Blues Piano for Beginners - A Course in Blues Piano & Improvisation

1. Blues Piano for Beginners: Do you like the idea of being able to sit down at the piano and improvise the blues? It's a really enjoyable thing to be able to do. I've created this course to teach you how to do it. The course is aimed at beginners and starts off with the basics, but quickly moves on to learning about the different aspects of blues piano. And so would be suitable for anyone wanting a gateway into this style of music. You will learn the blues scale and you will be given exercises to help integrate it into your playing. You will also be taught how to count musical rhythms proper. And 3.4 you will learn the 12 bar blues walking baselines, a variety of blues licks and lots more. You don't need to be able to read music in order to take this course, but the sheet music has been included for anyone that may find it helpful. The course is designed to build up in stages, giving you a whole range of blues skills and techniques. And teaching you how to incorporate them into your playing along the way. Until by the end, you'll be able to improvise with freedom and style. If you want to start learning blues piano, then sign up today and I'll see you on the inside. 2. An Introduction to the Piano: Right, let's get started. I wanted to get you playing the piano is quick as possible. But if you are learning from scratch, I need to go through a few things before Hunt. First, let's look at the names of the keys. Can you see on your piano there were black notes and white notes. And black notes are divided into groups of twos and threes. And that person repeats itself up and down the piano. So groups of twos, which is three. And again dam here. So all the way up and down the piano, I should say, when I say, I mean to the right. So OPE is to the right. I'm going to say down, it's to the left. So up and down. Now to go back to the keys. So depending on the size of your piano or keep out, the amounts will differ. I am using a full-size keyboard, which has 88 keys, but I have zoomed in on the center of the piano just so you can see the notes easier. So it doesn't matter if you are using a smaller ball. I would need to find the group of two black keys in the middle of your piano. So on mine. The middle of my piano is here, and there's a group of two black notes that if you go down to the note directly to the left of the Sioux black notes, this is middle C. So the center of the piano, the two black notes and to the left is middle C. I want you to think of this as your anchor point. So when you sit down at the piano, you should lie in your belly button up with middle C. So you know you're sitting in the correct position. So two black nodes and to the left is middle C. If you go to any other groups of two black notes and to the left of it, this will also be C. So if you go to another group of two black notes and to the left, this is another C. Go to another group of two black notes and another C. So those are all C's, but the seas with different pictures. So I went in to imagine and Whitney Houston sing in a high pitched say here, and a big burly opera singer singing. So these c's are the same notes and a piano, but with different pictures, high pitches and low pitches. And the ones in between they got. Now we've talked about this C knows which are to the left of the two black nuts. I want to talk about the alphabet. So a novel life that 26 letters of the alphabet. But in music, we just use the first seven, so a, B, C, D, E, F, G. And then it repeats itself. So it goes to the start again. A B C D E F G, a B, C, D E F G. That pattern repeats itself opened down the piano. So, and here's how to use it. So let's go back to middle C. And if you go down, so left to white notes, unless they go 12, that will land you on an a. Ok. And then all you need to do is go through the first seven letters of the alphabet, moving to the right up. And that'll give you the name that these notes. So hey, isn't a Singh and lac I just said before, the pattern repeats itself. So it doesn't go to hate, it starts to get an a. So you want to Jay? And he go a, B, C, F. So the person repeats itself all the way up and down the piano. You could start on. Let's find a C first, okay, so to the left, and if you come down to the left, two or backwards through the alphabet, so c. So you can count on a, B, C, D. Sounds again, a, B, C, D, E, F G, a, B, C, all the way up and down the piano. So with that knowledge, you can find any notes on the piano by just counting up and down accordingly. So if you find the c wherever you are on the piano and just go up and down the alphabet from a to G. So let's do a few more together. Let's say you want to find the name of this node. Say go to the two black nodes nearby. Fantasy, and it can count backwards. So say, Hey, let's do another one. Let's say you want to find this knot here, say staffs on middle C and from C. So C. Let's do another one. Let's say you want to find this knot here, Rich. It's in between these two Cs. So you can either count backwards. So you could go say Bay and then to the last node of the seven, which is g. Or it might be easier to go from underneath. So I got to see down here and cap up c, d, e, f, g. So that's how you find the names of the white notes on the piano. You got the first seven letters of the alphabet. And if you know where to find a c, You can count open down accordingly. The more you go through that process, the Crick you'll find it. And eventually you won't need to think at all. You'll just know. 3. The Black Keys & Tones & Semitones: Now you've hopefully got to grips with the names of the white nodes. We'll move on to the back ones. But first I need to explain the meaning of a couple of musical words that are used quite a lot. The first is a semitone. So a semitone is the smallest movement you can make on a piano. For example, if you are here, and they go up to that plan, that there is a movement of one semitone. So here to here and it is emitter here to heat a semitone, semitone, semitone, semitones. So there is a smallest movements. Semitones. It is also known as a half-step. So from a half-step and here to here is a half-step, 0.5.555.5, the so called semitones or half-steps. Ok, the other word is a tone. Now a tone is two semitones. So from here to here, z going up one. So from here to here is a full term because it goes 12. So from here, a full tone is not to there because that's just one semitone or half-step. So a full tone is here. And again, photon from here is not to that, but that's one semitone is, is 12, so it's two. And that's sometimes also known as a full step. So you could say that's a, that's a half step, that is a full step, a semitone and town. So now you know what tones and semitones are, our steps and half steps. I can teach you about the black nodes. So each of these black notes has two different names. It depends on where you come in from on the piano to what are called. We'll start off with what we call shops. So if you start off on the middle C, and then we move up by one semitone. That is called a seashell. This, you can see this sharp sign looks like a hashtag. So you've got the same up to the right. It is C sharp. So if you're on it in the book, but to the right, walnut semitone is called a tea shop. Now will go to this F here. Up to the right is an F sharp. So if you've got a j here, up to the right is a G-sharp, and then an a up to the right is an a sharp. So think about it. Becoming o to the right is sharpening. Okay? Now that's if you come in up to the right, the other name that can be called a flats, and it looks like a slightly squashed B. Ok, so flat is when it coming down off to the left. This C-sharp could also be called a D flat, C going down to the left. So it's got two different names, a C-sharp and also a D flat. So let's go into this note here. This could be a D sharp, or also coming down to the left of the a is a flat. So this one here, if you're on a DJ and come down to the left, is a G flat, is one here. If an a, and it comes down to the left, is my fat. And here, if you want to pay and you go down to the left, It's a B-flat. Each got two different names depending on where you're coming from and how do you know which then to use the button up? Well, that depends on what the key of the song you're playing is, or what college are using such factors like that. But we will look at that in more detail later on in the course. So for the moment, you just need to know that each partner has two different names. 4. Octaves 2: This is just a quick piece of musical terminology that you need to know. In the course. You'll hear me say things like go up an octave or go down an octave, just to explain. So an octave means eight notes, the opt meaning eight, e.g. octopus or octagon. So the oct means eight. So if you start on middle C, including middle C, count up, meaning to the right by eight. What's this? 12345678. It brings you to the C above. So that would be an octave above middle C here, because it's eight notes above. The same going down, which is to the left. So Medici, the count down by eight notes, including this middle c123, 4567, brings you an octave down to the left. For middle C. Let's do another example. So if we start on the G below middle C and count up by eight notes, 12345678. That would be up an octave from the G. And the same going down 12345678, that would be down an octave. So when talking about octaves, you should consider the musical scale, e.g. if you start on an, a flat here, you can't just count up eight white keys because it won't quite take you there. So you need to count through the musical scale of e.g. a flat major, which brings you to the octave above. But don't worry, you don't need to learn all the musical scales in order to be able to move up and down by octaves. You've probably guessed it already. I need to do is e.g. in this case, you're on an a flat, which is the middle of the three black keys. So if you want to move up to the right by an octave, you would just go up to the next group of three black keys and it's in the middle. So that would be a nice, easy way to move up an octave from A-Flat. So that is what an octave is. The distance of eight notes. 5. Intervals: Another piece of music terminology you'll hear me mention is something called an interval. An interval is the musical term for the distance between two different nodes. So e.g. if you start on middle C and D count up three to the right, including the c123. The distance between the C and the E would be an interval of a third. Because if counted up by 3123. So then if you go up to the F, that would be a false. The G, the a, the B above seven. And then again we get back to the sea, to the sea, which is H or an octave. You can start anywhere. So if we go to this G here, and we go up to the a above that, that would be a wall. So that would be a second. Up to the beat would be 123, so a third, and then a fourth, and a fifth, and so on. You may be thinking, what about the black keys? They included in accounting? Well, I'm simplifying this for the moment because there are different kinds of intervals. E.g. you can get a major third interval and a minor third interval. So these are both thirds, but there is a semitone or half step difference between them. There are other specific names for the different kinds of intervals, but we don't need to go into that much detail right now. I will explain more later when it's needed. For the moment. All you need to know is that an interval is the distance between two notes. 