A-RHYTHM-A-TIK

• A-Rhythm-A-Tik is a collection of 27 original pieces in a variety of styles, levels and keys suitable for teenagers and adult learners.
• The music includes improvisation over simple harmonic structures and the level is from grades 3-6
  (Associated Board of the Royal Schools of Music).
• There are contemporary pieces influenced by jazz, classical , popular, TV themes and light music.
• Much of the music has a strong rhythmic element and identities such as swing, funk and latin.
• Many of the improvisations focus on groove rather than complex harmony.
• The arrangements are flexible and the performer can choose whether to include the improvisation or not.
• Rigid observing of the notated music is not necessary and again pianists may deviate from the written material as long as much of the important elements of the composition are in place.
• The music comes with a series of online lessons by the composer herself. See below....

HOW TO USE THIS SITE

• Purchase your copy of A-Rhythm-A-Tik fromwww.lulu.com
• Below are a selection of pieces from the book performed by the composer herself.
• Use the menu on the left to find the lessons on the tune you want to play.
• The tunes are aimed at different levels roughly equating to the UK Associated Board piano grades.
• If you have a tablet or large-screen mobile phone you can place that device on the music stand of your piano as you you follow the lesson.
• Stop and rewind as often as needed. Play the movie in full-screen for the best experience.

The bell like pattern in the left hand at the start is developed in the right hand from bar 26 onwards and needs good coordination to make the change of texture smooth. This ‘pop’ styled piece has an easy solo section which uses pentatonic scales on Bb and Eb.

A pop styled tune with a section in F followed by repetition a fifth higher in C. The solo section is straightforward with two bars repeated and the suggested scale is the major pentatonic with a possible bluesy flattened third.

This is in the musical theatre genre and has some ‘classical’ elements to it such as the repetitive broken-chord-left-hand-pattern. It requires a very expressive right hand to ‘tell the story’.

In the style of musical theatre and jazz, ‘Infinite Regression’ uses a tonic pedal in the left hand while the chords change above. Although there are some changes of time signature the music is melodically led and so the rhythmic challenges are minimal.

The first piece to be composed for this book and it was influenced by some of the American TV themes from the 70s. The groove is swing but the left hand bass line is syncopated giving the music a contemporary feel. In bar 39 the right hand needs to be relaxed to play the falling grace notes.

The haunting nature of this piece becomes evident when the music is played at a quick tempo. It requires a nimble right hand to play the various figures as the hand goes from a more closed position to a stretched one. The rhythmic figure in bar 33 that is later repeated sounds effective if the rhythm is really strong. Beware bar 51-53 ! It is tricky as the usual pattern is interrupted.

Watch out for the time signature changes ! As long as the melody is strong the changes won’t be too obvious. Originally recorded on ‘Tryptych’ by the Andrea Vicari Trio.

A wide range; consecutive thirds in the right hand; a tremolo; octaves; parallel, quartal harmony (a.k.a ‘So What’ chords); and a very syncopated funky groove are what makes this music exciting but quite challenging.

There are four distinctive sections in the South African influenced composition ‘Base my Life’: intro; tune; bridge or development at bar 13; and then the chorus from bar 17. This last section should be practised slowly at first as there are many changing chords requiring different hand shapes. Recorded with the ‘Jazz Extempore Orchestra’ on the  ‘East Meets West’ CD.

Part of the ‘Mirror Suite’ commissioned by Leasowes Music Festival. Expression and a relaxed style will enhance the music. It is important to count at all times, especially when the music comes to rest for long periods such as in bar 18  (the dotted minim).