Blues Piano Sheet Music & Videos | Lick #1, Solo #1 | Based on ‘A Study in Blues Piano’

Blues Piano Sheet Music – Lick #1, Solo #1

Blues and Jazz licks, runs, and fills ~ PDF download.

 

Hello to all Jazz and Blues students!

Today, I’m very happy to announce some new Blues Piano Sheet Music!

This sheet music is based directly on material from my FREE course, ‘A Study in Blues Piano – Focusing on 12 Licks.’

The piece itself, titled Lick #1, Solo #1 (a very creative name), focuses on the first lesson of my class, where we introduce and examine Lick #1.

There’s a 12-bar intro on this sheet (the head), followed by three “graded” 12-bar solos, ranging in difficulty from intermediate to advanced (when played as is – but remember, you are encouraged to modify any or all of it – this is improv after all!)

Next, there is a reprise of the 12-bar intro, and then, a special ending section, which is guaranteed to please!

Solid left-hand support

I’ve included a complete and varied left-hand part, for use and/or study, in the bass clef, covering the entire piece.  *These left-hand chords and patterns are based on the CHORD SYMBOLS provided, which in turn follow the standard chords used in traditional ‘C Blues.’

There are two editions: The first sheet includes musical note-names (letters), as in F#, G, Ab, applied to every note. The second sheet contains the same music, but it does not have the letter-note labels. (Without the letters, the second edition has room for a few helpful markings, things like dynamics, tempo, a bit of phrasing, and such. This copy also looks less crowded, overall.)

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Free Blues Piano Lessons: A Study in Blues Piano – Focusing on Twelve Licks


Image (by Kent): Ridler’s Piano Bar in Spokane, WA, USA.  I stopped in here recently when I was in Spokane for a bit, and I was invited back to play, after participating in a jam session there, very late one night. I spent almost every following night there during my stay!


Welcome to A Study in Blues Piano!

A free video-based piano course with Kent D. Smith of ‘Piano With Kent.’


Course Description

This is an in-depth study of twelve blues licks, with extensive left-hand support tips. Each lick/riff is explored in detail, including variations, fingering, playing tips, and supporting music theory.

More than just learning the notes by rote, you will get insight into the patterns, scales, chords and intervals involved, including how to transpose each lick.

As a result, each lick will be mastered as RAW MATERIAL for endless variations, with applications in many musical settings (genres).

Lick #10 of this group is actually more than a lick; rather, it gives you a complete two-handed 12-bar opening groove, including a left-hand pattern to support your licks throughout your soloing.

Sheet Music (optional)

Students can download and print optional sheet music for several of the licks. There’s also a sample solo piece with a 12-bar introduction, followed by a 12-bar piano solo that features licks from the class.


  • THIS COURSE IS FREE TO VISITORS WHEN VIEWED HERE ONLY.  HOWEVER, ALL ORIGINAL CONTENT ON PIANOWITHKENT.COM REMAINS COPYRIGHTED MATERIAL, AUTHORIZED FOR PERSONAL USE ONLY, AND IS NOT AUTHORIZED FOR DISTRIBUTION, UNLESS EXPLICITLY AUTHORIZED, IN WRITING, BY KENT D. SMITH OF PIANOWITHKENT.COM.
  • Piano With Kent is a US Registered Trademark.
  • Thank you for your continued support of free education!

By Kent. D. Smith of Piano with Kent. (c) 2010. (c) 2021.  All rights reserved.

 


THE TWELVE LICK STUDIES


One

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VIDEO: A Study in Blues Piano – Lick #1: “Energy” | Blues Piano Tutorial


Welcome to Lesson One of  ‘A Study in Blues Piano – Focusing on 12-Licks


Hello from Kent!

Welcome to the first lesson of my class, ‘A Study in Blues Piano-Focusing on 12 Licks!’

Lick Number One, which I’m calling “Energy,” uses the first five notes of the famous ‘Minor Blues Scale,’ with the right hand in a fixed position.

The powerful repeating triplet* aspects of this lick can be used with any 3-note pattern that comes from the ‘Minor Blues Scale.’ (The ‘Minor Blues Scale’ is reviewed in this lesson, not to worry!)  These simple, driving exclamations, potentially full of emotion, like a Blues singer’s emotion-repeating many times, very deliberately, and usually very fast-these can build a rising sense of excitement that your listeners really respond to (‘listeners’ includes when it’s just you, when I say that; myself, I always love to play solo piano – alone, with an undistracted mind –truly a piano solo, right?).

*Fear not, musical triplets are explained in this lesson too!

*All of the above is why I decided to call this one ‘Energy‘!


As with all videos in this collection, there are detailed instructions for transposing Lick #1 into the key of your choice–along with special fingering tips, for a couple of keys whose unique keyboard-hand shapes could use one or two simple adjustments, for easier play.

There’s also a very short, but still valuable example near the end, demonstrating Lick #1 in a ‘Minor Blues’ setting.  In ‘mainstream’ jazz and blues (aka ‘classic’), minor-key tunes are a little less common than their major key-based cousins, but there are still millions of great ones.

Since this ‘minor blues’ part of the video is very short, I thought I’d flesh things out here a bit, with just a few examples, regarding “minor blues” and “minor jazz.”

One famous example of a minor jazz and blues standard is Summertime, from the musical Porgy and Bess (music by George Gershwin), which has been covered, arranged, jammed upon, and recorded by many famous artists since the 1930’s, when it first hit Broadway.  (This is the tune that you hear very briefly in the video, as a lead-in.)

Another famous example of minor jazz/blues is the jazz standard ‘Autumn Leaves,‘ one of the most popular vehicles for jazz improvisation of all time. The G-minor Blues Scale, (which matches the same universal ‘Minor Blues Scale’ pattern that we use throughout this course), can and often does find a place in this tune, along with the Bb major and G-minor scales).

Last but not least, and back to Classic Blues: The entire first section of the original ‘St. Louis Blues,’ by none other than W.C. Handy–way, way back, in turn-of-the-century New Orleans, when jazz was literally just starting out–is in G Minor. This last one is an especially great example, because it drops right into traditional Blues in G (with G7, C7, D7 chords), in the very next section, which sounds very, very cool indeed!

Video lesson:

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