6. Chords: In this course, you will learn how to play certain codes. But first, I just want to explain what a card is. A card is more than one note played at the same time. And more often than not, it's made up of the starting note of the root, and then a third and a fifth interval, e.g. if you go to middle C, This could be the starting node or the root of the chord. And then you count up three for the third. So 123. Then if you go to the fifth as well, so 345, that is a C major chord. And you would call this a triad card because you are playing three keys, are three nodes. So it's called a C major chord because it's made up of the first, third, and fifth notes of the C major scale. There are things called inverted cards, where you change the order of the notes, e.g. this or this. It's the same three notes, but in a different order. You don't need to worry about those at the moment. We're just going to keep it simple. For now. The cards you'll be learning, we'll start with the key that the card is named after on the left-hand side. So this is a C major. So the C is on the left-hand side. At the bottom of the card. You may notice that here you have a colored shape of a white key. And then you skip a white key, and then you play another white key. And then you skip. And then you play again with the first thing that you can move that shape to any other white key on the piano to play another card. Watch this. So if you move it one step up to the right, with your thumb on the D, you have a D minor chord. If you move at one step to the right again with the same shape, you've got E minor chord again to the right. The same shape, F major, G major, a minor, and so on. So with that cache, right now, I might want to have a play around with just played some cards with playing, skip, skip. So you can see that with just that shape. You can move anywhere on the piano and play a card. Now, you may have noticed that just then I was referring to major and minor carbs. Well, there are different types of cards that can be put into specific groups. And in the next lecture, we'll go into just a little bit more detail. Once I've explained that, we'll be able to dive in and start learning some blues. 7. Major and Minor Chords: In the last lecture, I mentioned major and minor chords. These are two different types of cars. And if you were to simplify codes in general, you can split them into four main groups, major, minor, augmented, and diminished. We don't need to worry about augmented and diminished chords right now. As major and minor chords are most commonly used by beginners. The difference between the way they sound can be described as major chords sounding happy and minor chords sounding sad. This is a C Major when compared to the C minor. So it's a bit more of doom and gloom compared to the major. Now to explain what's going on, remember when I talked about most triad cards being made up of a warm or the root. Third and fifth. The difference between a major and minor triad chord is the middle nodes. The third interval. If I take the third in the C major chord and go down to the left by one semitone, or half-step to the E-flat. It turns it into a C minor. So the difference is the note in the middle, C major and C minor. Let's take another example. So if I go to G major here, the middle note is the B here, That's the major third interval. If I make that go down to the left by one half step, which goes to the B flat. It turns the G major, G minor. And I'll do one more. Let's take the F-Major here. So the FAC, the middle, note there, the third interval down to the left by half-step to get to an F minor chord. Now, not every major chord is made up of three white keys. What makes it a major chord depends on the distance between the nodes are the intervals. But every major chord is constructed in the same way as well. Every minor chord is constructed in the same way, which means they are made up of the same intervals. Are the distances between the keys are the same. So in the next lecture, I'm going to teach you a really easy way to figure out every single major and minor chord on the piano. And it's really just a question of memorizing a couple of numbers. 8. An Easy Way to Find Every Major & Minor Chords: Remember earlier when I mentioned that there are different kinds of intervals. Well, you can get two different kinds of third intervals. A major third, minor third. A major third interval is exactly four semitones or half-steps, e.g. 1234. So you don't include the starting note, but you just count it from that. So that is a major third interval. We'll do 1 bar stats on an a number go up by four semitones or half steps, 1234. So that's another major third interval. And a minor third interval is exactly three semitones or half-steps, e.g. starting note. And then you're going to go three, so 123. And then we'll go to another one, will go to an actual yeah, and going up by three, so 123. So that's another minor third interval. Now, you may be wondering why I'm telling you this. Well, every major chord triad has exactly the same structure. They're made up of a major third, the minor third interval. So with this knowledge, you can play every major car triad on the piano. All you need to remember is a 4.3 e.g. so start off with a C and then we're going to move it by four. So 1234 and then 3123. So that's the C major. You probably already know that by now. Let's do another bump there. Let's try a major. So start on the a and then you're gonna go up by four. So 1234, then 3123. That is a major trauma. Let's do one that's maybe a little bit more tricky at a flat major. So we'll start off a flat. We're going to go up by four. So 1234 and then 3123. Can you see that flat major triad cause pretty cool, right? By just remembering the numbers 4.3, you can then figure out and play any major triad in root position on the piano. And by root position, I mean you're not playing around with the orders of the keys with the inversions that we talked about briefly. Just in that same structure. And minor chord. Triads are just the other way around, made up of a minor third interval and a major third interval. So if you remember a 3.4, you can find every minor chord, e.g. let's go to a D. We're gonna go 32 steps, so 123 and then fall to free D minor chord. Let's do B minus. So starting on the beam, then they go up by 3123 and then 43 minor chord. Let's do one more. Let's try doing an E flat minor. So an E-flat. Then it goes up by three, so 123. And then by far, 123, that isn't sunlight. So again, with just those two numbers, 3.4, you can find any minor chord triad on the piano. Really cool. And it's something I wish I had known when I first started learning the piano. I thought that might be of interest to you, because just by remembering a couple of numbers, you can then play every major and minor triad on the piano. Anyway, that's enough of the basics. In the next lecture, we're going to finally get going with the blues. 9. Blues Scale in G 1 Octave: Okay, so you've gotten past the first section of the basics now onto the good stuff, the blue scale. So in this lecture, I'm going to teach you how to play the blues scale in the key of G, and specifically the minor blue scale. And if you go through this course, you'll be able to improvise like I watched them. All I was doing was using some basic left-hand notes and playing around with a minor blue scale on top. But first of all, you need to learn how to play the blues scale. So we'll start off from the beginning. So middle C is here. And you're going to go down to the G below to here. So 1234. Now, good to start off with your thumb on the G. And then these are the notes. You're going to play. G. Second thing on the B-flat, third finger, on the fourth finger, on the C sharp. And then if firms are going to come underneath to the d, second finger on the ad. And then you fed on the cheap. So again, G, a, B-flat, C, C-sharp, with your 1234. Then your thumb underneath on the D, Then your second on the F, and third on the GI. Once you've got used to go up, you're going to come back down exactly the same with the same fingering and the same knows, see a three on the G to the thumb on the d. And then this is very important. Over the top with your fall off. The C Sharp. Third of the sea. Second on a B-flat, and then thumb on the G at the bottom. Okay, so it's really important that you try to stick to that exact fingering. Because at first it may seem easier to be just using the 123. I see people doing this kind of thing. But I want you to force yourself to practice with this exact fingering. If you do, you'll be able to play faster and more fluently in the long run. So practice this scale until you can play it comfortably and without stops. And preferably from memory. 10. Blues Scale in G 2 Octaves: Hopefully by now, you can do the one octave minor blue scale, nice and smoothly. I'm now going to teach you how to do it, but going up two octaves. So the first octave started like this. That, but before you go to the three on the G here, to go to the next octave. Or you're going to do is come underneath with your thumb or first finger. Then you can continue up the octave the same as you did before. When you get to the top G, you're going to play with your third finger like your lent originally. Okay, So from the start again, so here, 12, then tourists with your thumb onto the g here. Then we continue. Okay, so on the way down, the same as you learned on the one octave, for the moment of a default. Second on the B-flat, them on the G. And then when you get to this G here, this is really important. You're going to go over the second finger. Then underneath with your thumb. It's really important that thumb over the top with your second finger, thumb back underneath onto the D that so from the top 314321 to one. Once you get to that point, you're going to go over the top of the farm, free to like it did before. It's really important to stick to this fingering. Because remember, you're going to be learning how to improvise with the blue scale. But it's a lot easier to improvise if you don't have to think about the fingering. Eventually, you will develop muscle memory, which is where the fingers will automatically do the movements and finger changes. If you mix up the fingering all the time and don't learn it properly. People end up doing this. So they can't play as fast and smoothly and end up making more mistakes because their hands are always in new and unfamiliar positions. But if you learn it properly, it'd be able to play it nice and fast and smoothly. Okay, So with that in mind, I want you to practice this minor blue scale in G with this fingering until he can play it nice and smoothly. 11. Basic Rhythm: I want to get you properly into playing the blues as quickly as possible. But with being a beginners class, I can't skip out the basic concepts of counting and rhythm in music. If you are already familiar with these, please feel free to skip this lecture. So in music, we count in beats and it can break pieces of music up into bars. This way, you can keep track of where you are in a piece of music easier. E.g. it's common for tunes or songs to have four beats in a bar, 123123. Another common one is three beats in the bar. E.g. 12, 312-312-3123. There are also different types of beats or note lengths, and they all have different musical names. E.g. a whole note, or also known as a semi brief half-note, also known as a minute. A quarter note, also known as a crotchet. Eighth notes, also known as a quaver. 