Video: Ray Charles “What I’d Say” — Practice your blues licks with this one!

 

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!

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Versatile left-hand voicings for Jazz Chords on piano (Part One)

“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.

Chord Symbols: add2 or add9? (includes my video on using added ninth to chords)

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:

VIEWER: Isn’t the D in Cadd9 supposed to be an octave higher? I guess I’m just confused as to why it isn’t Add2 instead.

ME: Hi Jordan, this is a very good question, and one that is subject to debate. Technically, the voicing of these add9’s that I am using here are really “add2”. In general practice however, add9 is favored in chord symbols found in sheet music, and is meant to imply add2 or add9, depending on the voicing choice of the player. It’s interesting to note that add9 chords played on guitar have the ninth tone on top sometimes, and sometimes the 9th is not the highest tone, often depending on ease of finger positions. This is also true in a piano player’s choice of voicing. Again, to recap, add9 technically has the 9th as the highest tone in the voicing, as you indicated, but when using chord symbols, add9 is preferred for either one.

 VIEWER: That definitely makes more sense. Thanks for the clarification.
ME: Certainly, your question is much appreciated! Two other interesting points: A very popular, jazzy left-hand voicing for the MINOR 9th chord (as in Am9) — which, by the way, is NOT an add9 chord, because it also contains the 7th (I talk about that difference in the video) — is this, using Am9 as an example: G, B, C, E, where the root is implied, and can be played before or after the first cluster (or covered by the bass player). I bring this up because here you can see that the “9th” is not the top note in that particular voicing. (You might try that out, it sounds very cool!) Another thing: In my full two-handed voicings in the video, such as Cadd9, left hand plays C and G, and the right plays C-D-E-G. On close inspection you will note that the 9th (the D) is actually voiced far above the root (the left-hand C). But that is not mandatory to voice add9 that way, just a certain nice-sounding choice.
****
 Here is the video lesson which prompted the question:
 See ya soon!
Kent

Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic (video lesson)

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.

Video: Pentatonic scales, Major and Minor

“A Study in Blues Piano” Course Coupon (starts now, offer expires 3/31/2018)

BLUES ALERT — PLEASE SHARE THIS!

Coupon Expires March 31, 2018* Here’s a handy dandy discount coupon for my “A Study in Blues Piano” on Udemy: Lifetime access for just $12.99. (List price is $24.99.)

*If you missed the discount window, see the bottom of this post for a another link, where you may find this course at a discount as well.

The Course at $12.99 (coupon is automatic)

or use coupon code 88KENT when purchasing.

Please share this with your musical friends!

Expires March 31, 2018 so act now! 

MISSED THE SALE WINDOW?

If you miss the coupon window, the course can be accessed using the link below. Sometimes Udemy sets their own temporary discounts, so you could get lucky!

The course at regular price ($24.99) (may be discounted by the vendor)

 

Openings NOW for 3 new piano students in Huntington Beach, Fountain Valley, Westminster, Santa Ana, or Costa Mesa, California (individual private lessons).

Contact me here!

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.

 

Contact me here!

Beethoven’s Für Elise – Slow-motion video for reference

Here’s a slow-motion demonstration of the notes to Beethoven’s Für Elise.  Shown here is the most well-known first section of the piece.

This is not a performance video.  Meaning, you can’t take cues from this video on the phrasing, dynamics, tempo, pedaling, etc.  However, many people find it useful to have a reference like this, especially those who play by ear, and are simply trying to acquire the notes.

A Good Way to Learn All Your “Thirteenth” Chords (by Pattern, NOT by Rote)

Hello again, piano people!

Todays’ post is about learning “thirteenth chords” on piano. In this video, you will learn a good way to learn and retain all twelve of the standard 13th chords without resorting to rote memorization.  In my experience,  I discovered early on that learning scales and chords by rote — that is, note-by-note, without any understanding of the patterns they all have in common — is the worst way to go.  Learning the underlying patterns that consistently define all scales and chords is absolutely where it’s at!

 

More on “Fourth Chords”

Ain’t life grand? As in grand piano?

Here’s a follow up to my recent post about “Fourth Chords.” I made this second video to give more insight regarding how “fourth chord” shapes can be superimposed over various roots, to create refreshing voicings for standard chord types, such as major, minor and dominant seventh chords.  The goal here is to focus on the practical side of putting these shapes into use!

Video: Fourth Chords, Part Two

Learn a 12-Bar Intro for Blues — Plus the Start of a Solo

Hey Blues people!  Wassup from the OG (Old Guy). Let me show you this nice 12-bar opening, to get your jam started. I’ve also included something to get your improv going after the intro.