4. lntroduction 4
Act 1 Take 1 5
Left-Hand Riff &
The 12-Bar Blues 9
Left-Hand Riff Variations
Variation 1 10
Variation 2 15
Right-Hand Riff No.1 21
Right-Hand Variations 25
Putting lt Together 32
Right-Hand Riff No. 2 3s
Right-Hand Riff No. 3 44
Tops, Turnarounds And Tails 49
Guide To Keyboard &1
5. lntroduction
Hello, and welcome to -.FastForward
Congratulations on purchasing a product that
will improve your playíng and provide you with
hours of pleasure. Ali the music in this book has
been specíally created by professional musicians
to give you maxímum value and enjoyability.
If you already know how to 'drive' your
ínstrument but you'd like to do a little
customising, you've pulled in at the right place.
We'll put you on the fast track to playing
the kinds of riffs and patterns that today's
professionals rely on.
Real Blues For Keyboard
The list of classic keyboard styles - jazz,
boogie-woogie, rock 'n' roll, gospel - undoubtedly
includes the blues. Attempts at a definition of
the blues keyboard style would need to look back
to the last century to the slaves of America,
to the expression of social injustice, to the negro
spirituals and revivals of the black church, to
the Emancipation and the mígrations to the
industrial north.
Does this mean you've got to change your
name from John to 'Blind Lemon John'?
Well, not exactly. But an awareness of the roots
of the blues helps to give the right approach to
playíng the blues. It's about mood and feel,
sitting back on the beat and putting something of
yourself into your playing.
We'll provide you with a vocabulary of riffs
that you can apply in a wide variety of musical
situations, with a special emphasis on giving
you the techniques that will help you in a band
situation. That's why every music example in
this book comes with a full-band audio track so
that you get your chance to join in.
Ali players and ali bands get their sounds
and styles by drawing on the sarne basic building
blocks. With -.FastForward you'll quickly
learn these, and then be ready to use them to
create your own style.
The pages of this book will provide the musical
raw materials which will soon enable you to build
a blues style of your own.
There is no rule book to follow and the
suggestions in each chapter are merely a starting
point. Work with them, adapt them, add your
own ideas and never be afraid to experiment.
6. Act 1 Take 1
It's late, the party's over and people are
starting to leave. You notice the piano in the
comer and casually lift the lid as you seat
yourself on the vacant stool.
A voice rings out: 'Hey, play the blues .. .'
The blues?!
As ali eyes tum to the piano, you realise that
your intended rendition of the recently mastered
'Für Elise' isn't quite going to fit the bili.
A flash of inspiration proves short-lived:
'Well I woke up this moming .. .' is followed by a
total musical blank. Muttering something about
just looking for your car keys, you slip crestfallen
from the room.
7. EASY INTERMEDIATE ADVA C C:
Left-Hand Riff
When listening to blues piano it might
sound as if it's the right hand that provides
ali the important ingredients - the riffs, the
cascading licks, the solos, but that is not the
complete picture. Ali that right-hand playing
would soon fall apart if it were not built on
a solid left-hand foundation.
The right-hand riffs are built on the fiel of
the left hand, the right-hand solos are held
--t- -r-- J} r
This is a solid, rolling riff that will work at
slower and faster tempos.
The slight variation at the end of the second
bar can be used as a link to the next chord or as
a simple variation if the riff is being played over
four bars or more.
Tip: Try to memorise the riff as soon as
possible so you can play it without the music,
co en · v on the feeL
together by keeping the left-hand solid, and
the right hand is free to drop out, to add those
licks and trills as the left hand keeps rolling
along.
So it's with the left hand that we're going
to start.
Try this two-bar left-hand riff. ..
J• r ;t" J•- ~· f• :li
The recurring Cs (played by the left-hand
fi.fth finger) should be used as passing notes,
providing some rhythm to the walking bass
notes which have the main emphasis.
8. When the riff has settled into a nice rolling feel,
try moving to another chord ...
TRACKS 3+4
e . br . . br .
. . . and then work on moving through a
progression of chords ...
TRACKS 5+6
. br . . b~- .
:>=tr- fE 1J 1f 11r 1E JJ 1E JI
F
:>=r i~ tm· : ~=~- :;m· _;12~- :;m· ; ~ê- : m· ;~r 1
e
. b~- . . b~- .
G
-
9.
10. EASY INTERMEDIATE A D
fhe 12-Bar Blues
The classic blues progression is a 12-bar and
we need to work at keeping that rolling feel in
the left hand through a whole 12-bar blues
progress10n.
e
Play through this 12-bar in the key of C - the
tempo has got to be steady, the notes accurate
and the rolling f eel must be there throughout -
the more you play it, the easier it will become.
1[ -/F 1(
.._ . ...
J -=
C G . b~- . . br . 'l ~-
...
F C G
~m· 1· m· ~ · b~- · ~ ê· ~- ...
-1
11. E SY INTERMEDIATE ADVANCE D
eft-Hand Riff Variations
Having established the importance of the left
hand in providing the solid foundation on
ariation 1
This variation adds a minor 3rd to the major
3rd movement on the last beat of the bar whilst
T RACKS 9+ 10
... atice how the variation changes the
illape of the riff - rather than just rolling
-ough the bar it now has an extra groove at the
en ' of the bar.
TRAC KS 11 + 12
which everything else will be built, you should
still be aware of the need for some variation.
sticking with the walking bass of our fust
exercises. Try looping round these two bars ...
Now try the variation as it links to another
chord ...
12. ... and now practise it with a third chord shape ...
e
F
~:r- t r /r +~r ~ir r r /r +~r t 1
e
G
?T i [ 1 f if 1 ir- i F ! f l~: 1·1
13.