16th notes, also known as semiquavers, et cetera. And as you can see, the notes are being divided into two as you move down this diagram. Now, it's important to reiterate that you don't need to be able to read music in order to take this course. So I don't need to go into detail about all of those different types of note lengths. For the moment, we're going to be using quarter notes or crotchets and eighth notes, or otherwise known as quavers. The blues we will be working on and developing will have the value of four quarter notes per bar. And because we are going to be sticking with this timing, we can count each of these quarter notes as one beat. So 12341234. Notice that the technical term of a quarter note makes sense because there are four beats in the bar. The bar can be divided into four quarters. If we want to break those in half and play twice as many notes in the same space of time. Technically, you would be playing an eighth notes, or otherwise known as a quaver. Again, because there would be eight beats in the bar. The term eighth notes make sense. So that's why these two different note lengths are called quarter notes and eighth notes. Because we're clustering quarter notes as their main beat. You count these simply as 1234. Like we have already said. If you divide these beats into halves, you can call one of these eighth notes half a beat. Because again, the quarter note to classed as our main beats. When counting these heartbeats in-between, we assign a plus symbol. Except in music, we verbalize them as an adult. So you would count 1.2 and 3.2 and 3.4 when counting the eighth notes. So just to recap, if we go back to the main beats, the quarter notes, it's 123434. Then again, the eighth notes, 12.341, 23.4. I hope that made sense. In the next lecture, we're going to take a look at one more rhythmic concept. Then we can crack on with more of the blues. 12. Triplet Rhythms: In the next lecture, I'm going to give you a great sounding exercise. So you can start playing the blues scale along with your left hand. But first, I need to quickly explain a particular rhythm you'll need to understand. And that is a triplet rhythm. If you already know what triplet rhythms are, please feel free to skip this lecture. A triplet is when you play three notes, same time is two. So if we split a quarter note in half, you have two eighths. Like I explained in the last lecture. If you apply a triplet rhythm, it makes it so there are three eighths played for every one quarter note or three shorter notes played for every main beat. If you don't read music notation, you can think about it like the main beat is getting split into thirds, like this. So the main beat would be 123. And if we split each of those into three, we go 12, 312-312-3123. Another way to approach this rhythm is by saying trip per lit. And I know it's not spelled like that. It's just a way to divide the notes up verbally. So you can go triple, let triple, let, triple, let triple. And that would be counting a full bar of triplet eighths. So just to recap, two ways you could think about counting these triplet eighths are the main beat being 1234, and a triplet eighths, one-two-three, one-two-three, one-two-three, one-two-three. Or by saying triplet out loud. Let let, let. Now you understand what a triplet is. We can continue turning you into a blues pianist with a really cool sounding blue is exercise. 13. Blues Exercise 1 - Triplet 8ths: Now I'm going to teach you an exercise that will help you get used to playing the Minor Blues scale along with a simple left hand, this is what it sounds like. All it is is the two octaves of the Minor Blues scale that he'd been practicing with a sequence of four notes in the left hand. So here are the left-hand notes. Middle C is here. And then you're going to jump down an octave to the left. You see below. And then you're going to go to the G. Below that. You're going to put my first finger on that gene. Second finger on the third finger, on the E flat, fourth finger on the D. So those are the left-hand notes, G, B-flat, D, with those fingers. So you can just keep them that we hold each of these left-hand notes for a full bar. So four beats, like this, 1234, 1234, 1234, 1234. So start off by practicing those left-hand notes and you can also try counting as well. Then we play two octaves of the Minor Blues scale in your right hand. But with the triplet eighth rhythm I talked about in the last lecture like this. Let, let trip, trip 12, 312-312-3123. Then it's just a question of putting them together. So it starts off on the wall together and then your right hand continues like this trip. Then when you get to the top in your right hand, you play the top g with your left hand, f, the same time. And then your right hand goes back down the scale, 123123. And then before hitting the bottom sheet in your right hand again, your left hand is going to play the E flat at the same time, like this, 123-12-3123. So scroll back up and your right hand there. Then again, when you get to the top and you're right, your left hand needs to play the D. At the same time. The right-hand G, like this to guess. And then your right hand comes back down. Okay, so that takes you to 4 bar of that exercise, far-left and nuts for bars. And you don't finish on the G, you finished on the B-flat because if you go down again onto the G, your left hand would go back to the start of the sequence. We'll get back to that in a second. But let's just go over the coordination again from the start. So it starts off together basically. And then you're gonna go through the right-hand scale, the two octaves. And then when you get to the top, if the right-hand G changes, then you're going to go through the scale again and you're right. When you get to the bottom again of the G, You left hand changes at the same time. Then you go through the scale again, back to the top. Then again at the same time. Okay? Um, because this is an exercise, you can play it through as many times as you want. So basically your right hand can keep on going up and down the two octaves of the Minor Blues scale and g. And the left hand can just keep on going round in circles. I'm now going to show you a bit slowly played two times through so you can see how it all fits together. So about round to the staff again. And then you can finish on the cheese together. If you can practice that until we can play it really smoothly and with the correct fingering. You'll then be able to gradually speed it up and get faster and faster. It's important not to play it with starts and stops. So if you are playing it like this, and so on, It means you're going too fast for the moment, for how well you know the scale and the fingering. So slow it down until it's even, it will mean in the long run, you'll be able to play really smooth rooms and play fluently its speed. So if you practice that until you know it really well, it will help later on in the course when it comes to proper improvisation. 14. Feelin Good Style Riff: If you take the left-hand notes of the blues exercise you've just been practicing. You can actually play a piano riff in the style of feeling good by Nina Simone. So all you need to do is learn one card in your right hand, and that card is the G minor chord. So middle C is here. And if you count to five keys, so 12345 to the G, put your thumb on it. And then you're going to go a third up to the B, but flatten it. So the B-flat. And then you're going to put your fifth on the D, which is here. Yeah. That's the G minor chord. And as you can see, it's almost like a triangle shape. So that's your right hand car started. This riff is counted in what's called a 12th eight time, which pretty much sounds the same as the triplet eighth rhythms that you've been doing. So what you can do is use the same timing of counting in threes. Playing that G minor chord on every beat like this. 231-231-2312. So it's the same G minor cod repeated, but it's just counting in groups of threes. And that'll be useful, or we add the left hand. So now for the left hand, so if you go to the left-hand notes you are using in the blues exercise. So a middle C here, down an octave to the left and to the G below. That second on the, on the flat and the D. So that's your left hand in position. This riff has been slightly simplified, so you can pretty much play it straight away. So for the moment, all you are going to do is play the left-hand notes on the first beat of every two groups of three. Like this. 1 231-231-2312, 312, 312-312-3123. And then you can go back around to the staff. Do it again. Then if you put it together, you right hand G minor chord, which was here, is just going to be playing on every beat. So together, it goes like this. 123-12-3123, 123, 123-131-2312. And then you can go back around to the start and the left hand, your right hand just say 1231. And then if you practice that until it feels comfortable, you can speed it up. And that's quite cool, isn't it? With just one card played over the top of those far left-hand notes. You can play a nice simple version of that famous riff. 15. 12 Bar Blues - Stage 1 - Right Hand: Now I'm going to teach you the 12-bar blues in the key of G. I'm going to teach you this in different stages of difficulty, starting with the easiest version and gradually building up to advanced versions, which sound really impressive. So first of all, we need to take a look at the structure of the 12th bar blues. The 12th bar blues is made up of 12 bar, which is why it's called the 12th bar blues. We're going to do it in the key of G, which is the same key as you've been learning, the blue scale, et cetera. There is a PDF that you can download. So you can see this structure written out. The basic structure will be using is 4 bar of g, two of C, and then back down to two of g. And then there's a one on the D, one on C, and then two on the G. And as you can see, altogether, they add up to 12 bar. Now I'm going to teach you the different paths. So it begins with the G major chord. A middle C is here. And we're going to start on the G below. And then the G major chord is this. And I would suggest using the fingers 123. Okay? Then you're going to move to this chord here, which is G, C, and E. And if you can, you're going to play it with your wall. Okay? That's technically what's called a C major second inversion. But we're not going to go into that. Now. I just want you to remember the movement between this G major chord, G, B, D. So the movement need to remember is the top two are gonna go up to the right by one step to the neighboring white keys, to the scene. And the e with a 24, so 123, then 12. So that is a fingering, I would recommend. But some people choose to use a 135 for both of these columns here. You can do that as well. It may seem easier. But I'm suggesting the 123 and then the one to fall. Because in the longer run, it will make it easier when it comes to some of the more technical stuff. The ability to play a little bit quicker. So think about this card on the G major, to this Katia on the sea second inversion chord as the G chord pattern. So