Hey there folks, I got some more theory for you today. Yipee! The following is a question and answer thread from my YouTube channel, regarding my video about how to quickly visualize any major scale… More
Hi folks, I have three new open slots for motivated piano students, in or near Huntington Beach, California (Huntington Beach, Fountain Valley, Westminster, Santa Ana, or Costa Mesa).
I’m offering lessons in Jazz, Blues, Rock, Pop, R&B, Funk, Folk, Worship, Gospel, etc., piano or keyboards. Sorry, no slots are currently open for classical piano, although if you want to learn to read music as part of your “pop” studies, we can certainly do that (learning to read standard piano notation is recommended, at least at the basic level, but is not required).
As part of these lessons, you will gain a mastery of reading, playing, and improvising from chord symbols, such as C7, Ebm7, Dmaj7, etc. This is how the pros in rock, pop, jazz, blues, folk, hip-hop, country, etc., operate — it’s all about chords, man!
If you are simply interested in learning a few of your favorite songs, we can take a more direct approach to achieve that.
Levels taught: Beginner, intermediate, advanced.
Piano lessons are 45-minutes, once per week. In-home lessons are available.
What’s up, Blues Cats and 12-bar Chicks?
If you want to get better at your blues piano playing, who better to learn from than Ray Charles? Try playing this video while throwing in your own blues licks on top. Also try to imitate or paraphrase some of Brother Ray’s.
Here’s some insight to help you:
(1) The key is E. You can start joining in by using the E-minor blues scale, throughout the whole jam, right hand only. The E-minor blues scale is E, G, A, Bb, B, D, (E). Even if that’s all you practice here — which is quite valuable — it still helps to realize the following things about the chords involved . (If you’re especially ambitious, you can try playing these chords in your left hand, while riffing with the right.)
(2) The chords are E7, A7 (added ninth, optional), and B7.
(3) The chord progression is a classic 12-bar blues, in its most basic form, outlined here:
E7 — 4 measures (bars)
A9 (or just A7) — 2 measures (bars)
E7 — 2 measures (bars)
B7 — 1 measure (bar)
A9 (or A7) — 1 measure (bar)
AND THE TURN-AROUND:
E7 — 1 measure (bar)
B7 — 1 measure (bar)
Now go back to the top.
(4) Repeat the above progression over and over, as you would in any 12-bar blues. EXCEPTION: You may notice that the B7 in the turn-around does not happen in the 12-bar introduction, where Ray is playing the left-hand bass line and nothing else. Here, E7 is implied throughout the last two bars.
(5) In the sections where the band stops, but the singing or soloing continues (called a break, or “stop-time”), the prevailing harmony is four bars of E7, as usual. Each time this break happens, we are sitting at the top of the 12-bar cycle. Therefore, each break leads us right into the A7 at measure 5.
So here’s the video, and have fun!
Below is a sample lesson from my course “A Study in Blues Piano — Focusing on Twelve Licks.”
You can get the full course at a big discount by following the link below:
“A Study in Blues Piano” from PianoWithKent
Get an automatic discount for the entire course here:
“Rootless voicings” for the left hand on piano are great for handling big jazz chords that normally can’t be covered by one hand alone. This lesson shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root. This is part one of a pair of lessons. It stands OK by itself. The second lesson is just another way of doing the same thing with the notes in a different arrangement.
Never try to learn your chords by rote! It’s all about patterns, man!
In this video, you’ll learn that there is one simple pattern (“major-minor-minor”) that every Dominant Seventh chord shares. Learn this one pattern, and you will be able to learn EVERY Dominant 7 chord in one sitting (about one hour). There is no need to memorize each one separately!
Over time, you will start to have the most commonly used dominant seventh chords at your finger tips, but with this system here, you will immediately be able to build any dominant 7 chord from any root, and always be certain that you are using the right notes!
Continue reading “How to learn ALL your dominant seventh chords in about an hour”
I did this a few years ago based partly on the main theme of Für Elise (officially, Beethoven’s Bagatelle No. 25 in A minor) . Apologies to Beethoven!
Hello improvisors and jammers: Here’s a powerful way to play impressive pentatonic piano/keyboard licks when soloing in rock, blues, or jazz settings, using only three fingers in your right hand. This video uses the famous “minor pentatonic” scale (“pentatonic” refers to a five-note scale). With a little work you will be amazed how fast you can fly across the keyboard using this simple trick of the trade!
Here’s a straightforward way to use three-note chords superimposed over a single static chord, to create a sense of movement “within the chord.”
OTHER SHEETS (with Letter-notes included):
Here’s a collection of easy-to-read, easy-to-play sheet music I created a few years ago. This collection resides on my older website, which is has been purged of most stuff, but still has these sheets on it. The notes are all labeled with their associated letter-names (such as E, Bb, F#), as an aid to reading, for those who don’t read well.
These are all free and can be downloaded as PDF files. See link below.
Be advised, these are easy arrangements, some of which are also abridged. Claire de Lune, for example is simplified, and only covers the opening theme.
Here is a list of the pieces:
Claire de Lune (intro)
Star Spangled Banner
Ode to Joy
Minuet in G (Bach’s)
Here’s the link:
Hi everyone! I received a question online today (on my YouTube channel), an excellent one, and one which is subject to debate. The question is in response to one of my videos about using add9 chords on piano. (A link to the video is included below.)
I thought I would share the thread here:
Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic scale (a video lesson). The relationship between any major scale (or key) and its relative minor scale or key is explained here as well, in terms of traditional music theory.