14. When you think you're ready, have a go at
this 12-bar. Remember that a solid feel is as
important as playing the right notes!
C G
. k~- . . k~- . ,.. ~- ~- b:: .•
allow yourself to forget that the
"" eft hand is to be solid, regardless
- - - a variation played well will
iíll.X, - .... -o . ·our playing, but played
as you smmble from one
15.
16. Variation 2
This takes Variation 1 a step further by having
the major 3rd-minor 3rd figures on beats 2 and
4 of the bar whilst maintaining the walking bass
element of the original riff.
Try repeating this two-bar phrase ...
... you'll notice that having the figure on
beats 2 and 4 really accentuates the rolling feel.
Now move from the C to the F. ..
TRACKS 19+20
18. ... and then see if you can hold it down through
a chord progression ...
e
F
;,:e ;~e ,g· lf f 1r :El: ,~K :l: f 1
e
G
2: ·· ;r: ~ f if I 1r- ;r: ~ f 1t 111
19.
20. As you come to this 12-bar, have in mind a
steady, rolling riff with a little extra groove before
each chord change.
e
F
?=e- J?r ~/ffif:ti c i~r ~/f /fJ1r ít= 1~r1~e:
Tip: Use the fourth finger to play both the the balance is the need to avoid monotonous
E-fiat and the E on the 2nd and 4th beats of the repetition of the sarne old riff, and on the other
ar - sliding smoothly from the black note to is the need to avoid losing a solid groove by
tlie white note until the fourth finger makes it constantly adding different variations just for
easier for the rest of the hand to cover the rest the sake ·of it.
of the riff
- - ~ · on and ' ·hen:-' there are
e
21.
22. EASY IN TERMEDIATE
~ight Hand Riff No.1
.. - .. - it's time to have a look at the right hand.
_ .r..:ili.ough the right hand adds the colour, has the
..=.eedom to move from busy to sparse playing
and also takes the solos, there must still be an
awareness of creating the right feel and locking
in with the left hand.
Try playing round this riff ...
TRACKS 25+26
e
Once you've mastered the notes, concentrate
on the feel - it needs to roll along. The repeated
Cs may just be passing notes but they are adding
an important off-beat feel - they should be
TaACKS 27+28
e
@i j i ~~ i
played gently. Compare how the riff would
sound without them ...
li i ~~ i : 1
23. Try moving to another chord - the change
should be smooth and effortless.
F
The rolling f eel should now be ready for a
chord progression.
F
e
G
6.- 1 ~ : s:
- • • •
1:
11 : 1: s=
- •
- " •
24. Now try a 12-bar figure, keeping the
mo ~ement between chords smooth, paying
: · cular attention to the last six bars of the
=.:: e.
_ ake sure the first notes of each bar aren't
·er-emphasised as you move through the
-· ords.
TRACKS 33+34
F
e
F e
Getting it right at this stage will pay great
· -idends as you progress through the following
~ers. O K, so you're unlikely to dose your
~gine yourself pla_ Wg the example
G
G
if it hasn't got a steady, rolling feel at this stage,
what chance is there when you add the left hand,
variations and solos, and maybe even a band.
25.
26. E AS Y INTERMEDIATE
Right-Hand Variations
Once the riff is solid and comfortable, we can
look at adding variations. The aim is to be able
to add some colour to the riff but without losing
the feel - variations should just blend in.
U nsurprisingly we come back, once again, to
being absolutely confi.dent and comfortable with
what we are about to play.
The fi.rst variation adds a slip from the minar
3rd to the major 3rd on the lst beat of the bar.
Tip: Use the second fi.nger to play both notes
and think in terms of bending one note, rather
than playing two notes.
TRACKS 35+36
:: E
27. Work through the following progression and
concentrate on keeping the feel smooth as you
move through the chords ...
F
G
t&r ~ E: ~ ~: ~ E:
J .d J
Still looking at the lst beat of the bar, another
variation is to play a full triplet lick rather than
just slipping a note.
3
---
~ .d l•St E: ~: E: •li ~ ~ ~
= d J :J
Tip: The second finger can still slip from the
minar 3rd to the major 3rd but will now need to
be played in time, as a triplet.
3
: 1
28. _ °' move to this chord progression and get
- ' -o playing the lick using different chords ...
T1'"'.ACllC.S 4 1 +42
3
F 3
e
3
G 3
r r:
~ ~ ..J
ad
The sarne approach can be used to add variation
to the 3rd beat of the bar. ln the next example
we are back to the bending note variation, except
this time we are slipping from a flattened 5th
o the 5th.
r M3tf'itiQCt
3
3
3
3 r ~ r: •li ..J d
Tip: Still play both notes with the second finger.
29.
30. Playing through a chord progression raises a
small problem - depending on the chords being
used, the bend might not always slip from a
black note to a white note. ln the following
example the F chord involves two white notes,
so the second and third fingers will need to
be used.
TRACKS 45+46
F
Tip: When playing this bend with two white
notes the effect is obtained by playing the two
notes almost, but not quite together - it's just a
slight rol! of the hand.
t J: J~~: J~b~: J ~: J 1 J: J~~: Ji~0l J ~: J 1
e
G
The triplet variation also works on the
3rd beat of the bar and should be approached
using the sarne playing tips as before.
TRACKS 47+48
e
3
31. As you practise using this chord progression,
note the fingering for the two bars in F which
feature the two consecutive white notes again.
3
3
e 3
G
tr 3 ,.
