Jazz, Rags & Blues, Book 3: Piano Book & CD

Mier writes jazz idioms that sound authentically bluesy and swinging without requiring students to stretch beyond their technical grasp. The third book in the series sits at exactly the right difficulty level for students ready to explore beyond classical forms but not yet prepared for complex harmonic substitutions or rapid bebop passages. Each piece in this collection moves musically; they never feel like exercises dressed up in jazz language.

These pieces swing with an infectious lightness. You'll find blues changes that feel natural rather than imposed, ragtime rhythms that groove, and jazz standards reimagined for student hands. The music captures the sophistication and swing of the jazz idiom while remaining accessible, making each piece rewarding to play rather than frustrating to learn.

Late intermediate pianists who want to move beyond classical repertoire and explore the American jazz tradition. Students at this level have solid technique and can navigate syncopation but benefit from guided exposure to blues changes, swing feel, and the character of ragtime. This book works equally well for studio students seeking stylistic variety and ensemble pianists broadening their musical vocabulary.

• Treat the swing eighth notes as a stylistic choice, not a metrical complication. Establish the triplet feel in your practice sessions before worrying about the tempo; accuracy with the subdivision matters far more than speed.
• Listen actively to the recorded performances included with this book. Notice where Kim O'Reilly lets the melody breathe, how she handles the blues changes, and the rhythmic ease she brings to syncopation.
• Identify the blues form underneath each piece. Once you see the 12-bar structure (or variations of it), harmonic changes become landmarks rather than obstacles.
• Balance melody and accompaniment by practicing hands separately until the rhythm of the left hand feels natural enough that your right hand can sing freely.

Slot one of these pieces into a spring or winter recital to showcase a student's stylistic range, especially when programming around classical and contemporary works. The CD recordings provide an excellent reference for students and teachers new to jazz interpretation. Consider pairing pieces from this book with American history units or cultural studies programs that highlight the origins of jazz.

• Swing eighth-note rhythms and triplet subdivisions
• 12-bar blues form and chord progression navigation
• Syncopation and jazz phrasing
• Left-hand independence in stride and swing accompaniment patterns
• Interpretation and stylistic nuance in jazz idiom
• Musical listening and transcription awareness through recorded models