ^ . r b . # . n . b b # . # . . b
A7 A 7
B 6
G7
b E b7 B b6 B b7 . . # . . & b b . # b b . . bR #. . b . n b. b
Impr. II
B 6 B b6 A7 . b 3 . . b . b b . . & b b . b . . . b E 7
3
&
A 7
b 3 E b7 b 3 3 b # # 3 b b n & . #. . #. b # n 3 b 3 3
Impr. III
B 6 Cm7 F7
3
b n b b .
G7
Cm7
B b6 G7 . b . . r # . b . b . . . . . b . . F7
43
b B b7 3 3 3 b # b 3 & # b # # b 3 3
B 6
3
E 7
b 3 b b 3 3 b b b 3
b A7 3 A b7 3 G7 3 3 3 & 3 b b n b n # b # # b b b n 3
B 6
3 3
& b
Cm7
. . b . n
F7
3
F7
Impr. IV
B 6
. r #.
B 6
3 3
G7
b E b7 3 3 3 3 3 3 b b & b b # b
Cm7
3 3 3 3 3
b n #
3 3
b B b7 3 3 3 b 3 3 b & b b # 3
B 6
E 7
b b b
3 3 3 3
&
b b
3
3 3
B 7
b n b
3
b G7 3 3 b 3 b n b # b # 3
A7 A 7 3 B 6
Cm7
& b
Theme
B 6
F7
b . # . R . # . b
G7
3 3
Cm7
F7 b .
E 7
b . b . b . b
F7
B 6
b # . #. n
B 6
B 7
b. b .
b A7 A b7 G7 b. b . #. #. . #. b
B 6
. # r . n b . . . # # b .
w w
44
Etudes in B b
45
In B b
Etude #1
Intro
&4 4 &
Theme I
Gm7
Dm7
# #
B 7
G7
#
C maj
C maj
C7
F maj
. & b .
Fm7
b b . n
. # . w
A7 D7
# . # . # #
G7
& #
C maj
Dm7
#
Gm7
Impr. I
Dm7
# #
C7
#
G7
# #
# & . . # . . # . .
3 & . r # b # . #. # 3
3 #
3
F maj
Fm7
. b . #
D7
B 7
b 3 3 b
3
b . # . # b n . b # . & #.
C maj A7
3 3
#
G7
Dm7
&
C maj
# # #
# w # #
B 7 Gm7
Theme II
Dm7
G7
. .
F maj
. # #
& # .
Fm7
. .
C maj
C7
#
A7
&
. b
. .
b b
. # . # #
D7
# # .
46
Dm7 G7
Impr. II
&w
Gm7
Dm7
C maj . G7 . # # . . . #. . # . . #.
. . . . . . # . . # & #. . . b 3
C7 F maj
b #.
3
. #. & b . . . #. . . . # b
Fm7 B 7 C maj
A7
D7
#.
# n b.
3
# . b
Theme III
& b . # # # b b . b n . b. n . & . #.
C maj Gm7
Dm7
G7
Dm7
#
C7
. r . . R #.
F maj
G7
. . . . . . R # R # . . r # # .
G7 D7
Impr. III
& #. . #.
C maj
. . n # . . b w R
Gm7
Dm7
G7
Dm7
. r . . # . n #. #.
F maj
& . b . .# n . # . . b
Fm7
b #. . . . # . . . R R # #.
C7 B 7
# . . . b. # . . # . . & . b . . # . # R #. . b
C maj A7
Coda
& #
D7
. r # #. . . #.
G7
. . #. . R
C6
47
In B b
Etude #2
F - dur
&4 4
Dm7
Theme I
Gm7
. .
. R
Gm7
C7
# . .
C7
F maj
& . R # #w & # #
F maj
# . .
C7
. r . . #
Impr. I
.
C7
. # R
F maj
w
F maj
Gm7
. .
. . & . r
Dm7
. r # . . . .
Gm7
. R . . . #
& . # . . # . . #.
C7
. . .
F maj
. . . . . # . . .
C7
. . . . & #. #. . . # . . .
Impr. II
r & . . # . # . &
F maj
F maj
Gm7
. .
C7 m . . b . #. # . # . R . .
. #. . . # b . #. R . . # . . # . . .
3
Dm7
3 3 3 & #. n . # . # . 3 3 3
Gm7
C7
. b . . . # # n . . . . . # . . & R . . . . 3 2
F maj C7 F maj
48
Impr. III
Gm7
& . . .
