PIANO INSPIRATION SERIES - SEASON 4 | Woody Piano Shack | Skillshare

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PIANO INSPIRATION SERIES - SEASON 4

teacher avatar Woody Piano Shack, Helping you make music

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (1h 8m)
    • 1. SEASON 4 INTRO

      0:45
    • 2. SE04EP01 YOU CAN PLAY THE TEXAS BOOGIE

      17:07
    • 3. SE04EP02 ESSENTIAL TURNAROUND CONCEPTS

      15:12
    • 4. SE04EP03 NEW ORLEANS GUMBO GROOVE

      15:47
    • 5. SE04EP04 A DROP-2 GOSPEL COMPOSITION

      19:06
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About This Class

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The PIANO INSPIRATION SERIES is my platform for sharing the knowledge I’ve learned during 40 years of playing piano, keys and synth. We cover piano lessons on a variety of topics such as theory and technique, song breakdowns and genres such as pop, blues, boogie, jazz and gospel. The goal is to give you new creative ideas, broaden your repertoire and above all bring a lot of enjoyment and satisfaction to your playing.

In SEASON 4 weexplore the following topics -

YOU CAN PLAY THE TEXAS BOOGIE

Here's a simple boogie-woogie song that I think most of you will be able to play. I've taken the Texas Boogie as played by Dr. John and further simplified it to make it playable for beginner pianists and upwards. I'll breakdown the left hand riff, show you the right hand pattern and give you some tips on turnarounds and some variations.

ESSENTIAL TURNAROUND CONCEPTS

Continuing our boogie-woogie journey, I'll teach you some must-know blues and pop turnarounds. Turnarounds is an essential lick that we play at the end of a progression before doing a repeat or ending the song. We'll cover the fundamentals and most basic turnarounds and then progress to more complicated and sophisticated licks and riffs.

NEW ORLEANS GUMBO GROOVE

Here's a feel-good New Orleans Gumbo groove that just makes you want to dance on your piano stool! I'll demonstrate some left hand concepts and breakdown the right hand groove. I guarantee you'll have a blast when you master this tune!

A DROP-2 GOSPEL COMPOSITION

Here's an analysis of a tune I composed, The Tune With No Name (yet). The song uses some rich gospel progressions and delicate "Drop 2" chord progressions. I'll show you the chord progression and give you some choices for voicing and embellishing the chords. I think you'll enjoy having a go at playing this tune yourself and using these concepts in your own improvisations.

Meet Your Teacher

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Woody Piano Shack

Helping you make music

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Hello, and welcome to Piano Shack, with me Woody!

I run the popular YouTube channel Woody Piano Shack about piano and music technology. Skillshare is where I share my premium piano lessons, the PIANO INSPIRATON SERIES.

These are lessons aimed at beginner and intermediate players but also with some advanced topics for experience pianists. Each video lesson is a standalone topic designed to broaden your repertoire, inject new creative ideas into your playing, improve your technique and music theory knowledge whilst bringing you a lot of satisfaction and enjoyment.

So far, the PIANO INSPIRATION SERIES totals over 6 hours of lessons on 19 different topics.

I've been playing piano and keyboards professionally for over 30 years and look forward to sharing my k... See full profile

