Sheet Music: Lick #2 from “A Study in Blues Piano”

 

Here’s a downloadable PDF file of sheet music for Blues Piano Lick #2, for optional use with “A Study in Blues Piano.”

This is entirely optional material, as far as completing the above course is concerned. As I said yesterday, this is a supplement I’m putting together, in response to recent requests that  I’ve had from students who can read music.

Non-music readers:  This course was designed to require ZERO reading of music.  Fear not!

How to Riff on Van Morrison’s “Moondance” – Part 2

Hello!

This is Lesson Two of a three-part video series on "jazzy-rock" improvisation.

(Lesson One is here.)

(Lesson Three is here.)

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These three tutorials would fit somewhere near the center of the jazzy-rock genre spectrum, if there was one.

I guess there could possibly be a jazzy-rock genre officially defined somewhere, like in a big canvas binder at the Genres Office, or like that. Regardless of the possibility of this being regulated, I'm using the term freely here, maybe even whimsically, maybe even having some devil-may-care attitude going.

If I had a managing editor you would not have seen the previous paragraph. Don't worry, with your continued support, we will hire a managing editor.

Van Morrison's Moondance is the "jamming vehicle" we're using in this trio of lessons. Moondance is a catchy tune, and it serves really well as a straightforward case study in jazzish-rockish piano improvisation.

 

VIDEO LESSON:

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Jazz improv practice: A nice drill using “approach tones”

Here’s a nice jazzy drill, to give you practice on:

(1) Adding interest to your melody lines,  by sometimes preceding the “target tone(s)” of a chord with “approach tones;” and,

(2) increased mastery of any given scale, especially as it relates to the underlying chords.

As a result, the repeated act of mindfully (and not mindlessly) practicing this drill can increase your general facility with approach tones, as well as give you (possibly new) theoretical insights regarding chord-scale relationships. Dig? You’ll see.

Continue reading “Jazz improv practice: A nice drill using “approach tones””

Blues Piano Crash Course #11: How to play blues in any key (transpose)

from The Blues Piano Crash Course

This sample lesson (complete) is available to our visitors, and, of course, to our supporting members!

Lesson #11  (video)

Learn how to transpose the chords, scales, and concepts you learned in this crash course into other keys.

"All the same things" apply to playing blues in any key.  You will simply be learning the steps needed to move your musical patterns and shapes -- that is, the three main chords, the blues scale, your favorite licks, etc. -- into any desired key!

Especially good keys for you to learn to jam in are:

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Blues Piano Crash Course #9: The Melody Machine

from The Blues Piano Crash Course

Lesson #9  (video) "The Melody Machine"

This thing I like to call the  "melody machine" is by no means a new technique for creating strong melodies. Singers, composers and improvisers have built melodies this way forever.  In a nutshell, it's a specific way of using the underlying chord progression as a "generator" of melodic material.

Sometimes this "melody generating" concept doesn't get enough of a spotlight. By spotlight, I mean pointing it out and teaching it, in places where students can fully appreciate the power of the results.

So here's a great place for that spotlight:  the art and science of creating powerful blues licks!

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Blues Piano Crash Course #8: Blue notes & pitch-bending

from The Blues Piano Crash Course

Lesson #8  (video)

In this lesson, we master a couple of specific blues piano tricks of the trade.  I'm using the word specific here, because we're going to use these devices with a goal in mind, a musical effect that is pretty specific.

The "tricks" in this video are focused on emulating those sounds of blues singers and other instruments who can "bend" their notes (slide or play between pitches).  You'll learn about "blue notes," and also pick up a blues-boogie playing technique called the slide-off.

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Blues Piano Crash Course, #7: Walking Bass Line & more coordination

from The Blues Piano Crash Course

Lesson #7  (video)

Rhythm is never to be neglected in the Blues, even in performances that are so slow and sultry that it feels like we're all just breathing, no real beat, just waves...oh sorry, I spaced! Ha. Thing is, even a very slow blues is going to rely heavily on rhythm to give us another undeniable take on real life. We all know how "slow" can sometimes be more alive than "fast" anyway. It all depends right?

I'm saying that about rhythm here because this is the third lesson in a row where we've been practicing two-handed coordination on the piano. And I think I'd better explain myself, before you get too bored or too frustrated or both.

First, the more fun work (fun work? yep) picks up again after this third lesson on coordination. I swear. Also, you will learn how to do a walking bass line in this one.

Finally, this maybe-less-than-fun stuff is truly important, this coordination work on piano, because if your hands aren't "of one mind" -- coordinated -- then the exalted Rhythm Itself will suffer. And we can't have that in the blues, not on my watch, dig? If you want to sound great, instead of just good or worse, then quite often it's just a matter of fixing up that rhythm. Something that can mystify us sometimes -- that frustrating sense of "it just doesn't sound right" -- can often be traced back to one thing: The Lack of a Solid Groove. Rhythm is King!

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