Simply Jazzy: Boogie, Blues, Gospel, Jazz, Ragtime, and Rock, Book 2: Piano Book

Goldston understood what late elementary and early intermediate students actually want to play: music with real jazz flavor that doesn't require years of jazz history to sound authentic. The syncopated rhythms and blues harmonies here grab students' attention from the first listen, but the writing is careful enough that practice yields real results without frustration.

Bright and rhythmically alive, with the confident swagger of genuine jazz and blues feeling. There's accessibility here but no condescension; the harmonies shimmer with color and the syncopation has real bounce, inviting both player and listener into the world of improvised music.

Late elementary and early intermediate pianists who need engaging repertoire that introduces authentic jazz and blues language without oversimplifying the harmony or rhythm. These solos work equally well for students preparing for recitals, festival competitions, or informal performances at home.

• Isolate the syncopated passages by clapping the rhythm without the melody first. Students often rush syncopation when they're also managing hand position, so separating the elements builds confidence.
• Lean into the swagger of the blues changes. These aren't delicate pieces; encourage students to commit to the harmonic color and let the jazz flavor sing through.
• Layer the pieces by teaching them in order. Each solo builds on blues and jazz vocabulary from the previous one, so sequencing them in recital creates a natural arc.

Feature one or two pieces from this book as a standalone jazz section in a mixed recital, or program the entire collection as a short jazz set within a larger student showcase. The variety of styles (boogie, blues, gospel, ragtime, and rock) means you can select pieces that match your students' strengths and your concert's tone.

• Reading syncopated rhythms in jazz context
• Interpreting jazz harmonies and chord extensions
• Blues scale and twelve-bar blues form
• Swing feel and rhythmic flexibility
• Left-hand stride and accompaniment patterns
• Sight-reading jazz notation and articulation marks