to practice alternating between these two columns, it feels comfortable remembering thumb is always on the G underneath. Okay, that's your job now to practice moving between those two cards. To count this, you are just going to play on the main beat of each bar, the quarter notes 123. So that is 1 bar on the G chord pattern. And if you look at the structure of the 12 bar blues, there are four G bars. So we play that pattern for 4 bar, like this, 1234, that's 1 bar, 231-23-4123. So that's the first 4 bar of the 12 bar blues. The next 2 bar, you're going to move up to middle C. So D was here, backup to middle C. And you're going to do exactly the same pattern that you were just doing on the G chord below. So you're gonna go 123 on the C major chord. Then move the top two keys up, one step to the right. The next neighboring white keys. So that two there, which is the F and the a. Again, preferably played with yet one to four. And again, you are alternating between those two cards, the C major. And then the next, which is technically an F major in second inversion. But if you just memorize the pattern that yeah, the accounting is the same played on the main beats. And you play the C chord pattern for 2 bar. At this 123423. Okay, so here's what we've got so far. We've got farther g are 1234123, up to this, say for 2 bar 1334, then there is another 2 bar on the G. This 12 publics. So back down to the G. For 2 bar, three, for three. The other card you need is a D major. And you can use that tip I mentioned in their major minor chord lecture. So to find any major card was a major third, minor third. So using a fault on a three, D major, D is here. So move up 41234. That takes you to an F sharp and then move up 3123, the a. So that is a D major chord. So try and memorize that. Again, it's like a triangle shape, isn't it? Similar shape to the G minor chord? Okay, So same fingering. You're going to put your 123. Then you use the same pattern. So the top two keys, yeah, move up to the right, to the neighboring white keys. So that would make it to a G and a B. So from there to there, again, your thumb stays the same below. And you only do 1 bar on the d, like this, 123. Then you go back down one step to the C major chord. And again, it's just 1 bar on that. If we follow in this structure. So 123. Then for the final 2 bar with the 12th, you go back down to the G. So two marbles there, 123423. So that's all the different parts in the right-hand explained. So now I'm going to play through all of the 12th bars so you can see how it fits together. My advice to you would be to practice that nice and slowly so we can move between the card smoothly if you are doing this kind of thing. So there's big gaps between the transitions of the carbs. It means you're going too fast for how well you know the car patterns and the changes. Keep it at a nice even tempo. Practice getting the transitions between the cards. Nice and smooth. Like this. And so I wasn't doing the actual structure then. I'll just showing nice smooth transitions between the cars. Yeah. So practice those transitions. So it's nice and smooth. There's no hesitations. And if you can try to stick to the fingering I've suggested, because later on in the course, there'll be playing a lot more nodes, e.g. the fingering that I've given you will help put it comes to doing stuff like that. So work on that. Get it to a point where you can play it comfortably. And then in the next lecture, I'll teach you the left hand. 16. 12 Bar Blues - Stage 1 - Left Hand: Now you're going to learn the left-hand of the 12 bar blues. This left hand you're about to learn is actually the same as what you'll be doing in the latest stages of the 12 bar blues is your right hand. That's going to get more complicated. And often when people teach this kind of blues, which could be described as boogie, they will give beginners this type of left-hand, which uses a shuffle. But from teaching privately, I found that many beginners on the piano find this very difficult to do, especially when they have all of the other chords and scales and improvising to think about in the right hand as well. So what I've done is I've simplified it slightly. So it sounds like this. But when you build all the right-hand techniques on top, it doesn't sound that different and it's much easier to play. So let's learn it. It starts on the same g that you use for the blues exercise. So metal says here down an octave, then this one here. But instead of starting with your thumb, you're going to put your fifth finger on it. And then you go to play a fifth interval. So 12345, which the perfect fifth, that takes you to a D. So you're going to either play that interval with the fifth and your second fifth, and you're fed up to you. And the top note is going to move up one step to the right to make a sick 123456. And it's going to alternate between those two intervals with your fifth finger staying on. Each time. This from the G and a T. G and the a space in between them. Yeah, With regards to the counting, these are played on the main beats, 1234. So that would be 1 bar. And you play that pattern on the G for 4 bar. So 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 1, 2, 3. And some of you may just want to alternate between your 15. It's up to you, but I tend to go to five and then one. And then it moves up to the C bar with exactly the same pattern. So you go up to the c here and it's a perfect fifth. So 12345. And then it moved from a C to G. And it moves up again on the top there to see in just a second again. That's for 2 bar like this, 1234123. Then it goes back down to the GI for another 2 bar with the same pattern, 1234123. Then it goes up to the d bar with the same pattern again. So you're gonna go up to the D And it's gonna be a fifth, 12345. Yeah, so that's a d and an a and then a sick. So a D and a B. And that's for 1 bar 123. And then down a step to the c. So another bar, 1234. Then it goes back down to the G for two more bars, 1234123. So now I'm going to play through the full 12 bar in the left hand. That's the left-hand. Start off practicing it slower and then gradually build up the pace. When you are practicing it. It may be worth counting out loud to start off with, so you can keep track of where you are. So practice that until we can play it comfortably. And then in the next lecture, I'll show you how to put it together with their right hand. 17. 12 Bar Blues - Stage 1 - Hands Together: Hopefully by now you've got full control over each separate hand of the 12th bar blues. You can transition between the chord changes without hesitating or pausing. Now we can put them together with both hands. So the starting positions, right hand was here, below middle C on the G major chord. And then your left hand was here. They actually move together at the same time. On the main beats. Hundreds going 1234, the left-hand was going 123. So it's together, 123. And that would be 1 bar on the G chord. And it's as simple as that really is not too complicated for the moment. You're just putting both of those parts together. And the coordination is just playing at the same time on the main beats. Now, I'm just going to play through the 12 bar with both hands, nice and slowly. And I'm going to count as well. 123-41-2332 to the C frame to frame to the G frame. Three, the d, the C, and the g33. So that's the first stage of the 12-bar blues. You can play through as many times as you want. You just go back to the first bar on the G again. Practice it with a steady pace and keep it all nice. And even there should be no gaps between the chord changes. Slow it down until you can play it evenly. And then when you find that you're not stopping between the cars, you can start to speed up an a for this kind of pace. And so on. And that's it. So practice it with both hands. Keep a nice even tempo. Don't go too fast for the moment. Stick to the same thing that you're using separately. And as well as this, keep on practicing the blues at the sides as well. As you'll find the technique that you're building up or come into play later on in the course. 18. Hand Finger Exercise: I'm gonna teach you an exercise that will help you build strength, speed, and dexterity in your hands. And it'll help the letter on when you'll need to be able to do lots of stretches and Claire faster. So it's called the Han and exercise. And it's basically a pattern that moves all the way a pinata piano. So I'm going to teach the pattern and then your disappeared apply it whenever you sit down at a piano and it'll help you get ready, nice, strong hardens and you'll have full control over what you're doing with them. So I'll teach you the right hand first middle C. And what you're gonna do is we're going to leave another touts a liter DR. in his chest and put your second finger up onto the a. And then he says and then f fall off on a J five in the air. And it comes back down and said, wow. So think about a fingering. You join. First, Navy got second, third, fourth, fifth, third, second. And then your thumb was on the say, and it moves up to the day this time. And then you leave a gap. And then he got up again, 234 fifth val, the second again, the film was on the day it is time. That is the a and descent Patton in leaving enough. And you move off again. And you've got a lever now tau. So there's one ought to vote for you or you can do to help to diffuse out and just keep on going up until you go to the C above. So for the moment you go from a city, ecstasy above i k. And then your left hand does exactly the same pattern. Will start an octave lower. Ccs here. Mitosis that. And you go down to follow the same pattern as essentially leave the nerds out. And then the next finger up to this first the fouth plus the a F and the second term j sum on the a and the way he can. And he Five falls onto the D this time and then leave a step. The sentence or just kind of Gauss. Navy Gap. Five false. Leave a gap. You keep on going up to the nice say above. Have a go at perhaps in them separately and then add them together. Sum a metal say new right-hand D5 and seen a left-hand and a move up together. So each time you leaving a step size then naval staff and even now even know. So actually go in and fish on the seas during her on past. But eventually a fan email to speed up. And they go, That's the way up one octave that the hands-on exercise, and that's the first one. If you practice that, it will honestly really will help you with all aspects of planet piano, physio, buildup strengths and dexterity and everything. So yeah, do that whenever you sit down at a piano and it will help a lot. 19. Hand Posture: Just a quick comment on the hand position and I hadn't shared that you should be adding file. So do not be playing with flat fingers. We do not want that. You don't want a flat hand and fat fingers. You might actually see when I'm playing, I'm in like with a slight arch in my hand. So you should be sort of like kind of on the side of that. If you put your hands on your knees and then keep that hand share and bring them up again. That is the kind of handshape you want a slight arch near the part of your hand and fingers. That is the hardship to invalid. 