.J
The approach to these variations has so far been
a very technical one and they have been
presented alrnost as piano finger exercises, which
is probably not the approach you expected to the
blues.
However, there is some method in this madness
and it all comes back to the sarne thing - feel.
3
3
3
3
If the tempo wanders and notes jump out
every time a variation is played, more work nee
to be clone!
Tip: Don't forget ... try it real slow.
32.
33. INTERMEDIATE
ting lt Together
So, the left-hand riff is solidly rolling along,
the right hand sounds nice 'n' easy with
variations slipping in to add some colour, but
now they need to get together and sound like one
solid, rolling, nice 'n' easy, colourful rijj!
Work at the riff on the C chord and think
in terms of blending both parts together into
one sound ...
TRACKS 51 +52
e
fi 1
ur .,.,. ,, ~ .. . • " I q . . ".li • .. 1 1
h i. V~•
- .. 1 @) <
1 ,,. -- - . ~-- L "'• •• q
./ ,,. .. - - q 1
1 • • ..i
--1·
--·
. . .. .".li
- .. 1
.J
ADVANCED
1 - 1 •1 1 1 Ili
1 h i. 1 1 -· . V~• -· -i -· - . .. .. .. -~
- .-... · -~-- - --· • . .
..i .J ..i •
34. • An You:".. ................. Ne.e:t a::•tJ.. rr-:- - ..•.•..• .• .. •.• .. •. . •. • .. •.• .•. .• •.. •. • .. •. 4 .• • .... Fa .d s tFo li rwa K rd. . ••••• . . . . . .. . . . .. . . . . • . . . . ••• . . . . . . . . . . . . . . . . . .~ :li.: ..•.. •. . • . . . . . . . . ..... . . m.. . . ·. . . . . ..• ... . . . . ....... • • .. • ., ••• ~-~·:· .. :. ·.. .. · -~ .... 1 •• ~;·~ ... ~;· ;~ :·:.:.:. . e o . . . . . . . ~· 4 • ..• -.. -. . . . u . . . . , · ~ · •••
. - ....... . ·• ' . ..... ... ··... • •• ... ... 1 . . . . . . . . . . . . . . . . ey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
... ... .. ... ... .. .. .. .. .. .. ..
i . 1 n<·· · :-:-:-:-:·=·=·=·=·=·=·=·=·=·=·=·=·=· ••••••••••·•···::: ·: ·: : · :
:-:-:-:-:.::-:•·:·:·=·=·a::=·=·:·=·::·=··=··=. :·:...·:·=·=· ··=:::::~:::~:: · ;;;~· ~·-~:: :::::::::: V...... .............. . . . . . . . . ....... ~ . . . . ··ô. ··. ~ . . . ·. . ····· . . . . . . :. . . . . . . . . . . . . . . . . . .
··:··
:. . . . Sitting Correctly
lt is important to sit correctly at the keyboard.
The more comfortable you are, the easier it is
to play.
Sit facing the middle of the instrument, with
your feet opposite the pedais. Sit upright with as
straight a back as possible without being stiff.
Your seat should be high enough to al low your arms
to be levei with the keyboard, or slightly sloping
down towards it.
The Hand Position
Support your hands from the wrists, which should
be in a flat position. lf you bend your wrists too
much as you play, you will soon experience muscle
fatigue.
Curve your fingers slightly as if you are gently
holding an imaginary bali. Don't extend your fingers
into the keyboard; allow the natural position of
your hand to determine which part of the key you
depress with the tip of your finger.
' ... ................. . . . . . . . . . . . . . . ·.·.·.·.·.·.·•·•·•·•·•••••••· . . .. . ~..:..:.. :..:..:.. :.· :.-:.·:.·:.·:.·:.·:.·:.·:.·:.·:.·:.·:.~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • • • • • • • • • • • li ...........
The Five Finger Playing Position
With the tips of your fingers, cover five adjacent
white notes in each hand. This is the normal five
finger playing position. lt is also the hand's most
relaxed state.
Always return to this position when you have
been playing on other parts of the keyboard.
Like a good squash or tennis player always
occupying the centre of the court, this is the best
'alert' position for keyboard players.
.. .. .. .. .. .. .. ... .. .. .' . . . . . · ......·..·..·..·..·..·..·. ~' . <·>:·:-:·:·:·:·:·:·:• •• • •••••••• 4
·:::~:1~~~rntI
35. The Piano Keyboard
There are only seven letter names
used in music: A B C D E F G
These seven letter names repeat over and
over again on the keyboard. The black keys are
arranged in groups of twos and threes.
A B e D E F G A B e D E F G A B e
How To Learn The White Keys: C D & E
Use the black keys to locate the white keys.
For example, 'D' lies between two black keys.
Two black keys
D
To the left of D lies C. To the right of D lies E.
C D E
Two black keys
D
C D E
36. How To Learn The White Keys: F G A & B
Use the groups of three black keys to locate
F, G, A & B {the remaining four letters of the musical
alphabet):
Three black keys
A B F G A B
Find all the F's, G's, A's & B's on your piano.
Play each note in tum and name it.
You now know ali the white notes and their names.
An lmportant Note: Middle C
One of the most important notes on the piano
is Middle C. This is the C nearest the middle of
the instrument, directly opposite the manufacturer's
name, as you sit at the piano.
Three black keys
F G A B
The C below
Middle C
MIDDLE C The C above
Middle e
Look at the illustration above.
From it, you will see that:
The C to the left of Middle C is called
'The C below Middle C'
The C to the right of Middle C is called
'The C above Middle C'
You should, at this stage, be able to find these
hree C's right away.
The most central C
Learn to find them this easy way:
• Play Middle C with the right hand
(any finger will do).
