Valerie Capers

“Ella Scats a Little Lamb,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:54:06 +0000

“Ella Scats a Little Lamb,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:54

Reina Krumvieda

“Ella Scats the Little Lamb” is slightly longer than one page long, and is inspired by Ella Fitzgerald’s renowned scat singing. This piece is bright and spirited, and the performer should strive to carefully observe all notated accents, in order to emphasize the scat style. A student would learn more about this particular style, where a singer improvises a melodic line on syllables or sounds, imitating the style of various instrumental performers. It would be helpful to become aurally familiar with Ella Fitzgerald’s work in order to mimic her style, and to be aware that the right hand plays a melodic variation of the tune, “Mary Had a Little Lamb.” The texture of the piece is pretty lean, and the writing puts it at the early intermediate level; however, the rhythm (which features syncopations and off-beat accents) may be challenging for a student not familiar with this type of jazzy writing.

Portraits of Jazz by Valerie Capers is a collection of 12 early intermediate to intermediate jazz style pieces published in 1976 by Aztec Diaz-Tec 800, and Oxford University Press in 1992. These pieces are inspired by or dedicated to a particular jazz musician or singer

Valerie Capers was born in 1935, and was introduced to music through her father’s ties to Fats Waller (American Jazz Pianist), and her brother’s performances in the Mongo Santamaria Band. She received her early education at the New York Institute for the Education of the Blind and graduated from the Juilliard School of Music, with Bachelors and Masters degrees. Capers brings a wide scope of pianistic styles and concepts to her playing, drawing from jazz idols and keyboard masters alike.

Source

Valerie Capers' official website

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“Waltz for Miles,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:53:11 +0000

“Waltz for Miles,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:53

Lizzie French

“Waltz for Miles” is a mid-intermediate piece from Valerie Caper’s collection Portraits in Jazz. The piece is written in the style of a jazz waltz, and, according to Caper’s notes, is a tribute to the expressive playing of Miles Davis, with a “simple melody [that] floats over warm, impressionistic harmonies.” “It is essential to become aurally familiar with Miles Davis’ work in order to fully capture his influence within Waltz for Miles. The piece requires a sense of flow and direction within a slow waltz tempo. As in many waltzes, the pedal is essential in keeping the bass ringing throughout the measure” (from Reina Krumvieda’s article).

“Waltz for Miles” requires the performer to produce a smooth singing line in the right hand while the left hand plays a chordal accompaniment pattern with some large leaps. This piece would be suitable for a student with smaller hands; while there are many chords that require the student to be able to reach a seventh, there are only a few that span a full octave. The score is detailed, with many pedal markings, articulations, and some layering of voices. The slurs in the top line should be observed; lifting the hand between slurs allows for better phrase-shaping and makes the melody easier to play from a technical standpoint.

Practice strategies:

Practice the singing line on its own and sing along while playing it.
Identify different voices and play them in different combinations, with a special focus on outer voices.
Many of the chords are inspired by jazz harmonies and are more complex than simple triadic harmonies. For students for whom finding the chords is difficult, practicing the harmonies on their own could be helpful.

Portraits of Jazz by Valerie Capers is a collection of 12 early intermediate to intermediate jazz style pieces published in 1976 by Aztec Diaz-Tec 800, and Oxford University Press in 1992. These pieces are inspired by or dedicated to a particular jazz musician or singer

NOTE: This article is partly based on a previous one by Reina Krumvieda (2020), published in this site.

Source

Valerie Capers' official website

Performed by Lizzie French.

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“Sweet Mister Jelly Roll,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:52:11 +0000

“Sweet Mister Jelly Roll,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:52

Reina Krumvieda

“Sweet Mister Jelly Roll” is approximately two pages long, and is inspired by Jelly Roll Morton, an American jazz and ragtime pianist. This is a ragtime piece, aiming to create in the simplest way possible the sound and style of ragtime piano. A student would learn more about this style, specifically where the left hand plays a simplified version of stride bass, is a left hand technique basic to ragtime and swing. It would be helpful for a student to become aurally familiar with Jelly Roll Morton’s work, in order to fully capture his influence within Sweet Mister Jelly Roll.

Source

Valerie Capers' official website

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“The Monk,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:50:36 +0000

“The Monk,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:50

Reina Krumvieda

The Monk is approximately two pages long and is inspired by Thelonious Monk, an American jazz pianist; it is said to have heard the Monk play once was “to know his sound forever more.” The performer should take note of the open fifths and sevenths, biting seconds, off-balance accents, and chord clusters which are all fundamental elements of Monk’s sound. It would be helpful for a student to become familiar with Monk’s famous blues composition “Straight No Chaser” as it is musically quoted in bars 7-9.

Source

Valerie Capers' official website

The Monk, performed by Reina Krumvieda

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Blues for "The Duke,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:49:15 +0000

Blues for "The Duke,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:49

Reina Krumvieda

“Blues for the Duke” is two pages long and is inspired by Duke Ellington, a renaissance man of jazz. This piece is composed in traditional twelve-bar blues form, which is based on three chords, the I, IV, and V. It would be helpful for the performer to think of this blues as a theme (bars 1-12) with two variations (m. 13-24) and (m.25-36) respectively, with an eventual return to the opening theme. The theme is reminiscent of Duke, so it would be beneficial for a student to become familiar with his style, in order to fully capture his influence within this piece.

