Piano a la Jazz: Intermediate: Piano Book

Strommen writes jazz repertoire that genuinely sounds like jazz, not a method book exercise. These solos sit at that sweet spot where intermediate pianists can tackle authentic jazz vocabulary and phrasing without drowning in harmonic complexity, and the original compositions mean students engage with real musical ideas rather than generic patterns.

Strommen's writing swings naturally without forcing the rhythm. The solos blend accessibility with genuine jazz language: you'll hear blues changes, walking bass implications, and syncopated melodic ideas that feel modern and alive, not scholastic.

Late intermediate and early advanced piano students ready to explore jazz beyond scales and chord progressions. These solos work for students in private studios, jazz piano classes, or students who want to balance classical technique with contemporary styles.

• Listen actively to jazz piano recordings (Bill Evans, Oscar Peterson, Keith Jarrett) before learning these solos. Absorb how swing eighth notes breathe, where comping sits in the measure, and how pianists shape their touch.
• Work the left hand voicings separately first. Jazz piano lives in the left hand; lock those shapes into muscle memory before layering the right hand melody.
• Experiment with touch and pedal to find the right resonance for each piece. Jazz piano tone varies widely. Some passages call for clarity and dryness; others ask for a warmer, more connected sound.

Feature individual solos from this collection on studio recitals, jazz showcases, or mixed-genre concerts. A student who's spent months on classical technique will find these pieces both refreshing and demanding, offering a performance context that makes jazz study feel consequential.

• Swing eighth-note feel and syncopated rhythmic phrasing
• Left-hand jazz voicing shapes and comping patterns
• Blue note usage and approach-note articulation
• Independent hand coordination in asymmetrical jazz rhythms
• Touch and tone control for jazz idiom