F maj
. .
Dm
& . . .# .
. b # . . b .# # . # .
3 3
. r
C7
. .
3
. r #
Gm7
# b #. .
C7
. . . . # . &
C7
. . R #. #. # . . . # . . . #
F maj
Impr. IV
Gm7
# . . . . . . & #
C7
F maj
# # b
F maj
&
Dm7
# # n #
3 3
b .
. . # . . . r . # . . # b
&
w
3
Gm7
# # #
F maj
& # # n # #
3 & #
C7
# # #
Theme II
Gm7
3 # 3 # 3
3
C7
F maj
r . # . . . r . . .
F maj
Dm7 b . . . # # # . . . . . . . . . # . # . & # . 3 R C7
. . & . #. . #.
Gm7 F maj
. . # . J
C7 F maj
&
#. b . #
C7
3
# . # . . . R #.
49
In B b
Etude #3
E b - dur
4 &4 &
Theme
C7
3 #
E 6
b .
F7
# . r . .
G7
. r #. . . b .
B 7 Gm7
&
Fm7
b . . . . R
E 6
. b
Fm7
C7
. b.
b # &
B 7 G7
b w
B 7
b r . # . .
Impr. I
E 6 C7
. R
& #. . . . . . # b & n. . . . . .
4 3 2 4 F7
. .
b # .
B 7
Fm7
. . . . .
. . & . . . #.
B 7
Gm7
C7
Fm7
# b .
B 7
b . b. n . n w
G7
E 6
Impr. II b b . n . E b6 . & . R
. . . # b . . .
F7
50
&
#. .
C7 B 7
Fm7
b E b6 , 3 . b . . . # . . . . # . . #. &
Impr. III
G7
B b7 E b6 . #. n. . . #. # . .
. . R
& &
. .
#. # . # . . # . . # . . # . # . . . #. #. 3
C7
F7
. . .
. .
C7
. r . . b . # r . . b . . b
Fm7
Fm7
B 7
Gm7
& .
B 7
b E b6 . b &
3 3 3 3
. # . . b . . b
B 7
b
3 3 3 3
b E b6 . # . . n # . . . . # . . R
Impr. IV
. b . # . . . . . # n . . # . # . & .
G7
#. . . # . . #. . & . . b . . # . b . . #
C7 F7
& . . .
Fm7
Fm7
B 7
b Gm7 C7 r r b . # . . . . . # . . . b . #. #
B 7 B 7
b E b6 w b b & &
B b7 #
E 6
b .
. R
#.
. #
51
In B b
Etude #4
3
&4 4
C7
C7
Gm7
1 A1 Theme
B 6
. r
C7 C7
G7
. b
F7
w
F7
&
r & .
A2 B 6
+5 F7
w # . .
Dm7
Cm7
G7
G7
# . b
& .
Gm7
.
C7
. r
C7
w
F7
w & #. .
G7
F7
B 6
Cm7
+5 F7
Dm7
&
C7
G7
b w
C7
2 Impr. I A1 B 6
. & . . # . . # . . # o. 1 C7 F7 . . # # . # & . # .
Gm7
. . #.
# . . # n . b . . . b & R
. . # . . # . . # . 3 b Cm7 F7 A2 B 6 . . b . . & . . . .
Dm7 G7
+5 F7
& . . . . # . # . #
G7
#.
C7
. b
3
52
. 3 # . # . . . & .
3 G7 C7
Cm7
B 6
F7
+5 b F7 . . . # . n . . # R
. . . .
Dm7
. # . . . b. #. . #. n . # . . n . b &
Dm7 G7 Cm7
F7
A2 B 6
b . b . &
3
b .
3
G7
. .
. r #
3
^ # ^ n ^ ^
. ~~~~ . . . . & . . . . # . .
C7 Gm9 F7 Dm7
G7 . . . # . . . # . . . #. . . b & +5 B b6 1 C7 F7 F7 3 w % b n # & . . . #. # 3 3
& &
Cm7
w
F7
F7
Dm7
# w
G7
G7
C7
F7
Dm7
#G7 w
Cm7
Dm7
# w
C7
F7
B 6
b w
53
In B b
Etude #5
F - dur
&4 4
E7
Impr. I
F6
. .
. .
. . . . . R # . # . .
E 6
# . ~~~ # # # # # # . R & # # . 3
.
D7
. b . . b . b . r . b . b .