The piece features chains of second-inversion chords in the right hand that require good voicing. The left hand features complex bass lines, and require careful shaping and balance.

Source

Valerie Capers' official website

Blues for "The Duke," from Portraits in Jazz. Valerie Capers. Performed by Ayla Lantz.

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“A Taste of Bass,” from Portraits of Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:47:41 +0000

“A Taste of Bass,” from Portraits of Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:47

Reina Krumvieda

“A Taste of Bass” is inspired by Ron Carter, whose solos and rhythm work had a profound effect on bassists after the 60’s; his solos and sense of time were described as “brilliant” by critic Jaki Byard. This piece is two pages long, and the first 17 measures comprise of a mini bass solo, with measures 18-24 representing a walking bass line. A student would learn about replicating this style, and should strive to become familiar with Ron Carter’s sound to better portray his influence throughout this piece.

Source

Valerie Capers' official website

A Taste of Bass, performed by Reina Krumvieda

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“Billy’s Song,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:45:06 +0000

“Billy’s Song,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:45

Reina Krumvieda

“Billie’s Song” is a beautiful one-page ballad dedicated to Billie Holiday, an African American jazz singer who influenced jazz and pop singing. The performer should take care to find the special warmth and intensity represented in this piece — her singing represented an unforgettable experience, perhaps because of so much sadness and tragedy she underwent in her personal life. A student would learn more about this care emotional expression, and would benefit from familiarizing themselves with Holiday’s work in order to capture her full presence and sentiments.

The piece requires careful voicing of the right hand chords in order to create a smooth melody. The piece may help young pianists develop a natural sense of time freedom and rubato, which are integral to this kind of jazz ballads, and to Holiday’s singing.

Source

Valerie Capers' official website

Performance by David Reid.

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Mr. “Satchmo,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:42:02 +0000

Mr. “Satchmo,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:42

Reina Krumvieda

Mr. “Satchmo” is a two-page work inspired by Louis Armstrong, a famous and influential American trumpeter, vocalist, and composer within Jazz. In measures three, four, seven, and eight, the right hand line imitates the style of Armstrong’s or “Satchmo’s” early trumpet playing. His particular trumpet style was known for being daring and flashy, with incredible trumpet pyrotechnics. During the off periods of these solo trumpet inspired bars, a performer should strive to capture the feeling of old New Orleans street bands, to contrast their charm and simplicity with the rest of the piece. A student would learn about controlling their sound, ensuring that they clearly contrast between the endearing street band sound and swung, almost flamboyant Satchmo inspired solos. A student would benefit from familiarizing themselves with Satchmo’s earlier trumpet work, in order to fully capture his showy yet still improvisational sounding compositions.

While the left hand in this piece plays a fairly simple single line that imitates the bass of the band, the right hand can be challenging, as it features frequent 3-note chords with the melody on top, therefore requiring good voicing and sense of line, and agility to find the chords in time. The right hand, as pointed above, is interspersed with nimble and fast “trumpet” solos that require evenness, control and clarity.

Sources:

Valerie Capers’ official website

Mr. “Satchmo”, performed by Reina Krumvieda.

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“Canción de la Havana,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:40:34 +0000

“Canción de la Havana,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:40

Reina Krumvieda

“Cancion De La Havana” is about two and a half pages long, and features the Western African (Nigerian) rhythmic pattern, which is basic for Afro-Cuban idioms. Measures 38-53 pulls strong influence from Cuba and Puerto Rico, and is reminiscent of Guaguanco music, which represents a combo of West African and flamenco influence. It is recommended for a student to practice measures 14-21 as a two-hand rhythmic drill, in order to avoid difficulty in coordinating rhythms. A student should also familiarize themselves with and listen to several examples of this type of music, in order to fully capture and understand Caper’s intentions for this Afro-Cuban inspired piece.

This piece requires quite a bit of freedom in timing. as it contains frequent changes in meter, accelerandos, and free cadenza-like passages which should not be measured strictly.

Source

Valerie Capers' official website

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“Bossa Brazilia,” from Portraits in Jazz, by Valerie Capers

Anonymous — Sun, 26 Apr 2020 14:39:56 +0000

“Bossa Brazilia,” from Portraits in Jazz, by Valerie Capers Anonymous (not verified) Sun, 04/26/2020 - 08:39

Reina Krumvieda

“Bossa Brasilia” is two pages long and is inspired by the bossa nova from Brazil, which is a two measure rhythmic pattern in 4/4 time that doesn’t actually occur in this piece. The flavor and feeling is created through repetition of the dotted quarter and eighth note patterns in the left hand, which are played against the offbeat quarter notes of the melody in the right hand. Bossa nova influenced American pop and jazz during the 60’s, so it would be beneficial for a performer to familiarize themselves with this style in order to capture its full essence within the piece.

The main challenge of this piece for a beginning student is the rhythm. The right hand often presents off-beat, independent melodies full of syncopations, set against a pretty stable rhythm in the left hand. In addition to this challenge, the right hand also requires finger independence, as the melody is often performed by the upper fingers of the hand, while the thumb and second fingers hold on to the long notes of the harmony.

Source

Valerie Capers' official website

Performer: David Reid

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Valerie Capers

“Ella Scats a Little Lamb,” from Portraits in Jazz, by Valerie Capers

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