• Play Middle C with the left hand.
• Play The C below Middle C with the left hand.
• Play The C above Middle C with the right hand.
• Finally: play Middle C again with one of
the fingers of each hand.
You now know where to find Middle C
and the C's immediately above and be/ow it.
37. HowTo Work Out Chords
With this easy-to-use guide you will be able to
work out any major, minor, augmented and
diminished chord on any note. Fol low the simple
formulae and ali the chords you need will be at
your fingertips.
Types Of Chord
Broadly speaking, there are four types of chord:
MAJOR (e.g. C)
MINOR (e.g. Cm)
DIMINISHED (e.g. Cº)
AUGMENTED (e.g. e+)
MAJOR and MINOR are the two most important
types: popular Western music is based on them.
lt is possible to play most popular tunes using
MAJOR and MINOR chords only.
DIMINISHED and AUGMENTED are merely
'passing' or linking chords: they are used for passing
from one Major or Minor chord to another.
Working Out Your Own Chords:
Using Semitones
lt is possible to work out any of the four types
of chord by using simple formulae. These formulae
re ly on SEMITONES.
A SEMITONE is the smallest possible distance
on a keyboard, counting black and white notes:-
C to Db (or back) is the distance of
ONE SEMITONE
Ab to A (or back) is the distance of
ONE SEMITONE
E to F (or back) is the distance of
ONE SEMITONE
Chord Formulae
MAJOR 4-3 Semitones
MINOR 3-4 Semitones
DIM INISHED 3-3 Semitones
AUGMENTED 4-4 Semitones
Example 1
To find the chord of C (Major).
Formula: C-4-3
e E G
Play note C, then count 4 SEMITONES to the
right, and you will arrive at the note E. Play note E,
then count 3 SEMITONES to the right, and you
will arrive at the note G. The notes of the chord are
therefore: C, E, G.
Example 2
To find the chord of ob (Major).
Formula: Db-4-3
Db F Ab
Play note o b, then count 4 SEMITONES to
the right, and you will arrive at the note F.
Play note F, then count 3 SEMITONES to the right,
and you will arrive at the note Ab.
The notes of the chord are therefore: Db, F, Ab.
Example 3
To find the chord of G (Minor).
Formula: G-3-4
G Bb D
Play note G, then count 3 SEMITONES to
the right, and you will arrive at the note Bb.
Play note Bb, then count 4 SEMITONES to the right,
and you will arrive at the note D.
The notes of the chord are therefore: G, Bb, D.
43. E A S Y INTERMEDIATE
Right-Hand Riff No. 2
Having now put together a basic blues
progression and worked at fi.tting in some
variations, the next step is to give the right hand
a chance to grab the spotlight a bit more!
lt's at this point that ali the work on the left
hand begins to pay off. The right hand is now
playing more rhythmically and it's the left hand
that will keep the blues riff rolling along.
Try this two-bar riff and as it becomes
more comfortable the right hand should also
settle into a groove ...
,---3--, n ~ ~
e
" ~ ~
~ ,.
• ..... • .. h I a; " .. ,, ~ ,,, I _, V'll I .. • i
' - 1~ q I . I • ~
.J -
, ""• ,,, - ... - .. ~
- . h ...
/ ,,. .. - q 1 1
-1
.j 1 • ..1
••
-- . -1 J
ADVANCE =
1 --.. '- 1 .
I' "!I~ • . .. • ....1 - . ~ -......._..,..,.
-· --- . .. h. .. -.-.. . -. .
1 1 1
-;,;,i ~ ~ ..1 •
44. The next step is to move to another chord ...
TRACKS 61+62
,-3---, n .J .h
e
F
" 1 1
'. • 1 ~ 1 1 1 1 ' ·I 1 , @) ' ~ 1 1 1 - 1
.... LI ,.,, ,.,, • ,.,, - - - - . fl. , ,.,, ,_ !I:. .... ""' • 1 L-1.1:: -·
• • ,,,
rJ ~ t./ I t./ V -_ V r- • b.· - ) ,. ,,_. - ._. •• ._. b-.· ._ . •
L ,. - • - - - - - - ,. r- r- r- r- r- .... r-
./ 1 1 1 1 1 1
1 • • 1111 _] - _] -
45.
46. ... and then through a chord progression
checking, as always, that the movement between
ACKS 63+64
n
e
1 ~ ~
~ ...... ., ., ..... ., I _, .,
• ""' ,~ I e./ V 'li I e./ • .. .... I ..... I . I • 'li ) @) -
) ... ,.. -· h• . ,~ • ... - .. ~
/ ,. •• - - ..... 1 1 1
1 • ..J •
F
e
" ~ ~
li 1 l ., 1 ... ~ e./ e./ J... - I e./ e./ I 1 • '""' I 9.1 V '!li I .... ., • I I - • 'li• { f) .
L ,... - - ••
-. - . - h •.
- / 1 1 1
1 • • •
G
••
the chords doesn't create a glitch in the rolling
blues feel of the riff.
1 - 1 1 • 1
J... -i 1
V""' • . - J - • . -"' 'lll ....__.~..
-- . .. --· h• . .-.. · - - - - -1
..J ..i ..J ..i •
1 -
1 1 • J... i • V""' • .. , • - . . -'li 'lll ~
"-_.-'
- . r- - -· -... - . - h •. -- -· - 1 1 1 1
..J • ..J • • -
--
47. • ..s you work through this 12-bar figure you ll
notice that the last four bars of the right-hand
riff, which is a two-bar figure, are played
rwice but each bar features a different chord.