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Transcripts

1. SEASON 4 INTRO: Welcome to the piano inspiration series with me, Woody. In season four, we have some very important concepts that I think you really need to know and master. Every keyboard player worth her salt, needs to know a basic boogie woogie. So I cooked up the most simple possible boogie. So even beginners can get started. Let's dig into some essential turnaround ideas. I will show you a new Orleans inspired piano groove that simple to play and really makes you want to dance. All the more advanced players. I have a lesson about the drop-two technique. Happy practicing. 2. SE04EP01 YOU CAN PLAY THE TEXAS BOOGIE: Hello and welcome to Piano Shack with me, Woody. Today I want to share with you a simple boogie Woogie that I hope nearly everybody complain . A I've been searching high and low to find the easiest boogie I can And this is what I've come up with is called the Texas Boogie as played by Dr John but somewhat simplified. My aim is that everybody complain This even those of you that are relatively new to the Cano. Let me give you a quick play through of the song. Okay, So this is a 12 bar blues, just like we've had a walk through off in the past. I've explained the 12 bar blues structure for you. You can think of it as 34 bar phrases. So the first we've got four bars of C. This is in the key of C, this boogie Woogie, which is the easiest key to play booby on on the piano. Probably full bars of C two bars of F two bars of C two balls of G, then back down to two bars of C, and I'll show you a couple of very simple turnarounds that we can do at the end here so that when you're repeating this pattern as you'll probably want to do, you can loop back through to the sea again at the beginning. So let's break down the pattern here then that I'm playing. Let's start off by breaking down what my left hand is doing here. You want to be playing in this range of the keyboard you can experiment with for some variation playing it down there as well, which is gonna signed really fat meaty. But for now, we're gonna do it up here. So the groove, the rhythm that we need to do with the left hand is 12341234 And this is again the shuffle rhythm. I did an entire video lesson on the shuffle rhythm, but it's basically this this kind of groove we're looking for. 1234! 1234 Swing AIDS or dotted eighths is actually a triplet groove. 123! 123! 123! 123 We just skipping over the 2131313131234 Start riel slow as well because your fingers are going to be struggling with this. I totally guarantee in the beginning. For one thing, if you're new to the piano, your little finger is probably feeling fairly useless and not knowing what to do right now . And you'll be struggling to push down the keys with the right right volume, certainly as you play fast anyway. Six. Start nice and slow. Let's go to the F. Sorry I made a mistake then. You know, I'm not used to playing this one hand at a time. I've normally got my two hands locked in. So for me, actually, just a struggle to play it slow and deliberate. Let's start from the F again. You can hear when you're playing one handed isolation. These changes between the cords are quite a challenge. It is not going to ST to smooth. But I wouldn't worry too much about it, because when you're doing some busiest stuff with your right hand, it will actually mask out any imperfections there. But you do want to be changing as quickly as possible between each chord without having too much of a delay. Think also about which notes your accent sing accenting. I'm posting a little bit on the 12341234 like this, even on the three, if you like the same to that 12313 Yeah, I can tell. Tell, even I need to work on this a little bit. My changes aren't so Chris, but I'm getting a few fluffed notes is we're changing in between there. Not something I've noticed before when I'm using doing both hands together? Yeah, no perfect. Let's see if I could do it better when I put both hands together. But first I want to show you the right hand riff. The right hand lick started with a pickup just to bring us into the tune. That was the pickup on. Even though this is in the key off E major, this booty the pickup uses the minor third them. That's because we are using this blue note. The Flat Third is one of the notes that gives the blues. It's saying, playing this minor third, even though it's a major piece, eyes our blue scale featuring the flats. I wanna show you some more advanced ways to play this piece in a later video. Today I just want to stick with the most absolute basic form of this song. But I show you some neat little licks and riffs you can use using just little patterns like that one. So here we go way got the pick up and there were into the groove, Theo. So we're outlining a major try at Eyes our C major try. It is just inverted going up to the sixth as well, which is very common in blues and jazz to play this thing. This is exactly the same rhythm that we were doing with the left hand, which is why this is fairly easy to play because both hands can lock in together through Let's do the F shape, which is very simple. All you need to do is lower the third. That's gonna work very well with the with the baseline there. When when the key of f Now, why is this so only so good? Well, those of you that saw my seventh video video automate the seventh chords will realize that this here eyes the minor seventh, the dominant seventh of F, which is going to sound great over the blue Zaheer thing is the ninth eso the second note of the F major