20. Swung Rhythms: In this lecture, I'm going to teach you about swirling rhythms. So far, we've looked at counting on the main beat using quarter notes 123. And with eighth notes counted as 1.2 and 3.4. And then triplet eighths, one-two-three, one-two-three, one-two-three, one-two-three. Accounted. Lift. Lift. Now we're going to look at swung eighths, which we will then apply to the blues exercise. You've learned. A swirl rhythm, turned a straight 1.2 and 3.4 count into a shuffle like this, 1.2 and 3.4. What is essentially happening is, remember when I talked about triplets being each main beat split into thirds? Well, the swung rhythm is just playing on the one. And the three of each of those thirds, like this. 1 231-231-2312, except you count it like this, 12 and 3.4. So those two rhythms are exactly the same. I'm just counting it in two different ways. So now I want you to have a go at practicing this rhythm. And to start off, you can use a single load like I was just then. You can focus on getting used to it. And you can either use the 1.2 and 3.4 and 1.2 and 3.4. Oh, the one-two-three, one-two-three, one-two-three, one-two-three, one-two-three, one-two-three, one-two-three, one-two-three. And another thing which may help you with this is just the way it sounds. Almost sounds like a horse trot, doesn't it? That kind of shuffle fill. So whichever approach you find the easiest, they both produce the same rhythmic effects. But in the long run, it's worth thinking about it with the 1.2 and 3.4, because this is what I'll be using later in the course. But for now, it's just a question of you getting used to this rhythm. So practice this rhythm until you feel comfortable doing it. Once you've got used to that, I want you to practice the same rhythm, but to help with the coordination you'll need for the next exercise. You're going to use two nodes, one in each hand, two Gs in fact. So this g below middle C and an octave down again on this gene. You go to do the same rhythm. But your left hand is going to play on the first beat of the bar. And your right hand is going to carry on the wrong rhythm for the rest of the bar. I'll show you what I mean. So your left hand stats on the wall and your right hand follows like this, 1 231-231-2312. And notice I was holding the left-hand underneath as well. So if you can do that, that's even better. You can do it with the other counting, 123.4. So that was 1 bar. Then you just need to repeat that pattern with the left-hand playing on the first beat of each bar. 123-23-1231, 231, 231-231-2123. So practice that until you get used to it. Then in the next lecture, I'm going to show you how you can apply it to the police exercise like this. 21. Blues Exercise 2 with Swung Rhythm: Hopefully now you can do that rhythm with the two Gs in both hands. Now we go to do the same thing. But with the blues exercise. This is what it sounds like. So your left hand starts on the G and the right hand follows with that same rhythm. So it's the same coordination that you are practicing in the previous lesson. Except now, rather than just playing G is with the left hand. You're going to be playing left-hand G flat. Then take and the minor blue scale in the right hand, rather than just repeating the G. So let's do it. So you left hand starts on the GI, and then you run it and it goes through the Minor Blues scale. So that's 1 bar. Then you go to the next part, which is the F. Right hand, is then going to go up to the G, playing the G again. And then it just goes through another octave of the Minor Blues scale. Then the next bar, the left hand goes to the E-flat. This time we're going to come down the minor blue scale. But you're repeating the GI. And then your left hand goes down to the day on it. So then your right hand follows, goes down under the octave of the mandible, the scale. So notice the difference between the blues exercise one is that before, because you were playing every triplet eighth beat, you'd be giving up two octaves of the Minor Blues scale in 1 bar, b13, 313123. The F there. Whereas now with a swung rhythm, you're only playing one octave of the blues scale pepper because he playing less speeds like this. Yeah. So that'd be 1 bar that right hand. Also with this exercise, you are repeating the Gs in the middle and the top as you are playing a full octave of the scale per bar, like this. Whereas in the previous exercise, you're playing straight through up and down with no repeated notes. And also you may notice that when I'm going through this fingering, I'm going to my third and then I'm just fit into my film. When I go up to the next octave, the way down here, I'm going to my film on the first GI and on the second day and go into my third. That's what I was doing. I just essentially treating each octave separately. But you can keep the same fingering as you were using before if you want, which would mean you're doing one minus one to one. That's up to you. But that's just a preference. You can use either one. This exercise, you can play as many times as you want. You just repeat back around to the start. And to finish, you just play a G in the left hand. So I'm now going to play through the exercise twice through so you can see how it all fits together. And I'm also going to count as well, 1, 2, 3, 1, 3, 1, 3, 3, 3, 3, 3 and 3. So this exercise will really help you get full control over that swung rhythm. So practice it until it completely smoothly. And then eventually you can build up the speed. And then I'll see you in the next lecture. 22. Blues Lick 1 - The Circle at the Top: It's time to teach you a quick blues lick using notes from the blues scale. If you start off on a high g up here. So let's see what productive then the G above it. Third thing on the G, second finger on the F, then your thumb, and first finger on the day. Play those three notes. Rounded circle. Yeah. You don't go to the F in-between. It goes the jump back up. So you can think about in groups of three. Nice and simple lick for you. And talking to groups of three. Could play these using triplet eighths like this. One-two-three, one-two-three, one-two-three, one-two-three or triple. Let. Triple let. The reason why I've called this lick, the circle at the top, is because it's going round three notes, and it's at the top of the G minor blue scale. So it's like going around in a circle. As you can see, it's not too tricky. So I want you to practice this until you can play it nice and smoothly. Go round in circles. A nice fluid motion. The idea with licks is that you would learn them beforehand. When you're soloing or improvising, you can throw them in at any point and it will sound really cool. E.g. you could start off with the blues exercise using the swing rhythm. And then you can throw in the circle click when you get to the top like this. So can you see what I did there? I started off with the blues exercise too with that swung rhythm. But you've just been doing before. But instead of coming all the way back down with a swung rhythm, I played the blues lick on the third bar over the top of the E-flat. And also halfway through the practice that blues lick on its own so that eventually you'll be able to incorporate it into your blues improvisations. And if you let the example I just showed you then of incorporating that blues lick with that blue is exercise. In the next lecture, I'll give you a quick exercise so you can learn that and put that link into practice. 23. Blues Lick 1 - The Circle at the Top Put Into Practice: At the end of the last lecture, I combine the blues lick one circle at the top with the blues exercise to using this rule rhythm. And of course, you can try improvising and incorporating this blues lick yourself in your own way, creating your own variations. But I thought that some of you might want to learn exactly what I did in that example just then, just so you can see exactly how I moved into that blues lick and back into that blue scale. So this is just a quick exercise to help you incorporate the lick with the swan blue scale. Here it is again. Again, you can repeat that round as many times as you want. But I just showed you it. Wants just then here's how to play it. So the first part, you already know if the first 2 bar of the blues exercise to without swung rhythm and your right hand. 1231234. Okay, on this third bar, this is where you're going to insert that blues lick while the circle at the top, which was this. Remember that these are triplet eighths that we're doing here. The one-two-three, one-two-three or triple. Let, triple. Let you do that group of three notes four times in that 1 bar over the top of that left hand E flat. So 123123, that's the third bar. And then on the fourth bar, when a left hand goes to the D, your right hand is going to continue with that blues lick for another two whole beats. So another two groups of 3123123, okay, stop there for a second. We're going to go back to the start of the E flat bar. And then we're going to continue on to the D for the first half of that bow as well. So like this. Wow. Wow. Okay, at that point, you're going to go over the top with your fourth finger onto the C-sharp. And then it's just finishing the rest of that blue scale. That the right hand on its own, there is just 123-12-3123. Remember that swung rhythm there? 3123123. So that bow is both hands from the D is 123-12-3123. Yeah. Oh, 123. That's it. So those two paths together? Well, about three. And that's it. You could skip up to the star. Let me go back to the start here again. One more time to finish on the G and your left hand. So that's extra curricular rarely, just so you can have a go incorporating that blues lick one circle at the top into that blues lick exercise that you've been doing. And feel free to of course, have a go at improvising on your own as well. If you feel ready to, at this point. 24. 12 Bar Blues Stage 2: Hopefully by now you've been practicing the first stage of the 12-bar blues with both hands. So you can play it nice and comfortably if he can. Now we can move on to the second stage of the 12-bar blues is very similar with just a few tweaks, but it's one step closer to being able to play some really great believes piano. So I'm going to show you how it sounds. And I'll show you how to play it. So so that's where it sounds like. Now I'll show you how to play it. So the left hand is exactly the same as what we've been doing in the first stage. The right-hand is slightly different. So before you do a full columns at the same time. And now we're just breaking the cause of peace time CEO doing the top two notes are that it's following with the families Time on the bottom part of the car. So Mountain the Jihad. In valuing our profiles to the top and the bottom to the top, to the bottom of the column. The only the difference is well is the rhythm is that swarm with it we were looking at just before and the, the lecture. So if you think about the time anything six is, you'd be going 123456123456. Is that kind of swim rhythm? Or you could think about it in this case, ball-like, long, short, long, short, long, short, long, short, long, short, long shots. So I'm gonna show you the right-hand. The earlier thing is if you use in the warm and to keep the timing and the structure of the 12-bar blues still. Use counting like this one. And so the single now and you saw him each time is coming in between the counting of the 11 and so is in-between. And the same thing goes with the rest of it. So the C Copenhagen up, it's a Send button. You can say the focus on its own. So I want to show the Hall of right-hand