Hey guys, Willie Myette, creator of jazz edge and welcome to Episode 49 of the confident improviser podcast. So as you can hear, we got some cool stuff to deal with today. So today I'm going to show you a new blues piano improvisation
trick, right? This is a way of adding your bell tones to your solo, which I can tell you, this will turn heads, we're always trying to figure out a way of having our solo stand out. And we're trying to figure out ways of being able to build up our solo. Well guess what this is it. Alright, so let's dig right in here. So what I have here is I have the sheet music written out for you. And I'll explain to you in a few minutes how you can grab this sheet music. But let's just dig in here a little bit closely. And I'm going to show you what's going on. So first of all, notice the left hand I'm playing my rootless chord voicing, okay, so right here in the left hand, this is all my C seven rootless chord voicing. Now, what I'm doing here is I'm adding some rhythm to this rootless chord voicing, right? So the for that, right, and before I go on, what I want to do is I just want to play what I actually have written here, because in the beginning, I was kind of messing around a little bit and not exactly playing what's here. So when we play, what's the, I'm going to leave this on the screen for you. So you could see it, and I'm going to play through the entire thing for you.
Alright, so that's what we have there. So now let's dig into it a little bit further. Like I said, the left hand is playing that rootless chord voicing, and I'm just adding some rhythm To the left hand. Now, which rhythm should I use Willie, you can use whatever rhythm you want. Alright, so you do want to make sure you don't play too much like I want to go. Going to be a little bit too much there, right? A lot of times what you do is if you if you're trying to build up that solo, it's great to add in some of that syncopation right. So listen, what happens if I play this, I'm not going to play this, I'm just going to improvise. Listen, what happens when I improvise, and I'm not using syncopation, this is how that sounds. Right? kind of sounds a little bit boring, doesn't it? It's not a bad place to start. But it sounds a little bit boring. And ultimately, we want to have something that's a little bit more interesting. So what's happening here is you notice that we end up playing the downbeat, but then the rest of it is all upbeat. So it's D bah, bah, bah, bah. Now if you need help with rhythm, take a look at my rhythm essentials course, you could find that back on my jazz edge comm website. It's a bunch of rhythms there, this being one of them, I'm sure and then you can, you know, get sheets of plenty of other rhythms that you can try. Alright, so anyway, be bop, bop, bop, bop. So try saying that with me. It's D ba, ba, ba, ba 234, d ba, ba, ba, ba 234, d ba, ba, ba, ba. Alright, so that's that first rhythm. The next one of them here on the f7. not that difficult. Just be ba, ba, ba, ba, ba, ba, right? And we're doing this anticipation here that we already did on that D flat seven chord. Okay, that D flat seven chord, you can just go back to the previous couple of podcast episodes if you need help with that chord, or that rhythm. So this rhythm here is B ba, ba, ba, ba, ba, ba. Okay, let's try it. Try it with me. I'll do it two times. One, two, ready, go. D ba, ba, ba ba, ba ba I want to try it again. D ba, ba, ba, ba ba, ba, ba. Okay. All right. So now, the last one, the third line, I should say. Notice all I'm doing here is I'm just comping this exactly the same thing. We did. In the last podcast episode, that same thing with this right here, the only thing that's different is when we get to the G seven chord, let me fix that when we get to that g seven chord, we are rolling the cord. That's what this squiggly line means right there. So when we get there, we just roll that cord,
the G flat seven, and enroll the F seven, and then hit the D flat and then back. And then on this last one, I rolled that one as well.
Alright, so now let's talk about what's going on in the right hand. What notes am I choosing in the right hand, all of these notes are all based off of my C blues scale
. Remember, C, blue scale
, C, E flat, F, F sharp, G, B flat, and C. Okay? That's my C blue scale
. Now, rather than playing it as a single note, rather than doing that, oh, by the way, I'm sorry, my piano sound might be sounding a little bit weird. Let me do this though. That should sound good, right? Sometimes when I have the software up, it kind of has like an echo effect to it, but it's kind of good because it has kind of a Honky Tonk piano sound, which is, which kind of works with this blue sound. Anyway, that's off now. Alright, so the right hand, I'm using that C blue scale
, I could also use the C minor pentatonic as well, that just is the same notes as the C blue scale
, just leaving off that F sharp, all right, leaving off the sharp four, flat five there, okay? All right. So in the right hand, rather than playing single note, I am instead doing them as Bell tones. And then that's the first trick. The second trick is the rhythm that I'm doing in the right hand, I am copying, copying that same rhythm To the left hand. Otherwise, I would get this
you know, something like that. And then that's fine. There's nothing wrong with that. But if I really want to kind of goose this thing, and I really want to, like build up the intensity when i when i when i really bring in that left hand as well. It really supports the rhythm and supports what it is that I'm doing with the right hand and really has a nice way of cutting through the band right. Now, bear in mind when you're playing this do not bang you know, you don't want to be thinking driving down heavy instead, think about plucking at these octaves again, it's that grab technique. And then this one right here, when you get to that chord, if you want to roll it Sure why not?