scale Theis see shared between the C chord and the F chord. This is our fifth in the key of C, so this is sounding great. Then when we go back to the sea, you only need to move one finger. Let's look at the groove I was paying for the G. It's gonna anchor with my left on there. So again, we are playing a dominant seventh there, the fifth there, which is a very strong signs we're going to do the way flat. Third off there's a regular G seven chord, but we're gonna play the flat third occasionally with the left hand. Or if it sounds like this thes hands are doing the same thing. Actually, I can see that on back down into the sea. Okay, let's put both hands together. And as I said, it shouldn't be too hard because both hands are doing exactly the same rhythm, so you won't have any problems with the coordination of your two hands. It will be challenging to get all of the notes because there's quite a lot going on here. But the coordination is relatively simple for this booty. Let's play through the entire thing nice and slow so that we don't know too many fumbles. Aim for precision Here. I'll start with the pick up. Then we'll go straight into the main groove way way. We should explain that ending. So it's basically a little turnaround ending idea on the cords I'm playing are just doing the regular pattern until we get here and then I'm going to play with my left hand a G seven shape, but just the seventh and the third with my right hand. I'm going to play the minor third of the sea blue scale on the sixth of the way. No. Sure, what caused this is it's some form off altered G seven chord. It's actually quite hard to break this down for me and see and try and explain what the theory is for you cause it's just stuff I've played. I've just heard other guys doing this kind of thing, just constantly experimenting, trying different things to see what sounds good. If it does sound good, I'll usually just stick with it without thinking too much about the theory. But today I'm trying to explain a little bit of theory for you. as well. I was doing a few more advanced concepts there as well. I think so. Let's talk about how we can embellish this to make it a little bit richer. Okay, that was a few ideas about how you can embellish this song. But as I was playing through this, I realized that's quite a lot of stuff to cover in one video. And I wanted to keep this one targeted at the beginners. Just wanted to show you is perhaps a bit of inspiration where we can take this one, and I'll show you all of those Lixian embellishments in a future video. But right for now, let's keep this one at its most basic form with both hands locked in together. But what I want to do is show you a quick turnaround you can use here at the end. Now, a turnaround is what you used to take you back from the very last chord in the 12 Bar blues back to the first quarter, so show you a very simple turn around. Now the all of you complain, I'll start paying from here, and then I'll show you the turnaround that I want you to learn Very simple, just at the very end. Here on the last speeds. One start from here. 1231 Right after the one on the last bar. 112341234123 It's syncopated, which makes it a bit difficult for me to count and play at the same time. A one 12341234 So you just have to feel that really is a bit difficult to can't let's do it from this seat. Thistles coming in just before the 311234123 What's going on here? The way this turnaround is working, as I've mentioned before the dominant fifth, the five chord of a piece is gonna want to pull us back to the tonic, which is C. The five court here is the G. You can hear there that just wants to go. To see that is a very common resolution. Cadence used in popular music, jazz blues from the five court, which is our g g seventh really wants to pull it down into the I see. So what we're gonna do is throw in a G seven court. At the very end here, I was just playing the route actually like that, if you want to, you can fill it out a little bit like this. Nothing. A whole court is gonna same like this way back in there as well. Eyes nice to have a little turn around at the end because it lets people know that something is happening. We're going to go back to the start. It gives the songs a lot more energy and just breaks up the repetition just by having that little pause there for a couple of beats at the end of the last part that might bring this back into the start of the booty. So what you should be aiming for when you play this song is a nice, bouncy swinging field. Listen very carefully to what you're doing. As I was doing in this piece is. Well, when I was practicing together with you, I noticed I was playing a few bum notes here and there. And my inaccuracy was maybe not so good. You need to be listening for the same kind of things in your own playing. Don't just press the buttons of the keyboard as a robot. This is a feedback loop. You should be playing, listening and then adjusting your playing accordingly to make it even better. But aimed here for a nice, bouncy, swinging feel like this should be accented a little bit, just like I mean, this is a rhythm percussion machine. The piano is a rhythm section. Think of it like a drum kit. So get a nice So the drum groove groove going, if you like. On the way I did an episode all about the Metrodome as well, I would totally recommend using the Metrodome. This one has one built in or get up on your telephone or a standalone Metrodome said it nice and slow. Play through this, then you be able to hear If you're struggling to make those changes, you better work on your technique and focus on the parts of the song that are most difficult for, you know, point practicing the things that they already good at practice, the things that you're struggling with, and that's all I had for you today. I hope you enjoy playing the Texas booty really great to have a nice, easy Budi song in your repertoire. I'm sure you will enjoy it as much as me. I'll see you again next time. Happy practicing. Cheerio. 