That sounds far more complicated in words
than it actually is in music, so the best thing is
just to play it.
T RACKS 65+66
n
e
/ ~ ~ 1 1 - ~ ~
I ..... ILI ILI h ~ I ILI ILI 1 1 1 '- -l 1 ' -V .. -~ - ILI ILI 1 1 •r-... '· 1 ILI V '!I 1 ILI oi ..-1 - V""" .. . -' --::::r --, 9717"1 1 ILI • ..-1
1 ~ L 1 1 ., 1 1 1 1 Ili ' 1 1 ., 1
'"' 1 ..... 1 .. 1 • -'SI - .. • -"l!I '<!! --, -.. I • 'SI T7 - @j ..._..,
-· ~-- - . - . ~ ... - . . ~ ... .... ..... L -- ... -· - .. •• - - •• q.
/ r.. - .. -1 1- -1 -1 -1 1- 1- -- - -
1 • .. .,j ..J ~ • J L • J • .J - .. - - - F
" 1 - 1 1
"" .. • ., ., •• - ., ., n• 1 1 1 - .. - 1 -·
I h .-i .. 1 1 '- ~ -- - ~ • h~. • n
,,--,, V - ~ - ~ I ILI I •l V ""' Vr-"' • 'f')
'" 1 '!I ~ 1 J. 1 I 1 ..__.,1
"'
.. ....,
..._.., ~ ~ 1 1 1.-...:: 1
~ - · .. · • ... b·· ... •• .. . b.· 1-- 1--
~,. .. - -- . - - - - - .. - - - - - - - / - - - 1 ' l 1 1 1
1 1 1 1 - .. --- l - 1 .. - • .J .....___ . • - - -
e G
1 ~ ~ - ,1 1 1 ., 1 1 • 1 ... 1 - I ILI ILlh. ' ILI ., 1 1 h.. 1 ., ., '""' ILI ., 1 ~
' ) I .. 1 • 'SI • .. • .. "11 --, - -.. L.ll 1 1 -_.".,' " ~ 1
11---. , ILI V 'li 1 e./ • -' • V"!ll • - .:.J 1 ., 1 1 ILI 1
1
~ .. ~ ... •• ,,_.
L •• -... ... -. ... ... .. • • - - - .. 1 1
• .. .,j .J ,.j J ...____ . - --
- . - . -. - . ,,_ 1-- -
.. - .. .. .. .. / - - 1 _J
. l l
F e G
,., ~ ~ - - .1 ·- - . , , ' " """ -· - - h. ~· • ri ., ., '- - I ., ., ... -· .... ,, ~ -,. V,. • 'r) I •l V .. . , .. -' .. -..-
'" J
.. .. -
1 1 • - ~ ~ .... ~ 1 -....:::::l 1 ..... .. - b.-· ,,_ . ... ,,_.
,,_ •• - - ... · - 1-- - • --- . ~ -- . • - - .. - ,. 1 1 1 1
/ 1 1 ... - - 1 J _J • - .. 1 1 l - 1 • .,j e --;! •
1
1
--1
-- . -1
.J
,,_ . •
--
~· ,,_
•
~· ,,_
-•
48.
49. INTERMEDIATE ADVANCED
ht-Hand Riff No.3
A very characteristic style of blues piano playing
is a high, chiming, constant triplet-feel (i.e. 12
notes to the bar, grouped in threes). Creating
that sound is the feature of this chapter.
H the left hand was said to be important for
the riff in the last section, then it's crucial for the
TRACKS 67+68
,----3---, !J=.J }
e
3 3 3 3
,., ,,_ ,,_ ._ --------- ,,_ ,,_ --------- ,,_ ,,_ --------- Ili._ Ili._ - "'-- - "'-- Ili._
,· ..t1 ,,,., -r-.. - r..
'. J--. -- -- -- --
...... - .. -,. -· h.-. ... -· - ,. r.. - - / --. r.. 1 1
1 • .. --;,i
~ o -ing on to the next chord obviously involves
ping to the new notes without any noticeable
Qe in feel or glitch in the rhythm.
e chords used in this section are set out
- it might be worth fi.nding these shapes
7mACllS 69+70
e F
•
riff in this section. Playing the sarne notes
throughout a bar might appear easy but, in
fact, there is great potential for going astray.
For now, try playing through these two bars
and get the feel for this style of blues piano ...
3 3 3 3
Ili._ Ili._ Ili._ Ili._ Ili._ Ili._ ,,_ Ili._._ Ili._ ,,_ - - - ------ -- - - - -
-- --
- -,-. . h• . .-.. .
•• - - 1 ' 1
• .. ~ ..
,,_
-
•
before attempting to play the riff. Work through
them just with the right hand fi.rst of ali.
G
)<<< ~~~
! - ! - ! -
. .
. .
: 1
50. Now have a go at moving from C to F.
RACKS 71 +72
3 3 3 3 3 3 3 3
f
,,_ ,,_ ,,_ ._ ._ ._ ._ ._ ._ ._ ._ ,,_ ._ ._ ._ ._ ._ ._ ,,_ ,,_ ,,_ ,,_ ._
li r... -- ---- -- - -- -- - ... ..,.,.. - - - - - - - ----- ------
" , -
~
- . h ... -· L .... ......,,. - - ....
./ ,~ - -· - - 1 1 - ..,j mi
F
3 3 3 3
--- f- f- f-
-• f- f- f- --- r- r- r- f- ,... 1 , ------
- - f- - f-
~ • 1
,
"'' 1 "
1 ._)
.... .. ._. ~~· ._ . -· ~
- >-- - - i- i- i-
1 - - •
./ 1 1
The ultimate aim is to feature this riff in a
12-bar figure, so let's get straight on to one and
ee what progress you can make.
