Mirron and Jazz Program Pieces
Found in: Curriculum, Jazz Clues
Shelly E., Utah
I have a student who is flying through the steps in the Jazz program. He can play the Mirron as a piano solo (with exact rhythm), with Jazz clue 1 and 2, and has almost completed all of the “dropping in” exercises for the the Mirron using just RH 3 & 5. He did all that in just a few months. My questions are:
1) He didn’t actually memorize the Mirron but can play it very solid with his music. I’m now wondering…. was he supposed to have memorized it before we moved on with dropping in? If so, now what? If so, what is the purpose for having memorized it?
Gordon Harvey, Australia
Since the dropping-in is all about the chords and not about the melody, I see no need to have memorised the piano solo version before moving forward with the dropping-in. However, my approach to this program includes covering most if not all the pieces in the Touch of Jazz book as Jazz Clue 1 & 2 projects before moving on to Jazz clues 3 & 4. I’m not clear from your message if that’s what you’ve done, but if you’ve gone straight through to dropping in (Jazz Clues 3 & 4) in Mirron before covering Jazz Clues 1 & 2 in other pieces, I would consider that risky. It’s obviously worked for this student, but it may not for most.
Shelly E., Utah
2) When exactly do you introduce RH 2&3 or 2,3,&5? How do we know which one to use? Just use the ear and go with the one that sounds the best?
Gordon Harvey, Australia
Again, I would go through most of the book using just 3 & 5 before adding the extra 2 option. The 2 just provides another choice. You can use it whenever you like the sound of it.
Shelly E., Utah
3) How do I provide an ensemble experience here where he is playing (“comping”?) in a Jazz band? I asked the student’s mother if she knew any Jazz players and like me, she knows **nobody**. I tried playing with the CD and it seemed to drag and not fit so well with the upbeat drop- ins. Perhaps I’m just too unfamiliar with Jazz styles with my strong classical training?
Gordon Harvey, Australia
There are certainly some of the drop-ins that work better with the CD than others. At the very least, he can play each one with the CD to make sure he has it correct, and once that’s clear, leave aside the ones he doesn’t like.
Shelly E., Utah
4) Long time teachers I have question for you: Do your students eventually start improvising with the rhythms and creating great sounding **piano solos** as Neil demonstrates on all the Jazz numbers? I hope so, then I can really start getting excited about this program.
Gordon Harvey, Australia
Absolutely! In fact, I have had many students improvise so readily that they do it as soon as they start the dropping in, and I have to drag them back to the more laborious task of following the dropping-in diagrams in the book. In these cases, sometimes I don’t spend a lot of time on the diagrams – I want them to have access to those rhythms, but not to the detriment of their natural exploration. Hopefully the two streams combine so that they have both freedom to let loose and discipline to make conscious choices. Then, they can start to use the dropping-in rhythms, either their own or from the program, in their piano solo arrangements. It’s very rewarding!