3. SE04EP02 ESSENTIAL TURNAROUND CONCEPTS: way. Welcome to Piano Shack with me, Woody. That was an example off a turnaround. The turnaround, then, is a chord, a patent, a riff that we throw in at the end off a section of music. In this case, we have 12 bar blues. I played the last line for you now, and we did a turnaround that will bring us back into the beginning of the 12 bars so we can play through it one more time. Turnarounds are super important. They add so much excitement, movement and forward motion to our performances. So you need to know a few turnarounds. I'm gonna show you a few today, going from the most basic ones to some much more advanced ones that you can include in your repertoire and performance is Let's get started. Let's use a 12 bar blues as an example today, then in the key of C, and the very basic idea on the turnaround is that we're going to hit the very end of our sequence here, a five chord played as a dominant seven. So in the key of C R. Five, court is a G way you want to be playing a dominant seventh chord. I did a video, all about dominant seventh chords and all the other forms of seven chords as well. So what? If you're not sure what I'm talking about, we're gonna play a G seven at the very end thing about these dominant seventh chords Is they really pull you down? They want to resolve. This is a bit unstable due to that nature of the seventh in the third. This is pulling you down into the I see so we can start all over again. Bassem seventh there as well. So by some means or another, we need to be bashing on the G seven court right at the end to pull us back into the sea. Let's start with the most basic one. Then I'll start playing this last phrase here. The final Four bars of our 12 bar blues just playing a basic shuffle pattern with my left hand on just holding die in a dominant chord. Dominant seven called on my rights. Okay, so from here, want to stop on the 112341 on. Then just roll up dramatically to the G. That brings this nice nicely into the start against. That's the most simple form I can think off for you. The next thing we could do to embellishes a bit Mauritz just to fill at that final G instead of playing, I'm going to play or even or any other inversion of G the regular G try It doesn't sign is good to try on Hit that g seventh if you can. So from here. Okay, so that waas a slightly fuller turnaround idea in the very 1st 1 Let's move on to the next level. Okay? For the very simple turnaround we did first I stopped on the one here one when we did our turn around here. I'm gonna actually stop here at one, because we're gonna have a much longer turn around here, going to the G f. And then after beat one, I'm going to start doing a turnaround. It's going to sound like this. Okay, So what on earth is going on there? Let's see if we can break it down. So we're gonna by the G, and I want Teoh accent the sea. Just one beat. You know, in many ways you can do it is actually I probably didn't do the most simple way first. So let's start with that now, Thedc Etoo this turnaround is this chromatic dramatic thing going down here? So we've played the one way. Got a chromatic movement going down in there from the fifth of the G from the fifth of the sea. Sorry for the third of the sea, and then we're going to go just like we did before. So going from here again, uh, you want to make it a slightly more full of ST than that? So here's what we're gonna do is the just adding the see signs. Really great. If you want, you can do it with two hands. And I'm doing that that then adding the court afterwards, there are 1000 different versions of this. I'm just gonna pay you through some and give you a few ideas. You can experiment yourself and find the ones that you like. Okay, let's in delicious a little bit, Mawr by adding something in our left hand. Okay, so that was in bad ish, basically what we were doing before, but with our left hand, we are playing this, which works very well with what we're doing in our right hand. Uh, so what's actually being played there? Is this Okay, left hand is doing the beef, Not the right turned. That's a lovely signs. Sounds very melancholy. A sing song field to when you play it slowly the street from here. I'm also opening up with a C on the bottoms I gotta see on the way. You don't have to do that. It sounds good if you just do it without the sea on the bottom, you can vary up a little bit. There's lots of options here. Do lots of alternatives. You can leave out the G with your right. Levite the sea with your right hand. Here's something I just did that. Okay, Instead of playing our regular G seven, I actually read. This is the fifth of G. This is the third. This is the seventh. I raised this one. Okay, sharpen that fifth, which is even more of a jazzy blues He signed, I think to pull you back into the beginning. Another thing we can do We've got this basic pattern day and then though way can add a bit of room tonight we can arpeggio hate it a little bit to get something that sounds like this . Do that one more time. Left hand is doing the same thing is before, but you might find