Just to liven things up (as if there isn't enough
-o think about !) the next example has a small
variation at the end of bar 3 and into bar 4, but if
· - purs you off, feel free to repeat bars 1 and 2
_ ·ou're ready for a new challenge.
-
~
- - --- - ---- ------ - -
-
- .. - ,-_ . -h• . --· • - 1 1
- • ..,j .. -
3 3 3 3
1-
f---f---f- --1:- 1:- 1: --r--1:- -1: -1:- -r--r- , • • - - • • - -- - --
._ . ~~· ._ . -· ~
- - • i- i- i-
1 1 • • •
Try a slight emphasis on each crotchet beat,
or maybe a crescendo towards the end of a bar.
Experimentation is the name of the game here.
Dynamics and phrasing are a matter of personal
taste, and are as much a musical signature as the
actual notes you choose to play.
.
"
·~
52. )
j
l
G 3 3 3 3
1- 1- 1- _,_,_, _,_,_, 1- 1- 1-
" -, __ , ___ -, __ --- -,_-:.--- ---__ ,_
y ... ... - ... - - ... - - - - ...
,l,,f . ....
"' I ._;
L .... .. 1 -.. - - 1 1 1 1 1
,,_ •• ~· .,_ . ,._ - - >--
/ 1 1 ~ •
e
3 3 3 3 b •• ._ ._ ~ ._ ,._ ,._ ,,_ ,._ ,,_ ,._
f
y -- -- -- -- - - -- -- ---- ------ ·lf- ._.j ..., ... - - - - - - - - - 1 1
" 1 1
~
- . ~-- -· L .... -.. -... ... / .. - - 1 1 1
1 • • ..1
Tip: This style of playing is slightly hazardous
as once you're into this riff there are very few
escape routes on offer. It has that 'watch out ...
sornething is about to happen' feel about it,
so it's best to ensure that the sornething in
question isn't crarnp in the wrist, agonised facial
expression and a sound like a toddler who has
just discovered a piano for the first time!
e
3 3 3
"
._ ._ ._ ._ ._ ._ ,._ ,._ ,._
y r.. -- -- - - - - - ~~ ,, - ..r.... - - - - - - - - -
"' 1 ....
@.)
.::::,. r.. - . ~-- ...... -- 1
/ r.. .... .. - 1 1 -1
-1 • -1
•
-
-
F 3 3 3 3 ,_ r--r-- r- -r--r--r- -f-- f--f- - f--...-..... [} • -• • • • • • - .. -
.. ,._. .. b.-· ._. .. -· "----
- 1
r- ...
1 - 1 -
G 3 3 3 3
1- 1- 1- 1- 1- 1- 1- 1- 1- 1- 1- 4- --,_ -,_ -,_ -- - -,_ -- ,_ - ,_ -,_ ---- r- r- r- - ... ... ... - ... -
,,_ ... ._.
~· >-- ~ -· - - 1 1
1 J 1 -
The following exarnple is a possible safety-valve.
This figure off ers a one bar on, one bar off
approach and, therefore less pressure on the
wrist, anda chance to lock your sights onto the
next chord.
3 ._ ~ ,._ ,._. ,,_
--- --- ---·. --- I - ..:.. - • '
- . - . h •. . ~ - - r- - 1 .. 1 - - 1 l
• 1 .. •
,.
I' • - -
--
..
11
1
53.
54. EASY INTERMEDIATE
Tops, Turnarounds And Tails
Some nice blues piano is now coming together
but a few areas remain to be covered -- the tops,
turn-rounds and tails (or the beginnings, linking
the 12-bar riffs, and the endings).
Let's start with a look at linking the 12-bar
figures together. Obviously playing the sarne
figure soon becomes mundane and repetitive so
turn-round figures are played over the last two
bars to provide variation.
ln our examples the left-hand riff will change
for the last two bars.
T RACKS 77+78
AD VA ::;;::::
• 1
55.
56. Not only do the following examples add
variation to a repeated 12-bar :figure but they also
help to underline the function of the 12th bar to
lead back into the next :figure, i.e. they hang
in the air waiting for the root chord again.
The :first example is a simple variation of the riff
n
G
" - I ,. ... ,__.. .., .., "_'", .., .., - •
. ,, .., "" •
' ,. . fU r- I L-9- I -'J I ! 1 , @) ,
' 1
'
.. ... ... ,..__ !:' ~
L ... .. -· - - •• / ,. 1 __J .....
e
,... 1 1 • .- li • r-" ... ~ *" *" *" -.J 1 1 • ""' I -.J I .., ,, 1 I ' , @)
J 1 .._ ... 1 - ""- l -.. - r- ..,_
/ - 1
1 1
1
F
1
fl •• 1.. .. -· r ' ~ . • rJ
- ,,
" r- ,,
l • 1 .. - . .. ... - ~!:· ,,_ . • - r- r- r-
1 1 • • .. -
G
•• . 1 .. -· L.~
1•· •r1..,~ . .. ~ ~
1 1 r-" r-
1 -1 - 1 1
- -_,1 -1 -..-1
57. The next features a typical blues lick over the
last two bars.
,-----3 ---, n J JJ
G F
C G
The last is a bit more strident and is in the
classic blues style ...
TRACKS 83+84
.. "~ ,. -!li: 1 - ~ ..... ., ., -: ., ., ,, 1 1"111: ~ ,. ., ., r-u
.... I " I ~ 1
tJ ,
' 1 ... •• Ili...
