Hey!
In response to student requests for sheet music illustrating licks from my video course, A Study in Blues Piano: Focusing on 12 Licks, I have so far created notation for several of the licks.
Today, I have another sheet for you, which I hope will also be helpful.
Remember, sheet music materials are completely OPTIONAL for this class. Blues is an improvisational art form!
Continue reading “New! Optional Sheet Music for “A Study in Blues Piano” (Blues Licks)”
I’m just churning out these little sheets…by request…
Continue reading “Sheet Music: Lick #10 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’s yo blues?
I’ve had requests for piano notation covering the blues licks in my course, A Study in Blues Piano.
That course is video-based, and teaches from a chord-based improvisation point of view.
I sometimes resist providing notation for improvisation-focused courses, because it can almost promote blind imitation, rather than creative playing.
That said, I’ve had a couple of convincing requests lately from students who wanted to have sheet music to supplement this class. As a result, I’ve decided to provided some helpful notation for each of the licks. Ain’t no thing man, I feel you. (Wah?)
After I finish the notation for all twelve licks, I plan to come back and add tutorial text to support the process of playing from each of these sheets.
How’s yo blues?
I’ve had requests for piano notation covering the blues licks in my course, A Study in Blues Piano.
That course is video-based, and teaches from a chord-based improvisation point of view.
I sometimes resist providing notation for improvisation-focused courses, because it can almost promote blind imitation, rather than creative playing.
That said, I’ve had a couple of convincing requests lately from students who wanted to have sheet music to supplement this class. As a result, I’ve decided to provide notation for several of the licks, plus notation for a complete blues piano solo (featuring licks from the course).
Learn the essential elements of improvising blues piano, including the (minor) Blues Scale, the 12-bar Blues pattern, left-hand grooves, coordination exercises, and plenty of raw material for your own licks.
My goal is for you to start improvising great blues solos!
Although most of this course is in the key of C, there is a detailed lesson that covers transposing the blues scale, and the 12-bar blues progression, into other keys.
Students taking this course should be interested in learning blues improvisation. Improvisation in blues usually has an underlying structure, a key center, and a chord progression that is being followed. The rhythm and the chords give us that beautiful sense of a distinct groove, and the soloists do their thing “on top of” that. In this course, you will learn the basic structural stuff, but you will also be given (taught) the popular raw materials for creating blues licks and melodies in general. It will be your job to turn those raw materials into original licks. I can give you expert guidance, hints and tips and raw material, which I do, but in the end, it’s your solo! That’s the beauty of studying improvisation. You get to own it.
Blues-inspired improvisation is at the core of, and will always have an influence on, countless musical genres. The blues scales, blues chord progressions, the “Blue Notes”…these are staples of so much great rock, hip-hop, jazz, country, gospel, and so on. That’s just to name a few of the mega-genres that have “blue blood” in their veins!
We can either forget about, or fail to recognize, the blues roots in so much contemporary music, but it’s everywhere.
So, back to the question, “Is this what you’re looking for,” I would suggest “yes,” because you read this far, still hanging in, after reading what’s what, so therefore you might like the class. That may be an odd conclusion.
Preview: To help you get an idea of how these videos might work for you, Lesson #4 (link below) is currently watchable as a full lesson preview.
(Click document’s image below to download or view.)
< Back to “A Study in Blues Piano” contents
Congratulations! After finishing this lesson, you will have completed the entire course, “A Study in Blues Piano – Focusing on 12 Licks!”
You will then have learned (1) a complete intro section, (2) lots of raw soloing material (specifically, those 12 licks and their endless possibilities), for you to copy, extend, alter, etc., (3) a solid structure for your soloing (that is, the 12-bar blues structure, with a supporting bass-line). Also (4), you now have a solid “turn-around” to use, which will keep that energy moving forward, into each new chorus, and finally, (5), that same turn-around can be used as an ending (and very effectively).
So, here we go, the final lesson: Lick Number 12, “Chromatic Sixths.” This pattern is way-cool, and also quite versatile. It has a traditional, honky-tonk sound you will probably recognize, a real staple of the “boogie/blues/rock/jazz” piano vocabulary.
< Back to “A Study in Blues Piano” contents
In this lesson you’ll learn a versatile way to group any “pentatonic” scale into a pair of three-note, three-finger clusters. Using this three-finger approach makes it easy to play fast and interesting licks, up and down the keyboard.
< Back to “A Study in Blues Piano” Contents
This lesson is more than just a lick, I’ll tell ya!
We have here a two-handed intro section, a great setup for getting any blues jam started. This opening groove covers a full 12-bar cycle, giving your listeners an exciting intro (a.k.a. “head”) which leads nicely into the next 12-bars, where you can begin your right-handed soloing. Note, you can use the left-hand (bass line) of this groove throughout your entire jam. It’s a simple and powerful bass line that keeps the beat going strong. But wait, there’s more! This lesson also includes a sample opening for your solo. No way!
Continue reading “Blues Lick #10: “”A 12-bar intro, plus the start of a solo””
Back to “A Study in Blues Piano” contents
This one involves two hands, and can be used as a turn-around or ending. You will probably recognize this essential staple of the blues!
Continue reading “Blues Lick #9: “Turn Around and Come Back, Please””