the fingering a little bit tricky. So see what I'm doing there on the video. You can also I'm starting here on the top. What? Sorry. You also start on the bottom. Maybe that's the same thing. Actually, the same thing. I'm just missing at the 1st 1 again. I've never really broken down and analyzed these turn raising myself. It's just something I've picked up along the years this into what other guys are doing and try to copy it. Okay, That makes me think it's time to introduce some grace notes into our turnaround. Okay, I'm also swinging it a little bit here. You won't be alternating when it sounds like this. So in the key of C, anyway, it's very natural to me. Teoh slow that one left hand. Also slur this one. Very blues he signed. Let's talk about a few more ways. You can play that very final G seven. Okay, so this is a common technique as well. Before we go into that final G, we're going to slide down to it or slide up to it. So we're going to slide down into it. We're gonna play first, a chromatic note above, which is a flat like now we can slide up to it by playing on F sharp. I find it quite difficult to hit these chromatic chords in the heat of the moment. You don't have much time to think here when you're doing a turnaround things, they're going very, very fast. If it's an uptempo tune, can be quite challenging to find these. So I don't play them a lot myself. But I'll try and play the whole thing here. Up tempo. You can hear how it sounds when I go up or dame. As I was explaining, I got it completely longest right one more time. Okay, we got in that sign. You can also use Grace notes when you hit that final G seven e. Do that a lot as well, so there's a few ideas for your turnarounds them from the basic to quite intermediate to advance. You do, of course, need to be able to play these in all of the keys, and that's your homework. You need to transpose what I've just taught you to some other keys as well. Make sure you've got it nailed for the key of C first, but then take some of those simple ones. Transfer the knowledge you've learned into the other keys. Ones. I do recommend learning are definitely a the key of a E. Because if you're jamming with guitarists, that's the keys they'll tend to use for something you will need to work on. There is no short cuts really here. You'll need to learn the blues several different keys if you're gonna be jamming with other guys. But if you just want to play by yourself and staying yourself, play for a few friends and you can certainly get away with doing in C as well. So don't feel discouraged about the amount of keys that we need to learn. Just wanted to show you one further way that you can think and up the sound of this tone around it goes like this. Sure, you recognize that signed Previously We did this, Um, adding another note. Another harmony into this turnaround you got the left hand is doing our minor seventh, called the dominant seventh my right and on active right hand is this SIAC tive together with the base. We have Theo the major third on the fifth. And then we're just gonna walk these days these days like that. And that works great as a turnaround. If you go to the dominant or you can end a song like this as well, you can actually use the turnaround is an ending. Well, maybe just resolved to a plain old C major or a C six. Let's do that. So there you go. You can use Tona Raines's endings as well. And this is the most full one I wanted Teoh share with you. You can also use this one. Gospel is while it works for many different genres, not just the blues. And that's what I had for you today. I hope you got some value from this lesson. Sure you will enjoy playing these turnarounds anyway. Very best of luck to you. Happy practicing. I'll see you next time. Cheerio. 4. SE04EP03 NEW ORLEANS GUMBO GROOVE: Hello and welcome to Piano Shack with me, Woody. Today I'd like to read you a quote from Dr John. That's what we call a gumbo in New Orleans, putting a little bit of this and a little bit of that on def. It's something to eat. It tastes good. And if it's something to dance to, it feels good to dance to it. Such a great rhythm that you can't help but get out of your chair and do whatever makes you feel good. Today, I'm going to share with you how to play Doctor Johns Gumbo rhythm, which is such a lot of fun to play. As he says, Such a good groove. You can't just help bouncing around in your chair as you play it. Fleiss. Do you a quick play through the doctor John Gumbo rhythm. - That , then, was the basic idea off the gumbo groove. A little bit of this and a little bit of that. Lots off influences musical influences in New Orleans, of course, and this is when you put them all into the melting pox pot and mix them together. This is the kind of groove that you can end up with as demonstrated so excellent. Any by Dr John. That was my attempt to recreate a little bit of the feel of it. Anyway, So what we just played there was a regular 12 bar groove. But with this gumbo pattern today we are in the key of G major as well. Let me break down for you how this pattern works. Our left hand is imitating the signed off. Is it called the sousaphone? I'm not quite sure that huge big brass instrument that's carried on your shoulder and makes that huge low note that you hear in the New Orleans second line street parades and all that kind of thing when the key of C and what we're gonna do is do just an own part rhythm. Going from the first course is the sea. Emulate the kind of rhythms that they would play. You can go if you like. Go up, go down to the sorry