...... -. ,____ - -
L 'º '· - r 1
/ L r _J -
e
F
1 • 11• • •
• • ,,_ ,____ -· r-
1 • 1
G
1 -. r ~
..... ..... - rJ
" - 'rJ
,1
• 1
-
,,_. ~~· Ili_•
~ - - • r- 19"
1 r • - ..
58. You don't need to use a turn-round at the end
of every 12-bar, just play one when you feel
variation is needed.
It's always good to have an intro that is a bit
more interesting than '1-2-3-4' and, although
this might seem like cheating, the last two bars
of any of the above examples will also be ideal for
use at the top of a blues.
Finally, we need to find a way to finish our blues,
and preferably something that says 'Here comes
the end'.
The fust example maintains elements of the riff
and finishes on a strong 7th chord.
TRACKS 85+86
",. .. ,. -l'!I: • - - JJ'I q ., ., l"'I ., ., • l'!I: • " r.. 1 9.1 1 1 9.1 1 ...
' I q 1 jJ J
1 .J ~ ~ .
~· ..... J li.. ~· ~ ...... r.. ... - .. - •• "-& 1 1
/ ..r.....
e
F
1
f7• - - . , 1 ""' • L.. l'!I:. • rJ •
V""' • "'J l
-:; . 1
li.. .. "-. b.-...-._· li- . ..-. . ,.-. - -- r-
. ' . - -
G e
59. This one uses big, 'bluesy chords' - it'll need
a bit more practising, but it's worth it to create
a big, thumping blues finale!
TRACKS 87+88
n
G
" - li T.. s; • - • J.~ q .. .. ... .. .. • IS. • .~ T.. I 1 I .. r-
. ... I .n I J. 1
) @) , ,, 1
) Ili_ !:. Ili_. •• - f-
- - L ........ ...T... •• ,. 1 1
/ ......
J e
" ~
1 li ' 1 .. . .., ...., -- • - ~ • 1 u.
'.' , I 'li' '- / 'li • hlL -
) @) - - .. -..__......- V Tl-i
< '
•
-
L .,.... .. -,,,_ r -' - r- Ili r-
./ 1 1 1
1 J 1 1
1 1 -
Tip: Go for the slight rali.
{- entando = getting slower) over the last two
ar but don't overdo it, and in the last example
a light arpeggio feel to the last two bars -
· , don't overdo it.
emher you're playing the blues, not an
--...~"~.U.1!-f<ULL.1.Llent for a silent movie!
1
1
F
1 ·- - . r ' • .......... • u
VI'"" • r'J
'--'I
L • 1
,,_ • ._. b.· f-
Ili_• -· - - • r- r- r-
1 1 • - -
• .. - 1 ~ , • -. h'll · ~
. - v• ~
~ . 'li . - - -- i .....__,..,.. .
•· -,...--...., "~
.. 1 u. 1
1 n - ,
1 T1 ~ ~
•
60. It's late ... the party's over and people are
starting to leave. You notice the piano in the
comer and casually lift the lid as you seat
yourself on the vacant stool.
~ i;t·S33"-W:pux.t
e 3 3 3
As ali eyes tum to the piano a steady, rolling,
12-bar blues fills the roam, slowly building to
a lazy climax ...
TRACKS 91 +92
e
3 •.. 3 3
, . " ~ ~.- 1- 1- 1- - r- r- '~ • • • - • •1 • ,_ • • ~ q ,_ • h. - - - • - • ... ~ f.. V - r- I q
) @)
l ....... f.. - - •• q - / ..'·. -
:4j .. •
A voice rings out - 'Hey, play the blues .. .'
3 G
3
r- ~ f-
-
- - -f- -r- •• -. •- - •1 • • • - .., ..., - . ........ ,....,~ - 1• • - - ..., - v - ~ 1
"- I -. - - 1
~ ~
1
...._....
.. ~ 1
11/f - • l - 1
111• ..., ..., .., - . -,--.. 1 rA 1
IJ. - I 1 - ...-l 1
~· - ~ ,__,~
::4j . I• -e-
61.
62. EASY INTERMEDIATE
Playin' The Blues
Now here's your chance to put it all together
with your own professional backing band.
Most of the music in this piece wil1 be familiar to
you, as it is made up of riffs we have studied
throughout the book.
The walking bass in the first few bars should
be purposeful, but not too heavy. Remember to
play the dotted rhythms with a 'swing' feel.
The first Blues chorus is a version of the bass
line we learned at the beginning of the book,
with a classic bluesy ending. This sets the pattern
for the piece.
Throughout the piece more and more right hand
activity is introduced, including some well-tried
blues scale lines, octave passages and repeated
triplet figures. Ali in all, a very bluesy mixture.
This should give you plenty of ideas for your own
blues playing.
The last five bars of the piece are typical of
blues endings; simply a recap of the last four bars
of the sequence, with a 'doubled-up' final cadence
onto the home chord of e.
Try this piece slowly at first, gradually building
up your speed until you are able to play along
wi th the backing track.
AD
65. F
e G
,---3 --, .-3 ---, .-3 ---,
G
.---3--, .---3--, F
rali.
e AP7 G7
66. All You:Neê!l'·TO Kn ... -::::~:~:~:~:::::~~:get you s a
FastMºrWca~d .·.:-:-:-:.:-:· ... .. . . . . . . ....... . . . . . . . . . . . . . . . . . . . . . • • • • • • • • • • a • • • • • • •
TM . • •• •. • • • .·.·.•.•.•.•.•.•.•.•.•.•.•.• :luide To Key6:ill:·.-_ Sitting Correctly
lt is important to sit correctly at the keyboard.
