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PJH001/Hugosson:Bluesy Bear
Bluesy Bear -Listen
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PJH002/Hugosson: Country Call
Country Call -Listen
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PJH003/Hugosson: Rainy Romance
Rainy Romance -Listen
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PJH004/ Hugosson: Ebony Echoes
Ebony Echoes -Listen
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PJH005/ Hugosson: Get a Grip
Get a Grip -Listen
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PJH006/ Hugosson: Giant Grip
Giant Grip -Listen
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PJH007/ Hugosson: Roaring Roundabout
Roaring Roundabout -Listen
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PJH008/ Hugosson: Spy Story
Spy Story -Listen
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PJH009/ Hugosson: Swing It Sister
Swing It Sister -Listen
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PJH010/Hugosson: Sophie's Samba
Sophie's Samba -Listen
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Up to Easy Piano Downloads
Ten More Easy Jazz Pieces
PJH011/Hugosson: Bubbly Bud
A bluesy number with quick triplets in both hands and two slow triplets shared between the hands right at the end. The B section (bars 25-30) is a bit tricky and unusual since you always have rests on beats 1 and 3.
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PJH012/Hugosson: Peppy Poppy
This is a cheerful tune, full of syncopations and with the melody in the left hand.
In bars 11-12 you have a complete A blues scale, and in bar 16 a big jump in the right hand. The best way of learning jumps and making them secure is to practise them ”blind”, i.e. with eyes closed.
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PJH013/Hugosson: Floating Free
Here we have a dreamy ballad where you can choose several different fingerings for the repeated right hand figuration starting in bar 1. Try 2-3-4-1-2-3-4-5 (this is very legato and good for practising your turn) and 1-2-3-5-1-2-3-5 (this is good for fast displacement, moving from position to position in a controlled way). The left hand has the more interesting part, from the chromatic line at the start to the melody of the B section. Enjoy!
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PJH014/Hugosson: Happy Hippo
At first I called this piece "Hoppy" Hippo because of the jumpy rhythm. Then I found it so joyful (especially together with the backing track) that I decided to change the title to "Happy" Hippo. It is quite straightforward; once you’ve got the rhythm you just keep going. The piece needs to be played in strict time, and I would use quite a lot of pedal, changing with the left hand or with the chord changes.
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PJH015/Hugosson: Fair Fiona
Fair Fiona is a meditative piece where it is important to give the long notes their full value. Make sure that the 16th notes are evenly played and legato throughout. You don’t necessarily have to use the una corda pedal all the time; all instruments are individual. We are looking to find an introverted veiled sound in this instance.
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PJH016/Hugosson: Dexter's Doldrums
A cosy twelve bar blues/boogie with a classic left hand bass throughout. Make a big difference in bars 13-24 between the short – short – looooong – short right hand chords.
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PJH017/Hugosson: Daniela's Dream
This is a another dreamy romantic expressive piece. It would be a good idea to play with the timing, i.e. use rubato, since it would sound very stiff to play this type of piece metronomically. Here you get to cross hands, the left hand sometimes reaching near the top of the piano.
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PJH018/Hugosson: Mick the Lick
This is a piano rock number where you play different right hand ”licks” over a solid left hand bass. Unlike the slow ballad type pieces such as Daniela’s Dream or Magdalena’s Mystery here you need to keep a totally strict pulse. Anything else would just sound wrong.
In order to play the alternative (”ossia”) fast notes in bars 31-35 you need to achieve a completely independent left hand. The left stays in time while the right plays the fast notes freely. (You don’t have to play the exact number of notes written, as long as it sounds fast and exciting).
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PJH019/Hugosson: Magdalena’s Mystery
This quirky and Middle Eastern sounding piece is quite different from all the others in this book, and I really enjoy playing it. I have written rubato, and it really needs a lot of giving and taking, moving forwards and backwards in time.
Make as much contrast as you can between legato and staccato, and I recommend exaggerating the slurs wherever they appear.
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PJH020/Hugosson: Tango Tangerine
A classic tango with a dramatic A section in the minor and a dreamy B section in the major. Make sure to get the right exciting rhythmical staccatos mixed with the melodic legato lines. Right at the end there is a key change and the tango moves into e-flat minor. In these last two bars the fingering suggests creating “wedges” using two fingers on single black keys flattening your fingers and angling them outwards.
Could this be the first time you have played a piece with six flat
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