for the sea way Walk through the entire piece. They're just playing some examples of what you could be doing with your left hand. And I do play. It's slightly different every time I do this groove. So sorry in advance a little bit for my inconsistency. Well, I just play whatever I'm feeling at the time. I have a few different ideas on my mix and match and combine them together. But basically the idea what you want to be aiming for with your left hand is always between the one and the five on, then adding a few little fills just like sousaphone play. If that's what is cooled would be doing just making stuff up. I didn't work so well, let's do that again. Well, I'm doubling up with relatives as well to get any even full assigned. You don't have to do that. Another thing you need to be thinking about with your left hand when you're playing any kind of base really is to walk up or walk down to the note this coming. So you've gotta see coming here. Let's start over here somewhere. Way to go back down into the G. I didn't like that Walk time. Try another one many, many different ways to do this again. When we get to the d, we're gonna walk up, we're gonna walk back time to the just get your mind set into how and um per number, Number number. Brass player would do these lines on his instruments, and that's half the battle. They can't do anything too fast or advance because of such a cumbersome instrument and take such a lot of puff and breath to play. But there you go. Let's move on and talk a little bit about what we're doing in our right hand to get the right feel for this gumbo groove. Okay, this is going to be pretty hard for me to break down this rhythm. This is something you just need to hear on. Imitate, I think, rather than try and can't this because it's such a syncopated groove, Lots of Greece knows as well. I try and play at first in its most simple form, and then we'll add some embellishments. The chord voicing I'm using anyway, is this so that might be a bit of a stretch for you. It's actually mawr than an octave. We have basically the outline for a G dominant seventh chord. There G seven Chord. There's our regular G, making it a dominance on, then adding a G on top, which is our pivot point. Actual Groove is alternating between two notes So when the bass note goes up to the D, the fifth above 151515 our right hand is actually going to a forecourt. I already told you in a previous lesson, I think we did the Elton John Rick. That is a very common cadence to go from the one to the four, which is what's happening here, actually with the right hand. But the left hand is going from one to the five. This is just a C major triad, isn't it? With a G on the bottom. So they had the two courts that we need to for the 1st 4 bars of this group way. Add that rhythm sliding in the G seven, sometimes a slow slide, sometimes a first slight. I'm also alternating the notes that play this for you Slowly. I'm not just playing court. I'm rocking and rolling in between them here. Just try and find something that Sainz good to you, and it's easy to play and go with it. Play it confidently again. I've told you before, I'll tell you again. The piano is a percussion instruments. It's a rhythm instrument. You need to be treating it like a drum kit. I think this is such fun to play what you can lock into this groove and get your hands working independently. You could just do this hours when it's impossible to sit still on your piano store, I guarantee it. Let's go up to the GTO. Ah, again, I'm holding dying the G on the top. That's our pivot point we're doing again. Just a regular. See? Try it there. I'm going to do the one to the four with the right hand again. So I'm going to see to the F with inversions leaving my right hand. They're leaving that little finger anchored. You don't have to sounds good as well thing the entire left riot. Let's get back going. Teoh Way, the G de Wei. What the cords there, just a regular D. Try it actually here, no seventh or anything. And then, as the base Newt goes up to the fifth or dying to the smooth, that's a lovely voicing their look even sure what we're doing here, but it looks like to be a C shape on the left. It's some form off D seven chord anyway. Way don't need to break down exactly what each individual notice. Just study what I'm playing on the keyboard here. I'll play it for you slowly Wonderful sanding court to see some kind of d seven chord playing over the A base again slowing some of the notes. 19 Grace thinks to give him more bluesy swinging signs on. Then I did a bit of a turnaround, which is why I'm gonna show you right now one more time. I'm actually playing that d different night differently. You do like this like this way. Turn rains way you can hear There are many different variations slightly different subtle ways to adjust how you're playing these cords, which makes it slightly difficult me to teach you. But just study what I'm doing. Take a listen to what signs best for you and try and imitate that. Let's take one more look at this turnaround. Admit more in detail. This'll turn Rind is what Dr John, I think, caused the magic lick. We're outlining a G tryout, but with something like that again, I play it slightly different every time, depending on what mood in. But that's just basically, it's not an easy turnaround, slightly inaccurately apology sister it one more time. Lots of slurring, very nice sounding Turner. And you can use that all over the base in your blues playing and even jazz playing to some extent on Do a separate video all about this magic