Jazz-a-Little, Jazz-a-Lot, Book 2: Piano Book

Rollin writes jazz idiomatically without overwrought complexity or artificial difficulty. Each solo introduces specific jazz vocabulary through melody and harmony rather than rhythm alone, giving students genuine fluency in the language of jazz rather than surface-level exposure. The progression from Book 1 to Book 2 makes these collections genuinely useful for building a coherent jazz curriculum across two consecutive years of instruction.

Accessible swing and blues figures meet accessible harmonic progressions, creating pieces that sound authentically jazz without demanding technical virtuosity. The melodies are singable and memorable; the comping sits naturally under the hand. Playing these solos feels like stepping into a jam session where you actually belong, not struggling through notation designed to impress rather than teach.

Early intermediate pianists ready to move beyond classical or folk idioms and explore how jazz musicians approach melody, harmony, and rhythm. These solos suit students who have solid hand independence and can read in both treble and bass clefs. Teachers preparing students for jazz competitions, recitals, or simply wanting to broaden their musical experience will find these pieces essential.

• Establish a steady pulse before adding syncopation. These pieces reward precision in the rhythm section comping; nail the written rhythms first, then layer in swing feel.
• Listen to recorded jazz standards that share harmonic or melodic DNA with each solo. Hearing how professionals voice similar changes builds taste and intonation.
• Balance melody against comping voices. Early intermediate pianists often either bury the tune or separate it too starkly from accompaniment; aim for a warm blend where the melody sings over the chord progression.
• Work the left hand independently before combining hands. Rollin's comping patterns are idiomatic and require secure keyboard awareness.

Book 2 works beautifully as a bridge between classical repertoire and jazz improvisation study. Program individual solos in spring recitals after students have been exposed to jazz history and listening; the pieces become conversation starters about style and interpretation. You can also use them alongside improvisation exercises, letting students ornament or reharmonize sections once they've learned the written piece.

• Swing rhythm and syncopation typical of jazz style
• Voice leading in seventh chords and extended harmony
• Comping patterns and independence between hands
• Legato melodic phrasing over rhythmic accompaniment
• Reading and executing jazz articulation and expression marks