Cobbway Piano Syncopation Lesson 3 of 8

8/3/2019 Cobbway Piano Syncopation Lesson 3 of 8

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T H E

TO BETTER

P IAN O SYN CO PAT IO N

LESSO N 3PUBLISHED BY

THE HARO LD C O BB SC HOO L O F P IA NO SYNC O PA T IO N

. C HANC ER Y LAN E , 91 S T . GEO RGE 'S S TR E E T , C A P E TOW N



L esson 3

LESSON 3.

Contents:

1. Fox trot and waltz written out with syncopated basses and right hand octaves (Chart 3).

2. How to fill right hand chords.

3. Exercise to be filled in with right hand chords for the next lesson (Chart 4).

FOX TROT AND WALTZ WRITTEN OUT WITH SYNCOPATED BASSES AND RIGHTHAND OCTAVES.

. 1. In Chart 3 the fox trot and waltz given in Chart 2. Lesson 2. have been written out for you as

you should be playing them.

The Fox Trot.

2. Refer to the filled-in version (Chart 3) of the fox trot which you prepared for this lesson. When

you play this fox trot. or any jazz piece. be sure that you can memorise and play all the different basses;

and don't forget to play your right hand octaves an octave higher than written.

3. Study the fox trot in Chart 3. bar by bar. and compare it with what you have done. Correct any

mistakes you have made and. if you are in any -loubt, refer back to Lessons 1 and 2. When vou have

done this. study the filled-in waltz (Chart 3).

The Waltz.

4. First make sure tnat all your basses are correct. In bars 5 and 6. where C major is the harmony

for both bars. note that. in bar 5. you play the C major tenth and two after-beats; and in bar 6. youalternate to t h e 5th degree (G) on the first beat of the bar. and after-beats on the second and third beats.

In bar 14 there are two harmonies-D 'minor on the first two beats of the bar. and G 7th on the third

beat. Therefore, play D minor tenth and after-beat on the 1st and 2nd beats of the bar; and G 7th

after-beat on the 3rd beat. .

5. Don't rorget to pedal correctly for the change of harmony in bar 14. as explained in paragraph

12 of Lesson 2. Practise the waltz slowly. comparing my filled-in version with yours. Keep strict tempo.

and listen carefully to the effect of your playing.

HOW TO FILL IN RIGHT HAND CHORDS.

6. So far we have dealt only with the left hand. or oass, inmodem piano playing. T}>~examples

in Lessons I, 2 and 3 illustrate the main principles of modem piano syncopation.

When you understand these principles. you will not find it difficult to build up your own piano solos.and your own style. You will, in fact, soon be playing like radio and record stars.

7. S o far you have only learned to play octaves in the right hand, a method which sounds rather

thin. Your next step is to learn how to fill in the octaves with notes taken from the left hand chords.

Example 26:

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~ = 1 : - = 4 i f -.. -. . •8. In Example 26. note that the right hand chord on the first beat of bar 1 is C octave filled in with

the notes E and G, of the left hand chord. Similarly, as the bass after-beat is G. C, E, fill in E octave

(third beat in the right hand) with G and C. Note that here again the right hand fill-in notes have been

taken from the left hand chords.

In bar 2 the melody F is filled up with A and.D, notes taken from the D minor bass in the left hand.

On the third beat, D octave is filled in with G and B. notes taken from the G 7th bass on the same beat

in the left hand.

The chord in the 3rd and 4th bar is the same as the chord on the first beat of bar I.

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9. Study the further examples of right hand filling given in Example Tl.

Example 17:

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10.. Play over Example 10 in Lesson Iand you w in find that it is the same as Example Tl, except

that here the right hand has been filled in.

Bar I of Example Tl is F major filling; notice that all notes in the chord correspond with the left

hand chord.In bar 2, on the first beat, the right hand chord is E, G. B flat, C and E.

Itis permissible to play B flat and C together here. because B flat is·the flattened 7th and C is the

first degree of the scale. Both are found in the left hand chord.

Practise this exercise carefully, in strict tempo, until you can play it without hesitation.

Example 28:

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• In this course quavers are referred to as eights. and semi-quavers as sixteenths.

11. When there are eighth and sixteenth notes in the melody. as in Example 28, fiU in only those

o cta ve s wh ic h fall, on the beats.Work out Example 28 carefully in this way. and' then compare your work with Example 29.

Example 19:

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t12. Note that in Example 29. only those notes of the melody which fall on the beats are filled up

(with notes taken from the left hand chords).

13. Chart 4 is Example 29 written out as an exercise. Notice that, in the first four bars, I have

filled in the right hand chords. In the remaining exercises, fill in the right hand and left hand chords

yourself. in the same way. Ifyour right hand gets in the way of your left hand after-beats, play the right

hand an octave higher.

14. For Lesson 4, till in the right hand of both the waltz and fox trot in Chart 3; and work .out

and learn the exercises on Chart 4.

1 5. Don't forget your notes on .. How to Practise."

Page 2 L es so



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Cobbway Piano Syncopation Lesson 3 of 8