lick because it's worthy of its own episode. I don't stop playing this. - It's nice when you can end it. Just emphasize those changes. So there you have it. Please have a go yourself at the gumbo groove. It's such a lot of fun to play. Not that hard. Once you've got those hands locked in together, it's so satisfying, and I can promise you people will love to dance. Treat my son on my wife. Always hop around the living room when I played this particular tune. I do recommend that you listen to the master himself. I'm just imitating what I've picked up from watching some of Dr Johns New Orleans piano tutorials. Highly recommend if you want to learn from the master himself. But that's what I had for you today. Have a lot of fun practicing this one. I'll see you again next time. Cheerio, 5. SE04EP04 A DROP-2 GOSPEL COMPOSITION: Hello and welcome to Piano Shack with me, Woody. Today I'd like to play through a song that I composed myself. It currently doesn't have a name. By the time I published this video, hopefully have come up in the name for the song, but that's why it's blank up here. But I wanted to have a song that had a gospel. We feel with some interesting chord voicings. I'll tell you more about my choices later in the video. First, let's play through this song without a name for you. I hope you enjoy it. - Okay , so I had a couple of goals when I was writing this piece. The first thing was that I tend to write songs where I hold Dang Accord in the left hand when playing some melody with my right hand and just change when it's time to change the cords. But what I wanted to do here, to a great extent, anyway, was to change chords every time, change the melody. It was very challenging to me, not only to compose but to perform this because you're playing a lot more quicker changing chords than what you would normally do. Changing chords every time you change the melody note. The other thing I had in mind was to use some interesting gospel descending chord voicings , but also to make use of a technique to see if I can find What's Copley Moon Song? Wei is an example using dropped to voicings. That's the sound of the drop to We'll get into that a little bit later in the lesson, not basically what I came up with. Just a little pretty melody with some frequently changing chords to outline the melody. Some use of the drop to voicings, and also another thing I had in mind when composing this was not to duplicate any notes in the left hand on the right hand, at least as little as possible way. Take a look at this court, for example. Notes. I'm playing with the left hand are not echoed in the right hand. Same thing there as well. That was another goal of this composition. Okay, let's break down the cords for you before we talk about the cords. Perhaps I should try and play the melody for you with the most simple form of the court. I think if I remember rightly, I came up with the melody first, So it's gonna go something like this. And the melody is everything, Guys, if you I don't have a melody, you don't really have a soul. If you like this melody, humanity one more time. I'm just simplifying the court. So it's a little bit of a struggle for me because I'm used to their complicated cords. Do that one more time for you. And then we had a middle sections. What, exactly the same courts. Let's play through that lips. Not quite the same cause. I've just realised from what time. So that's our basic melody. In its most basic form, Let's take a look how embellishing the melody with some beautiful chord voicings. At least in my opinion, I hope you agree. Okay, let's relocate the flowers so I can play this for you. So we have the pickup before we get to the E flat. There's there just to run up eyes, my first voicing for the E flat and aiming for sparse voicings here and nothing too jazzy actually here. I didn't want to have any seventh chords or anything like that. Just keep it basic and plain as possible. I do have some interesting inversions. Melody note. You'll notice, is always on top, which is a very common practice when you're playing solo piano. That's pretty standard Flat made to try it. Take a look at this one. This'll is a wonderful corn that I picked up, I think from Bruce Hornsby. It's actually a form of the B flat. It's actually what's going on, but were voicing it differently. First thing you notice is that we got the third of B flat in the bass. I'm actually playing a This would be the length of B flat. So I got the third and then line. And this is actually looking a bit like a D minor seventh as well, which is related to be flat melody, that salt in here playing on F, which is the fifth B flat on the way. This cord is working and signing So nice, I think, is because of the fourth. See if we take a look at here. What we have is a 123 full fourth there as well. This is a quartile voicing spread apart by fools. I'm gonna do a video all about this. You heard this kind of thing on. So what? A lot of McCoy Tiner Jazz tunes. Miles Davis. Absolutely beautiful. I love it. It works really well on this context. You can carry on up if you want. Really, really nice. I'm going to carry on. This is my next Voicing. Another beautiful thing here is actually very similar to the previous voicing. We never hear a flat oversee. So not playing the route. A fun thing. The third on the bottom on again. A quartile thing. See that Allow those are fourths apart. You could also play it that way. If you like the signs. Lovely. Same thing for the first court. There's not many options. They're actually either play the A