Preludes for Piano, Volume 3: Piano Book

Dobbins respects both traditions enough to write seriously in each one. These preludes don't treat jazz as decoration or novelty; they invite classically trained pianists into genuine improvisation by grounding them in notated material they can trust and build from. The performance notes show a composer who understands exactly where players get stuck between two worlds.

These preludes inhabit a sophisticated middle ground where a Bach-like counterpoint might dissolve into swing rhythms, or a lyrical classical melody opens into jazz reharmonization. The music feels thoughtful and conversational rather than showy, inviting the player into an intimate dialogue with both traditions.

Classically trained pianists wanting to develop improvisation skills without abandoning their technical foundation. Also valuable for jazz pianists seeking structured practice in integrating classical harmonic and melodic concepts into their playing.

• Read the performance notes before you practice. Dobbins addresses the specific tensions between classical precision and jazz spontaneity, and following his guidance will accelerate your understanding of what he's asking for.
• Treat the notated passages as a launching point rather than a destination. Once you own the written material, experiment with variations in voicing, rhythm, and phrasing within each prelude's harmonic framework.
• Listen to recordings of jazz pianists working with composed material (Bill Evans's interpretations of standards offer good models). Notice how they honor the composition while leaving room for their own voice.
• Record yourself playing the same prelude multiple times in succession. The spontaneity and freshness Dobbins seeks emerges through repetition and listening, not through avoiding the material.

Feature individual preludes in student recitals to showcase crossover work, or program the entire collection as a standalone recital piece that demonstrates stylistic range. These are equally at home in a jazz studies curriculum or as an enrichment project in classical piano pedagogy.

• Improvisation within a composed harmonic framework
• Integration of swing rhythms and jazz articulation into classical technique
• Recognition and application of jazz voicing vocabulary (extensions, alterations, upper structure triads)
• Performance choices that balance fidelity to notation with spontaneity and interpretation
• Listening and transcription skills across musical traditions