The more comtortable you are, the easier it is
to play.
Sit facing the middle of the instrument, with
your feet opposite the pedais. Sit upright with as
straight a back as possible without being stiff.
Your seat should be high enough to allow your arms
to be leve! with the keyboard, ar slightly sloping
down towards it.
The Hand Position
Support your hands from the wrists, which should
be in a flat position. lf you bend your wrists too
much as you play, you will soon experience muscle
- ~ ers slightly as if you are gently
tm:1111::ii1n: ..: -
mmm ll'.'11 1 1 '"'? ,=- _ :::: ow the natural position of
1w lnllllltn::::t ich part of the key you
..... ... .. . .... ... ... .
The Five Finger Playing Position
With the tips of your tingers, cover tive adjacent
white notes in each hand. This is the normal tive
finger playing position. lt is also the hand's mos
relaxed state.
Always return to this position when you have
been playing on other parts of the keyboard.
Like a good squash ar tennis player always
occupying the centre of the court, this is the bes
'alert' position for keyboard players.
67. he Piano Keyboard
There are only seven letter names
used in music: A B C D E F G
These seven letter names repeat over and
over again on the keyboard. The black keys are
arranged in groups of twos and threes.
A B e D E F G A B e D E F G A B e
How To Learn The White Keys: C D & E
Use the black keys to locate the white keys.
For example, 'D' lies between two black keys.
Two black keys
D
To the left of D lies C. To the right of D lies E.
Two black keys
D
68. How To Learn The White Keys: F G A & B
Use the groups of three black keys to locate
F, G, A & B (the remaining four letters of the musical
alphabet):
Three black keys Three black keys
A B F G A B F G A B
Find all the F's, G's, A:s & B's on your piano.
Play each note in turn and name it.
You now know ali the white notes and their names.
An lmportant Note: Middle C
One of the most important notes on the piano
is Middle C. This is the C nearest the middle of
the instrument, directly opposite the manufacturer's
name, as you sit at the piano.
The C below
Middle e
Look at the illustration above.
From it, you will see that:
The C to the left of Middle C is called
e e is called
MIDDLE C
The most central C
Learn to find them this easy way:
• Play Middle C with the right hand
(any finger will do).
• Play Middle C with the left hand.
• Play The C below Middle C
• Play
The C above
Middle e
69. To Work Out Chords
With this easy-to-use guide you will be able to
work out any major, minor, augmented and
diminished chord on any note. Follow the simple
formulae and all the chords you need will be at
your fingertips.
Types Of Chorei
Broadly speaking, there are four types of chord:
MAJOR (e.g. C)
MINOR (e.g. Cm)
DIMINISHED (e.g. Cº)
AUGMENTED (e.g. e+)
MAJOR and MlNOR are the two most important
types: popular Western music is based on them.
lt is possible to play most popular tunes using
MAJOR and MlNOR chords only.
DlMINlSHED and AUGMENTED are merely
'passing' or linking chords: they are used for passing
from one Major or Minor chord to another.
Working Out Your Own Choreis:
Using Semitones
lt is possible to work out any of the four types
of chord by using simple formulae. These formulae
rely on SEMITONES.
A SEMITONE is the smallest possible distance
on a keyboard, counting black and white notes:-
e to ob (or back) is the distance of
ONE SEMITONE
Ab to A (or back) is the distance of
ONE SEMITONE
E to F (or back) is the distance of
ONE SEMITONE
Example 1
To find the chord of C (Major).
Formula: C-4-3
e E G
Play note C, then count 4 SEMITONES to the
right, and you will arrive at the note E. Play note E,
then count 3 SEMITONES to the right, and you
will arrive at the note G. The notes of the chord are
therefore: C, E, G.
Example 2
To find the chord of Db (Major).
Formula: Db-4-3
Db F Ab
Play note ob. then count 4 SEMITONES to
the right, and you will arrive at the note F.
Play note F, then count 3 SEMITONES to the right,
and you will arrive at the note Ab.
The notes of the chord are therefore: ob, F, Ab.
Example 3
To find the chord of G (Minor).
Formula: G-3-4
Play note G, then cou 3 SEMITONES to
the rig , a!'d
70. <eyboard expert
.LE.FF HAMMER
..-as a member of
'>e Teardrop Explodes
- as also toured
The Proclaimers,
Sade and Kim Wilde.
tias worked
l!X:ensively in music
.JlfXll'IJêilism as well
~ t:Jeing involved in
z .de range o f
rscording and writing
;>roteeis.
12-8ar Blues Piano
" '92445
:--
11
1
i1
Packed with riffs, licks & tricks you can learn now ...
and easily incorporate into your own playing style
Coai Blues Keyboard
AM934835
Play along •••
with the tracks on the CD ...
Discover more •••
from the matching book
ln this 94 track CD+Book Pack:
INCLUDES 4 PAGE
PULL-OUT
CHART
Everything you
need to know about
getting the best
out ofyour
keyboards
You'll learn the correct way to play the 12-bar blues,
the authentic left-hand and right-hand riffs, variations, turnarounds,
tops and tai ls which help you get the real blues sound on your keyboard.
Then get the companion pack, Coo/ Blues Keyboard .
Discover the secrets of playing the genuine blues for keyboard.
You playas you learn with the pro-quality CD backing tracks.
Dynamic
Rock Keyboards
AM92437
Real Blues
For Keyboard
AM92438
Rhythm Riffs
For K eyboard
AM92436
Rock Solid
Drum Patterns
AM92666
The FastForward system as bee e .e s·vely ield tested
and researched or o e e o be
_.:;.:_ age