Any of those chords
you hold, you can roll them out, I would suggest not rolling every chord though, because it's gonna sound a little bit contrived if you roll every single chord, right. Alright, so and then again, when we move to the f7, chord, G, flat, z, right, it's all built off of that C blue scale
. Remember, we use the C blue scale
over all of the chords
of the blues, we do not switch to an F blues scale
. When we get to the four chord, we still stay on that C blues scale
, right? And then like I said, a lot of comping in here and the rest of this is comping, right what we've already done, and then we come back and we do this same pattern at the end here. Why did I repeat this at the end? I repeated this at the end because it just added some structure to this kind of Soloway kind of song, right. So I have this right here at the beginning. And I have it again here at the end. So it's a nice way that I can provide some structure you can think of it as like kind of book ends, right. Alright, so anyway, let's go through I'm going to play the whole thing. Again, I'm going to do it at 100 beats per minute, okay. And then I will go through and I'll do it at 120. All right, so you can try playing along with I understand the sheet music is small here. If you want to grab the sheet music for this lesson, just go back to jazz edge, comm slash try tone, the music is free. And you can also click on that card that just popped up in YouTube, you can get the sheet music that way as well. Alright. Alright, so you could print it off, and it's yours to keep Alright, so here we go. Let's play this. Go through it. Again. I'm trying to think about what I want to tell you here. I'm messing up a note. So what I wanted to say to you is, you want to make sure that dynamically you think about how you want to shape this as well. So notice how I'm not playing everything at the same dynamic level, right? I'm kind of shaping it like All
right, you can kind of hear that all of the notes are not played at the same vibe. So listen to that and try copying that as well. Alright, here we go.
I mean, see where you can go with this. It's such a great sound. Alright, so now let's go through a little play a little bit fast. We'll do it at 120 Here we go. Oops. octave, come down to blue scale
. Without again, again on let me do this again. Fun. So do you see how I'm playing what's written there are pretty much playing what's written there, right and then branching off and doing something else I'll come back to playing what's written there. Notice also take what's written and then move up an octave. This is the essence of learning jazz piano
, right? Especially anything improvisation
al bass you have to be willing to try to take chances to fail you'll see that every now and again I hit the wrong note as well because a lot of times I'm used to playing this stuff not necessarily reading it and when I have to read it exactly like because I'm teaching it to you, sometimes I make a mistake. I want you to see that because do you notice how when I make a mistake, I still keep going, right? That's first thing Second thing I laugh it off right? Even though I'm recording this I know it's going to be there it's going to be on the internet and you can write comments about how what a terrible player Am I don't care, right cuz I just moved on. That's what you want to do. When you make that mistake. You just keep moving on. Oh, those people they're gonna write their comments and say all their like whatever baloney. They want to say. Don't give a darn about that, right? All I care about is expressing myself. And you'll hear that in the plane. You hear the passion, right? That's what you're looking for. Don't worry about the mistakes, you're always gonna make mistakes, right? Unless you're not a human being you're gonna make mistakes. So when you're trying this stuff, take what's here, read what's here, but then try branching out see how it came right down that blue scamp cool so bom bom bom I love that sound.
A lot of fun with get that real nice big Jean Harris kind of sound in there. Alright, so anyway, that's it for this podcast episode if you enjoyed it, hey, do me a favor, subscribe to the channel. Like the video turn on notifications and most of all, leave your comments let me know Am I on the right track? Do you like these lessons is or it's something you have questions on. Is there another topic you would like me to do a podcast episode on. I take all of those comments very much. I read all of them and they shape what it is. I do because you let me know what do you need help with all right, I got a vast amount of knowledge that I can share with you. Let me know what what knowledge you want me to share with you all right. Also be sure to check out jazz piano
daily if you'd like these. These lessons, jazz piano
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