Pat. And I'm going to count still with the 1. Second keep track. And then I'll show you how to play it with the left hand as well. So her S 23412112. Okay. So that's the right-hand part of the stage two. Practice that. So you can play it again nice and competently and in slowly about the speed up. I'll I'm gonna go through it again. And I then just to put the left hand in sweat, once you've got the right hand is your left hand palm that just plays. When you've right-hand play the top two of the cards, the top two nodes. So h time, basically a firm in your home is audits, o all the way through. See it go together. And then your thumb on his own. So again, somebody so together afterwards. And it's the same as that of has the same again, the top two notes of the C code, and then see if it changed. So I'm gonna get to see other sub d phi again. So the top two, notice that the data out until left-hand and you can move. So I'm going to show you the whole thing but with both hands. And when you're practicing it, again, discuss slow first and then if you speed up, carries out the 12 operators, the second step. 25. Great Balls of Fire Jerry Lee Lewis: So using the second stage of the 12-bar blues, you've just learned. You can use the pattern to play great balls of fire by Jerry Lee Lewis, a very famous song. The Jerry Lee Lewis was a virtuoso piano player. If so, if you've heard this song, you'll know it's very advanced. And so what I've done is first of all, I've transposed to the same key is what you are using at the moment. And also, I've simplified it just so it suitable for this cause. So first of all, I'll show you what it sounds like. And I must say that I'm not a professional singer, so you'll have to bear with me. Here we go. You shake manner, then you rattled my brain. Too much loved jazz and then say, you broke malware. Allowed a thrill. Goodness gracious, green bar, the atoms Obama photo was bombed. It turns out that it's not as found, that miniscule reached a street ball, the five fields. I want to love you're lucky. Your fat that, that, that, that so till this world that you've done it pretty easy to just do reached a script bother. I will to Libya, Dhaka lobe of your fan. So that the til this world that she was offended notice but it's true is let's do reached a straight bar. So that's what it sounds like. And as you can see, a lot of it is just the 12-bar blues that you've just been learning. You may have noticed that there are some other things in it which you haven't learned yet. So I'm going to take you through a step-by-step. So I have a touch some additional documents. So if you'd like to print them off, if you feel like that'll help you feel free to do that now. And I'll see you in the next lesson. 26. Great Balls of Fire Intro: So here's how to do the intro. So you can see on the image, I forgot to print it off as well. On the sheets. It says single left-hand note, there's an arrow. So the first note is a D, but it's actually a low d. So middle seats here. And you're gonna go down a full octave. And then a full octave again. So two octaves below middle C. And you're going to go one step up to the date. That's the day you want to be left hand. I'm going to start with the fourth finger on acting to go evenly spaced, D, F, G. And then you can sing if you want. You don't have to shake my nerves and you rattled my brain. And then you're gonna move up to the G. We default finger. A bit. Too much loved drives are men same. And then again, motif fall thought to the beat as time. You broke malware. And then DDC shop say, oh what a thrill. And then fourth goes back down to the D, Reish, Great Balls of Fire. So that's the intro. So I'm kind of assuming that if you learn in this lecture, you know the sun, and if you don't know the song, it might be an idea to listen to on YouTube, but it's great. But we jump over to the song. If you've seen in the gaps, the lyrics that are on the sheet, I'll just say if you don't like sing and are causing, it'll have the heat the time for the intra. And then we're going to move on to the first verse. But here's the intro. One more time as a whole. You shit man, nerves that you rattled my brain. Too much. Loved jasmine man and saying You broke malware. O out of thrill. Mr. reach, discrete balls of fire. 27. Great Balls of Fire 1st Verse: Okay, so first of all, with the verse, you may loss on the sheet it says blues riff. So you're going to be using the same pattern, but you've been using in the 12-bar blues stage two. It was two main tweaks. Okay? The first one is, you're not going to play it with any kind of swim rhythm over what I was saying, the longshot, longshot itself going long. The bodily evenly spaced instead. So you just need to tweak it slightly in your head. It's just as easy though. It's just going to straight rhythm. And I've got to count along with it. And the other thing you need to change is you may have noticed as well. It says G times two, highlighted in red. So you print during fall before. So this is essentially half the amount you are doing. And I should say as well, all of the highlighted red to where are you going to be doing this pattern? So you just need to follow. And I've written in the time in his well seeking count along, which might help you. So that's a few things to remember. So again, this straight rhythm and no one. But before we get into that bit, we said the image as well. Or if you've got the sheep printed off, if you look, if she it says two Laughter that says cards and there's an arrow pointing to the GM, GM, GM. And that GM means G minor, which is the same card you're doing in feeding Good. And because so mitosis here, if you go one octave and go to the G above that, that's where I want to be with this geomantic cards or thumb to all this time on the B flat. And then the third finger onto the taste and with one T3. Okay? And you get three times the 5x join into the blues riff at this. And then into the place writhe. One. And so those calls coming just after the goodness gracious, great balls of fire. It's you'd go, goodness gracious, great balls of fire. And then you can do it right? And then he colored in the left-hand as well. So we've already talked about this. I'll go from the bit just befall. So you go reach Great Balls of Fire. And I'll say another somebody counting. So I cannot go from the page just before. Gracious. Great. All the five. Okay. And then you're going to come down to the.c file. You are starting off here and going up. This time when a G there see from him down to the sea and the left-hand comes up. And he due to the same pattern, the straight rhythm on the C, 11 of the G and the C. And just one calls this one isn't in red, it's mainly doing that. Please refuges one card in brackets, wants a set. So I'm going to go right from the stats you can see altogether. You rattled my brain. Too much loved jazz man saying you broke now well, over the thrill. Gracious, great balls of fire and race, just great balls of fire. That first verse. 28. Glissandos: The case went to the next part of the song onto the USB Baraboo feels good access shrimp. So if you look on the image, it says glissando and there's an arrow pointing to a squiggly little line. A glissando is one of these. I could go up. Now there's two different ways to do it. I prefer to use this part here of my index finger, my second finger. But some people prefer to use the, the heel of the hand, this part here. But I found that a bit more awkward sigh. I do that but it's each to their own. You can do whatever feels most comfortable. The trick to making glissando sound good is to finish the slide on whatever part of the piano you gonna be playing next. For example, a card. So it's next to the C chord, the C times two. Here's what it sounds like. And then you don't teach hard. So what do start with your index finger, slat down. And then you can go into top. Quarks are slow down, isn't it? Over the speed? That a few times, I mean, I'll do it slowly, but it usually sounds a bit strange but it slowly. So have a go at that you can practice going on two different ones onto the g. So the day, I mean, these are quite hard to do so you don't have to do them, but I want to teach you then anyway, just so you can slowly build them into your claim. Jerry Lee Lewis is thrown these in all the way through the song above just enough food and fire, so we're not doing too much at once. So have a go at that. And don't worry too much if you can't do it is something you may have to practice along the way. 29. Great Balls of Fire Chorus: If you can go from the fields, could pop the chorus. And it says C times two in red. So again, that's the please call pattern. So metal say here up above. And with accounting 12. And it says G times turn red. This time that I got down to the GI. And this part here, you need to think had slightly e, need to decide whether your entity, the Cassandra wall, not because if you go to and you don't do the last, that's where you need to do the glissandos in order to keep the timing. So you did a glissando and, and go straight into the Linux, see times two in red below. Cfo. She saw a left-hand side to alpha c. But that's only if you do the glissandos. You can skip because under out if you need more time to practice that. So the player, those three parts, first of all, with the glissandos, they can see it. And two and k, And then you can see it says d, but it's not in red. So we're just going to do a single card there, a D chord, which is thumb on the D. He just second finger on the F-sharp. And again, certainly a Sponsors tab. I want to love you like a shirt. And again below you can see the clouds say, as far these neuro LC hit a fall Tanis. You can see in your fine. So kind. To tell this world. Now here, can you see that the D1 between the words? So you go GGAC to tell this world that you're mine, mine, mine, mine. So 3D in-between the mines, they're mine, mine, mine, mine. So I'll play the whole path that slightly faster than the time of file. And you can tell this will minor, minor, minor mine and the chorus. And then the next part is that good averse again, but it's just different. Live x is exactly the same as what you've just been doing on the first. Thus, the island love all of Hollywood's money, but this one's different lakes. As human, as neutral my thumbs. So it's doing exactly the same Canada. And then it's on to the solar. 