F6
C7
. r .
4
& . r # # . & b . # . . b
4
4 . # . . # # # . R
B /D
bo C7/E . b . . b . w &
E
r # # # .
Impr. II
F6
C7
b #
r . # . . .
2
. & #. & #. # #. #
D7
E7
E 6
b ^ . ^ ^ . r . #. .
1 1 3 r . #. # . n # . # # . # #
# . # . n . n #. . #. & #. # . # n. # . # . # . . .
54
b 3 3 3 3 2 b . b . . b n2 . b . & R # . b b . # . b . b . b . b
D 6 C7
&
. . . . #. . . . #. . #. . . . . # . w . R
E C7
&
B /D
F6
# n
F6
& # #
bo # . R
C7/E . # . . . #
Impr. III
E7 . . . # # . . . # . & . R # . . 2 4 2 . . . # # . #. #. # # & #. # #. # . # . 2
3
E 6
. .
& . . . . . . # . # n . .
3
# . # . # . n. n #. . # . # . . # . & #. # . # # .
D7
b b b &
D 6 C7
. . b . b . b n . b . #. . b . . . b . . . . # # . . b # . . . . #. . n . # #
. #
C7
. # . . n # . . # . b .
&
^ . . . # . # . . . . . . #
3
55
In B b
Etude #6
D b - dur
&4 4
Theme I A1 D 6
b b . b
D 6
b b
A 7 E m7
B7
Fm7
b .
G m6
& b n
B 7
b b .
D 6
. r
B m7
b b .
bB7
. b w b
Fm7
E m7
A 7
A2
bDb6 .
B 7
b b
b .
G m6
b n
E m7
b b .
D b6 . b w
. R
B bm7
b b .
Impr. I
# . b R
E bm7 A b7 A1 D b6 . r b. # . . . b b .
B7 b . . b . . b b b . b. & b. b b . b. Fm7
. r
B b7 . . . b. . & . b. . # . . . b. b . . #
b G bm6 1 . b . b b b . . . . & b b . . . . b b n b . . b
E m7
&
. b . b
. b . b
D 6
b . b . # . # . b . b b n.
A 7
D 6
B m7
b . . #
56
b & . b . # . . . b # . . . . b . . b
E m7 A 7
A2 D 6
. b b . n . b . . .
A 7
. r b . b
&w
B7
B m7
E m7
A 7
Impr. II A1 D 6
b . . b. # . b. . b .
Fm7
. b . b . b & & . .
G m7 B 7
b b . . . b. b . . . . b. b. .
E m7 D 6
. b b . b b
b b b . b . b b . b . . b & . 3
D 6
& b &
B m7
b # . . b
E m7
A 7
A2 D 6
b b
b . b . # . b . # . b .
A 7
. . b
B7
b b
b .
&
A1
b b b
3
D 6
b .
A 7
b b
B7
D 6
B m7
E m7
b . b b
57
A 7
Theme II
D 6
. . b
b b n
Fm7
. . . b
B 7
b . b . . . . . b
E m7
b. b . b . .
E m7
. . . b b . .
A 7
Gm6
b b
B m7
b #
& . b . & b
B 7
2 b
3 bB7 . b
b .
D 6
bw
A 7
A2 D 6
b b . . b .
3 . b . .
Fm7
2 b . . b n . b 4
& &
E m7
b b . b . . b . b
D 6
B m7
G m6
b b . b . .
# b . b b
D 6
b . b
b
2
A 7
b . b b
b
E m7
D 6
b bw
b A b7 b # . & R
E m7 D 6
b . b
b
A 7
A 7
b . b
b
D 6
D 6
b bw
B m7
b A b7 # . b R
&
b .
b bw
58
In B b
Etude #7
A b - dur
4 &4
Theme
r . . r . . r . . r b
A maj
A1 A
bmaj
b b b b b b & b b 3 b 3 3 3
B7
3 3
. . r . . r . b
B bm7 . 3 r . r & . . . 3 3 3 3 3 F7
3
b B bm7 r . . r . . r . r b . . . & . b b n b. n
G 7 E 7
&
A maj
b A2 A bmaj . . b . . # . . . . . R R
E7 E 7
3 bB7 b b b 3 & b b . 3
b . . . . . . b . . R R R
A maj B m7
3 3 & 3 3
F7 G 7
3
b.
B bm7 . 3 . . . b . . b & b b . b b . b . b . R R R
3
&
E b7 .