flight with your left hand and the beef likely there right away, the other way around. Both signed. Wonderful. Then I have a regular, a flat aiming for simplicity. This is an example of drop to name. What dropped two means is that you play a three note triad. Take the one in the middle, put it down on the bottom again. No duplication of any notes in the left and the right hand. I really wanted to avoid that here to get this sparse, very beautiful melodic sing song assigned this carry on way You can see it here is well, this'll is an e flat major triad. But with the G in the bottom Let's again being careful not to duplicate The melody is in the top. Same thing here. This is another drop to from moving that see, putting on the bottom Just lovely that as well We're gonna move into this part with a beautiful, beautiful run up, but I want to share with you. Okay? A very gospel e signing thing there. Then I just enjoy so much so the actual full chord here trying not to duplicate notes with the left on the right hand. But I'll do it now just to illustrate this'd e flat with the G in the bottom. Just running up to this court here. So it actually actually, in this part of the song very common in gospel toe have a thistles. Annie Mae e flat Major with 1/3 in the bottom. Just devotion thing is the same thing. We have a f minor with the third in the bottom. Which brings us into this gold. Just the flats with the fifth on the bottom 345 So what? We're doing a lot here, actually is playing triads, but I'm either playing the root note with my left hand's or the third. This is a lovely gospel signed or even the fifth, which is one of my goals for composing this song. So where were we? I'll just do the run up here into this e flat over B flat. I'm not playing this because it's being played in the left hand, not playing the flats. We're coming into just winning. If I got the court here Oh, yeah, Sorry. I have. Yeah. So we're here with this brun up. Sorry thing, is this court here e flat over B flat? The melody is doing that. I mean to go into this lovely b flat seven. The only seven court I have here. Do it again. I actually know a pure B flat seven. That would be this we're playing. This thing is actually a form of a B flat suss chord, which is another topic I like to do in the future lesson that B flat sustains like this. So beef lets us for seven. I think the court is called. I need to research before we do the video. So no, a pure B flat seven. There. Let me play you that one. Small? Uh, yeah, that's the court. Lovely way to voice a B. Flat seven. The melody. This is a lovely cadence as well. Look. Sure. Well, that is some form of F minus seven. I don't actually analyze every single corner. Right? I tend to No, I think I'm gonna pay this particular chord. Are just experiment with different combinations. See what sounds nice to me. This is a wonderful voicing again, no Jew click ation of the notes between the left and the right hand, which is something I'm striving to improve in my playing. No redundant notes you can hear this one just wants to resolve their cities is acting as a dominant seventh which is would be here is basically doing this function that seems a bit too corny here. So I'm doing this instead substituting that she's substituting the five chord for a mine too with an interesting voicing and not just resolves lovely, beautifully there to a regular e flat prior to nothing fancy there at all to talk about the middle section. What I've actually done for you here is put in that little walk up here after the C minus seven. Actually, just a regular bar. Line them. Apologies for that. Let's put that one in. Okay? So you can see this walk up, then we have the middle part, then which is going to g o. Let's get this. So it's not reflecting too badly. These, then are the courts for the middle section a flat e flat? If I e Fact, very simple again. I'm playing drop twos. You'll see here. Yeah, that's a drop. Teoh is taking eight season a flat major tried, but I'm taking that when I putting down below. Same thing there. This is our e flat. Lovely. Then we're back here, actually. Thats part again, locked up. Okay, let's wrap up this video with a few tips about how to play this expressively Onda. Hopefully beautifully. You'll be the judge. I'm using the sustain pedal quite a lot here, actually being careful to release it and then depress it again every time we change chords . Otherwise it's gonna say terrible. So I'm using it delicately here. You could say and pressing it up on Dane every time we change the cords, holding it, dying, releasing it and try and play with a soft touch and get it as smooth as you can be very careful with your dynamics. Here. Play softly here. A little trick. I did that also. I'm doing some grace notes. I'm just playing it through now and noticing some of the little details I'm doing to make it more interesting when I'm choosing to a Page eight. No particular reason just because that when I'm appreciating, play it softly. So you got some dynamics so you can accent some of the notes just when you feel like it. Hey, I'm gracing well rippling, really accenting a little bit here. Just agreed. A bit more excitements playing softly, going up, adoptive. This is the final time. We can add a bit of a crescendo. I did that slightly. Definitely. Instead of playing the if in the base, I just I'm gonna pay it through you for you in its entirety Knife One more time, Then we'll close out. - Thank you very much for watching Listening to my little tune. Happy practicing Arcia. Next time. Cheerio!