30. Great Balls of Fire Solo Part 1: Now to learn the first part of the solar cell in the truck, Jerry Lee Lewis is doing lots and lots of glissandos in this. And I've taken that out just for the moment because it's quite hard to do for where you are in the class. But I will do another tutorial separately for those of you that want to give to go with the glissandos. Now the structure of this part is exactly the same as the verse. So as you can see on the image, it says G times two times two times one times one, g times t. So the left hand is exactly the same. It's the right-hand, which is a little bit different. So to teach you a chord, now this course is called an E minor, diminished seventh. So it sounds quite technical, Doesn't it? So teach we now is not too hard and you will need to memorize one chord for this part. So middle seats here. And you go up an octave and up to the E above which the thumb. Now the normal E minor chord is this. 3-white nodes spaced evenly. A JP. Diminished means when you make the Fifth interval of a cord, squashing slightly, we need diminish it of flatten. So the first, second, third, fourth, fifth. So that's the fifth. So basically you need to flatten this to make a diminished. So B then B flat rather than a pay. That's an E minor diminished fifth fascinate. And then E minor diminished seventh is again an interval of 70 counted 71234567 a T. So all you need to deal with at the D into that core dividable. So a, G, B flat D. Thus the cards you need to use in this cell, both part one and part two. So that's the cloud. If you memorize that my after maybe a 100 aware and find a few times, spent some time memorizing and try playing up higher. E Manager May seventh. Now, I'm gonna play with it the left-hand path so you can see it in context again. And I'll break it down how to play it with the timing. So it starts off with a class. So that's the first part of the cell up. Now to get that timing. So it starts off with a novel called pattern one. As the phi get to the last of that path, E to play the E minor, diminished seventh college. So i then if player on the part of the pattern, the left-hand identity play on its own after the air. Certainly go in one. So it's in-between. And as you can see the culture in the middle of some lines, you can see where exactly comes in. And that's the first part. And then it goes into c pop. And you called in the right-hand plays on the wall that is Section C play with to start the left-hand one from the south, G, less than cars. And again it goes in-between the antenna. And then on the so just from the c-section one. And it goes on the two again. Okay. So pay up it from the stop. And that rhythm cars onto the next part as well. It's the left-hand goes to t. And again, if the right hand of the 11 and it's an SAP in between. So one. Because down to the sea again, the same again, you write home to place the code on the wall, the left-hand one. And so then play up to that point because then it just changes very slightly. Neutron the whole fest path from the star. And here is exactly the same rhythm, but it's the flame, the E diminished seventh. You're gonna flare just to G mind card down here. Savage feeling good again and descend with an in-between the underneath, yes, you go. And then, and then you go back to normal G blues cough pattern to lots of g one. So I'll go from the D part, D times well, one. So that's the first part. And then apply the whole first half of the soul of fire without the glissandos. Faster, secondary altogether. 31. Great Balls of Fire Solo Part 1 with Glissandos: For those of you that want to try doing the first path to the solo with the glissandos. This is for you. If you feel that you need to practice the glissandos mob before you put them into airplane. Feel free to skip this lecture. I chase the first part. And once he gets the C on the wall of the next, and that's when E to D glissando. So you go and then you go back into followed. And it's on the next bit on as well. So that's the walls on the sea path. So go from the start that J one. So as you can see the c-section on the air and the, and after the bomb. And again on the, and the, and after the two is in the same place for the D pad as well. She played Codename One, one Sunday early. And so here, the G bar m. So I'll play the whole first half of the solo with glissandos. Why? 32. Great Balls Of Fire Solo Part 2 Walking Bass Line: So in the second part of the solar, there's a walking bass line. This is what you're gonna be focusing on. A random secret. Easy, it's just the called repeated then E minor, diminished seven. But repeated up here. A mouse respond. So let's look at the left hand. So it's exactly the same structure that you've been telling. As you can see, G times Ac times u, dy times one, c times, well, t times trick, but it's a walking bass line. So instead of going 12 and you're doing something different and is still related to the same cards, but there's just single lattes instead. So I'll play the first left-handed J Pat fire, and fire through K. So you didn't even two Gs will be one day. And then you sum goes to the F. There's two of those TFs. Sum comes back down to the e. One day, go 121 PE Monte a, an a day. And if you accounting it, you go one. And and if let us anything again. And and that's the pattern that it moves up to the see. This is actually the same pattern if lead to sees 11. But instead of going up here, you go to your B-flat instead. Because when you are here and you see you've got evenly spaced no OUT sphere here. Rather than doing that, Islam is going to be flat. So you'll have to push your hand higher the piano so as to seize Manet 1G, maybe flaps, its some slides onto the a and g is too lots of them. So fellow edifice to pass fighter of the j 112. And then you've got a D section. So this time, the Third needs to go on to the F sharp. And then. You start same kind of cost-share achieved. One as shown. 12 Cs, one bay 1E, again on one to see pain and an n. And then you're down to the safe or one C-sections are same. It is just the pitfall. Just waltz through one. Then it goes back down to the novel left-hand plasma g 12. So if let a whole section five in the left hand with the counting One and, and, and, and 1211. And and what you might need to do is at practiced that left-hand slowly at first. Go back and watch the video again if you need to, try and memorize that. And then it's actually quite easy to add the right-hand part on top of it, because you take in the cartoon there that E minor, diminished seventh for you to do is put an octave higher. And why you didn't refer. And I'm going to play it with every single left-hand No, just plant that. Just plays along with every single left-hand love that this. So it plays with every single left-hand when you doing the walking bass line. And then on the last gee, section, you go back to the novel. So let us be allo essays. You can see it together. So the idea with that would be you would perhaps it slowly at your own pace and then speed up the tempo until it can play a full pass. And then after that, you just got into the car, arrested, you can see you kissed me, Baraboo feels good. And it's again, it's exactly the same piano part as you've learned in the lesson before. And again, it's just a finishes off an a verse or treatment nails and acquittal method. And again, the file path is exactly the same for that as well. So you've got to solve those in parts. And in the last lesson of this great balls of fire, I'm gonna go through the whole song without the singing, but just with accounting. 33. Great Balls of Fire Solo Parts 1 and 2: You can't knowledge necessary how the two together. So when it goes through the first half to the solo, and then it goes straight through as the second path. And we go bom, bom, bom, bom, bom Down, down. Then your 12. And and and and that's the both parts are just lead together. 34. Great Balls of Fire Full Song Played Slow: Right, and now it's time to show you the whole song with all the paths. And I'm going to do it slightly slower just so you can follow it. There we go. Shake my nerves and you rattled my brain. Too much love, drag and then saying, you broke malware. Thrill. Gracious, great balls. Phi and T. One and one. Turn to British. Bow the fire. And, and, and, and, and, and unwanted love you let your fan. So can chat this well. 111 and f k minus two British scream balls file. And, and, and, and, and to me baby. I want to love you like your fan. So till this will then lead. Rich, scream, balls, fat, a go. 35. Blues Exercise 3 - Right Hand Straight Rhythm Over the 12 Bar Blues in Left Hand: I'm going to teach you another blues exercise now that combines the 12 bar blues in your left hand with the two octaves of the blues scale that you're using the Blues exercise one in the right hand. Together, again, this will help you eventually be able to solar and improvise with the blues later on in the cos. But this sounds quite cool anywhere. So first of all, the right hand before you were starting below middle middle seas here, and you're doing the two octaves from The Now, I want you to start on the G above middle C here. Middle there one two free five g above middle C. The reason being because your left hand moves up to the C in the 12 bar blues and that's overtakes where your right hand would be. The left hand is the same as the 12 bar blues you've been doing already, and the right hand goes through the two octaves of the 12 bar blues. But you're playing three notes in the right hand for every one movement in the left like this. You've done three in your right, and then your left hand changes at the same time. You move again. Same finger in the right hand as you've been doing some underneath. One, two, three, again, and then you move again two. Three. One, two, three, and then changes, two, three, six. Two. That's how it moves. And then if you wanted to still use the one and feel to it, it would sound like this. One. So I can see you just still using the left hand to count, but there's three notes for every movement the left. So I want to show you how it sounds. And when the left hand moves to the C part of the 12 blues, just keep on going through the same two octaves to your right hand in G. So here's what it'll sound like. That's the blues exercise number three. It's really cool because eventually, remember, you're going to be playing this kind of stuff. That was the 12 bales cards mixed with a little bit of soloing. This exercise will help you to be able to integrate the slowing in this blue scale with the 12 Babes mixing together. You just need to learn how to do the 12 Bales scale on top of the left hand. That's what this exercise is for. 36. 12 Bar Blues Stage 3 Right Hand: Now to move on to the third stage, 12-bar blues. So you got to the second stage where you going. Now the next stage is this. I'll show you it and then I'll show you how to play it for you go, right? So I'll show you how to play it. In the second stage, the first two parts again, a jihad, but you go and break it. Top two. Beta d is such that if you til you fall on the C and the a, and then you go down to the g. Well, until I've gone back down to the G, you're can have got up again. So you're going from being the day to the j, a j. And now you're gonna put assert and the fifth finger on the day of the F. And that is sum is going to have data. So you've got 23 on the day. This is when the fingerprint gets important. That's why the stat I was saying to translate to it. Turned to fall on the scene. A button to the j and its three you five, muddy in the F. It comes back down to the fall. And we'll see you in a back down to three. And it just goes back round again. Dvf signify. Pat. I'll just show a little bit faster so you can hear it. So it's a whole section of the whole fall, bars of the G part, but going up to them to new notes, the D and the F, I'll just go through it one more time in it, it faster. But with counting. So 12. They might be able to head a new part of the day. The F is on the and each time a case that's a G section that's made up to this C-section, cyber fire guide. Now you're going to go up again. So it's the same kind of pattern to 23 on energy. Thumb back down to the C and F and a, move back down to the sea again. And then this time is the 35th again. But he said Some of the G and U five instead of the bay is a B flat, B, FX. You'll probably notice hits again it just to longshot, longshot. Ok. So I'll just play that C-section With Accounting one. And then I'd go back down to the j, then goes up to the day. So the first part is the same as the second stage, again, two to three and F sharp and the I think goes onto the day through the fall and the G and the brain goes onto the day. And this time is three or third, an FS dot to the a. And the same thanks. Set. So then your dove down to the same gene. So I'm going to show you the whole right-hand part with a new little bets. And I'm going to count through the wall to help you count the cards. Sorry. Three. So there's the right hand of the third stage of the 12-bar blues. Practice that so you can again play it Natan smoothly and moving between the cards. Again, the way it's done it, you should be able to sort of move upstaged by stared. It depends on how much time you have to practice. It might take a few days or a week or so on each stage. But after you feel nice and comfortable, move on. In the next lecture, I'm going to show you how to add this right-hand part to the left hand. 37. 