. r # .
A b6
E7
. #.
E b7
Impr. I A1 A maj
b . b . r
& b . .
. b b b . b b. b . b b 3
B7
b F7 3 . . . . . b. b & b . .
A maj
3 3 3
59
# &
3 3
b . b . b. . . b . . . R .
B m7
b B bm7 3 b . . b b b . b & . b . b
G 7
# b
E 7
A maj
& b &
E7
E 7
b b b
F7
b A2 A bmaj . B7 . . b . . . b . b . b . . b b. b.
A maj
b .
3 r . . b . b . . .
3 3 & . 3 3 3
B m7
b b .
3
G b7 3 b . b . b . b . & J b . b b . . b . b . B m7
Impr. II A1 A maj
& . . b # b
E 7
b b #
A maj
b b b b
E7
E 7
b b b n
4
3 & 3 3 3
F7
3 3
B m7
. b . b .
60
b n . . b
3 3 3
. & . . . b .
B m7
F7
b . . b . & . b. . b.
3
b 0
3 3 3 3
G 7
b. b . b b . .
3
& b . b . . r . . r . . r . b b b & b b 3
3
E7
E 7
Theme
A maj B7
A maj
b b b
3
b b
3 3
. . r . . r . b
F7
B bm7 . . . r . . & . . R 3 3
3 3 3 3
. b r
b B bm7 E7 E b7 r . . r . . r b # . . & b b. n
G 7
A maj
b bw
61
In B b
Etude #8
&4 4
%
B
.. # b
G6 Bm7
Theme
bo #
Am7
# n # #
E7
&
bo # #
1.
# n # #
&
# n
Am7
D7
.. # n # # J J J
2.
Am7
D7
G6
end
Impr. I
G6
&
o bA b
3
# #
Am7
Am7
# #
D7
b 1 3
G6
bo
b b b 4 2
Bm7
E7
& n & bo b
A
# # # # b
Am7
# n # w
B
# 2 2 # #
n # # 2 0
Am7 D7
bo
#
Impr. II
&
n b n
E7
# # # 2
G7
G6
# n # n #
62
o bo Am7 Bb b # b n # # b b &
A
Bm7
# #
&
Impr. III
4 1 # # # b # # # # 4 2 # 2 3 4 Am D7 G6 B G6
E7
#
Bm7
bo Am7 2 3 & # # b b n 3
A E7 Am7
# # b b 4 3
bo
bo b # n b & J
A Bm7 E7
Am7
Am7
b # # J
D7
# # n # b # # b # n # b & #
63
In B b
Etude #9
A1
&4 4
Theme
D maj
#
3
.
E 7
E 7alt
#.
Gm7
E 7
& b &
E 7alt
w
2
D maj
A2 D maj
# b
n # n # n
D maj D7
b .
Gm7
b
C9
E 7
B G maj69
& # # # & .
F m7sus
# J # n #
B7 B7
J
3
F m7 3
# # # b
B 7
F m7sus
B 7
&w
Gm7
A7
A3 D maj
#w
E b7 bw
n .
D maj
E b7
E 7alt
# n .
Impr. I A1 D maj
&
bw
Gm7
# J
E 7
& # n
E 7alt
b J # b
b #
64
D maj E 7
&w
Gm7
A2 D maj
# .
E 7
E 7alt
b # b
3
# &
B G maj69
b D maj D 7alt 3 b b # j # # n # j
3
& # #
F m7sus
j# # j # #
F m7 B7
C 7(add11,13)
C7
j#
# B7 # # # # # & # # # # # # # #w 3
4
F m7sus
b
Em7
&
B 7
Fm7
B 7
b b
B 7
b .
E m7sus
# # # # # 4 2 2
E 7alt
b A7 & #w b # b &
Impr. II
Gm7
A3 D maj
# . 3
# # # # 2
# b
E b7 D maj B b7 b # # # # b J 3
&
C7
15
j b b # b #
F m7
G maj
# & # # # # b b b # b
65
&
b b n b
b n b n b b b b b b b b b b b b b
B7
Fm7
& b
b b
Em7
B 7
b # # # J
E 7
# # b & b # # & b # b
B 7 E 7alt
A7
D maj
# b w
&
b b
E 7alt
Gm7
E 7
D maj
#w
Coda
& # &w
D maj
n
E 7
w b J
E 7
bw
Gm7
E 7
D maj
D maj
n
D maj
w
dim. poco a poco
E 7alt
b.
& n
Gm7
E 7
66
In B b
Etude #10
12
Impr. I
C6
&4 4 &
F7
# . #.
G7
. # .
C6
# n # #
C6
. # . . # . r . # .
& . . . # . n. n #. . . . . . #
Impr. II
C6
Dm7
. . # b . # . . # . . b . b & . # #. . n # . .
C6 3 . . b . . . . # . . # & n . . n #. . # . n # F7 Dm7
&
. . # . #
Impr. III
C6
G7
C6 . . #. . # . b . # . . # . . # . . n
3 3 3 # # n # & #. . n # . . n # . . # . n # 3 3
F7 C6 n . b . . . . #. . # . b . #. . n # . . # n &
. # . . #. . . . . # . . . & . #. . #. .
Dm7 G7 C6 2
Impr. IV
C6
&
. .
. . . . . . . . . . . . . . . . . .
67
. . . . . . . # . . n # . . & # . . . . . . # & . .
Impr. V
C6 3
3
. b . # . # . # .
3
r . . . . . . .
2 3 # 3 & # n # 3 3 3 3 3 3
3
& &
C6
# #
3 3
F7
4 3 3 3 # b # # 3 3 2
3 3 3
# #
3 3 3 3 3 3
Dm7
3 3 3 3
# # & # # 3 3 3 3
G7
3 3 3 3
C6 3
Impr. VI
. . . . . . . . . . . . & . . . . . . . . . . . .
C6 F7
3 3 3 3
C6
3 3
3 3 3 3 3 3 & #
Dm7
3 & # 3
. . . . & & . # .
2 C6 3 . . . . # . . . #. . . . # # . . # . G7
Theme
F7
G7
. # .
C6
C6
Dm7
# #
cresc.
68
In B b
Etude #11
8
&4 4
C - moll
..
Fm7
Cm7
# n
Cm7
b
3 3
Cm9
A m7
Impr. jI
Cm7
b b b
# n b
Fm7
& # b n # #
Cm7 0
Cm7
b
Fm7
& &
Cm7
2 b b b & b b b A m7 2
69
3
b b b
Cm7
&
Impr. III
Cm7
b
A m7
& b
3 b b b b & 3
b b
b
3
Impr. IV
Cm7
&
Fm7
Cm7
& &
A m7
b b
3 b b
b b
b Cm7 b b b n 3 .. 3
Cm7
b & b b
A m7
3 3
b b b
# n b # n b
Cm7
n n
Cm7
A m7
&
b b b
3 3 3
Cm7
A m7
& b b
b
3
# n b
70
In B b
Etude #12
B b - dur
&4 4
b #. #. n .
Theme
B 6 E 7
E 7
& b . . b G7 & b . .
A 7 Cm7
B 7
#. . b n . . #. # . n
F7
b b. .
b # . #. n .
B 6 B 6
B b6 G7 r . # . . n . . # B 6
b . b . .
#. # . . # #
Cm7
A7
F7
b E b7 & # #. n . b . b . .
Impr. I
B 6 E 7
b B b7 ^ . r . . # n b . . #. . #
&
A 7
b E b7 3 # # 3 b 3 & #. #. . #. b # n # 3 3 3 3
Impr. III
B 6 3 Cm7 F7
b .
b n
G7
Cm7
B b6 G7 . . # n r . # . b . . . . . . . . F7
71
b B b7 3 3 3 3 # & # # # 3 3
B 6
E 7
b 3 b b 3 b b 3 b 3
&
b A7 A b7 G7 3 3 3 3 # # b b b b b # b n b n b
3
B 6
&
Cm7
. . . #
F7
3 3
F7
B 6
r .
b E b7 3 3 3 3 3 b # & n
Impr. IV
Cm7
3 3 3 3 3
# . # # #
3 3 3 3
b 3 &
B 6
3
3 b # 3 3 3
B 7
E 7
b b
3 3 3 3
b A7 A b7 G7 3 3 b n 3 # b & # # # # 0 1 3 3 3 3
3
B 7
Cm7
&
Theme
B 6
F7
# . b # . R . #.
B 6 G7
3 3
Cm7
. F7
E 7
b . .
B 6
b # . #. n
B 6
B 7
b. .
b . b
F7
b A7 A b7 G7 # . # . . # # . # b. . n . . w w
B b6 r . # . # . n #.