12 Bar Blues Stage 3 Hands Together: So I've been practicing the third stage of the 12-bar blues and the right hand. And I want to show you how to put it in with your left hand. So similar ready to the second stage but just to little bit more difficult. It starts again at the top. The top two notes of each card play with the left hand. And then he plays on its own. It's time. And before you're going back down in the second stage, this time, you're going to go up and you've been practicing to the day. But this is where it gets a bit more difficult because your left hand, it's going back down to the day. Often people like to me the hands in the said direction, so just be careful might feel strange. You Ryan is coming to write the left-hand side and back down to obtain. So it just might take a little bit getting use to discuss as well. Yeah. And that's it. Rarely. Just hs aisle seats parts. I'll show the c pop together with sadness zone. So that then you would have had the data. So that's has put it together with both hands. It just takes a little bit of cut and you've stuff because yeah, Honda software it can on the road and Alice moving out and inputs. I want to show you now a little bit faster. Just gonna give you a little bit of advice. When you first start doing this. You might find it hard to Paul, but last g of each sex and other last. So no of the section because it doesn't give you much time to move to the next Share. So you might find it easy for the moment to leave off the last node in the right hand and Australia water mains, I'm not gonna go through all of the cards. But when you jump pin. So that less little g is of quiet, hard to do at first. So feel free just to leave that last GI right hand like this and gives him in time. And the sample the same time. While the throne, that last scene, leave it off and you'll find you have a little bit more time to move that. You don't have to do that. But some times it might be a little bit easier if you struggling. So I'll just show you what it would sound like with just leading those little notes off its result. So that you don't have to do that, but it might be easier to do the app first, leaving off that last little note in your right hand, just so you can get the giant, nice and smooth. And then if you'd always put to back him later on. 38. Improvising with the Blues Scale Stage 1: So it's time to start improvising that blues exercise to the one had been practiced in which God the less. We're going to start improvising using parts of that exercise. So you left and you can either save left-hand nerves of the blues exercise too, I just showed you. And you're going to still use the blue scale in G and the same rhythm. But instead of going just up and down the two octaves, you can Assad to improvise with announcer, choosing different room death notes, different artists, and do whatever you want rarely, but within a certain structure. That's the best word to improvise at the moment. Halfs offset and guidelines. So the guidelines at the moment, our left hand, E flat. And the right-hand, you're gonna use the same rhythm that or if you're just doing the clapping with the numbers 123456123456. You're going to start by just using the first four notes. Just to start off with. So the easiest way to solve small then it can expand. So you left mister and discover God with doing those rhythms, but not just good up and down. For example, you can just repeat this m. Now, I can go back and forth between two of the two or three notes. I'll give you an example. So the same rhythm is going up and down. But as you could see, I was just using these fall knows who could focus on the rhythms and just playing around with just those fall notes. Staffs law. And if you need to count, you can within a six is 156123456123456. Like that kinda thing. Pause the video, have a go at that, play around with it. And then the next day it is just to come out of just the first fall notes and start to explore that both of their octaves. So I'll give an example. So I mean, it's just a case of you having to mess around with those rhythms are taught here. So you can start with the left hand again, the same kind of thing, but it's a difficult up and down. You can do whatever. One. Like this. Sounds pretty cool already, doesn't it? But all I'm doing is the same left-hand. She gives it any kinda notes out of the two octaves of the blues scale, but using that rhythm. So staffs law, and then you can slowly speed up. 39. Improvisation Combining Rhythms: So this next lesson on improvisation is about mixing rhythms. Really. A lot of the improvisation you do is more to do with the rhythm. This lesson, I'm going to teach you basically to combine the vigorous exercise one, this 123456 with the swung rhythm of the please access to. So I'll just show you what I mean. If you just said play the swung rhythm. 123456123456123456123456. At any point, it goes straight into play. All of those base one to 6123456123. Did you see what I did that? So just combining the two really, you should find it middle class, easy if you've been practicing because just going from one axis to the other. So I'll, I'll, I'll show you that what is it then? And significant sounds like without me count saying just a few extra notes on the end to complete that left-hand part. But that's all it just combining those two rhythms. So have a go at that. You don't have to do the cell every time I've sleeker, that's the improvising. For instance, you could try played around with a few of the notes like home the less than before. And then he can flow into the plane on the notes. So you could go up and down. Leaky gut really is up to you, but just sit down and just explore the rhythms. So joining this room rhythm with playing all of the beads. 40. Blues Lick 2: I'm now going to teach a really cool sounding blues lick, which we'll call Blue music Number two, is really quite common sound and you've probably heard in lots of glues plot of a fall show at the satellite. So it was a bill that I've actually moves that come up the PNL so you can see the high end because it sounds a lot better. Higher-up in mitosis here, go up two octaves, or middle C. And the second finger is going to play C sharp above the sea. And he says finger, finger on the D and the G. And if you go back to those groups of six beats again, like we keep on doing the second finger and the fifth fingers or C-Sharp, the j, the first b. And then the third finger on the theory, the fifth finger on the, on the 23456 base. So we go into this 1230606 repeats as for as long as you, if you start slow 1234561236, going around when I was still pid and it's just viscosity if you can get it as quick as he hadn't really, because the quicker you can play the sounds all related. And then eventually, we're going to integrate that into some improvisation. 41. Pushed Beats 12 Bar Blues Right Hand: In this lesson, you're going to learn about pushed beats and began to apply it to the 12-bar blues stage three. So the moment you've been doing the 12-bar blues loudness, but it might be finding that it is a little bit, say me now. So we're going to throw in some pushed beats, which makes it sound a bit different. A pushed Bay is when he come in ahead of the main beats. So you come in slightly before. In this case, you're gonna come in slightly before the second and the fourth are slightly before every other men beets. I'll say what it sounds like with the push B every other than I'll show you how to do it. So you can see it. It makes it sound, dissipate different, not the same rhythm Oliver through. In order to play those push beats. First of all, you're going to plan an every other soft section. So if this is one section on the G car, the next section is number two, the second beat. So you could ahead of that second beat. So I'll just show you the right-hand first one. So you can see normally go 12. But this time you go in one. And so it's the head of the tuh, tuh. And you'll also notice, do you skipping out, one of these film knows whether it's to Jane gee section are the same. In the C-section. Saddest player against, they can see it fall. For G section. I'll just show it on the C section as well. Two. And don't really do it on the D that ASD in a C because it doesn't sound quite right. So just keep it novel. The last section. So have a go that your right hand. And then I'll show you how to do it with both hands in the next lesson. 42. Pushed Beats 12 Bar Blues Both Hands: Here's how to play the 12-bar blues with a pushed beats on the second and the fourth beats should help you in a right hand. And here's how to play with both hands. So I'll show it first and then I'll show you how to play it. K There is. So if you've been practicing how to do the right-hand with the push-based like this. Well, too, just to deal with both hands. So the left hand is doing exactly the same as it has been all along this track. The trick is to build a do it operating on its own with your right hand doing the push. So play you it very slowly, first of all, so you can see it. So one section, and I'm going to count out loud as they're going an error. It just gonna see the left-hand silicon Manila to bang on the tube of the rat and jumping ahead. I'll do it again. And now going to go through it slowly and count out loud. And I'm going to say push, when it's pushed the beat. And 23. And add those two. And those two. And those two. And there you go. You just need to go through it slowly at first. Like always count out loud yourself if you'd need to, if it helps. Another way to think about too, is you could go and say right, left to right. But that's just individual preference. Go through it and once you get used to it, there's another thing only to add, which is a Krishna, which is address. That will be in the lesson coming up soon. 43. Blues Exercise 4 Right Hand Swung Rhythm over LH 12 Bar Blues: In this lesson, I'm going to teach you how to do the school rhythm with the blue scaling the Rat hand on top of the left-hand, 12th bowed lose, hit right. Sounds like. So there is, in the blues exercise three, earlier on, you were doing the straight runs without left-handed you doing. Now this is the swing rhythm and eventually you built, combine it and display it slowly. But first of all, to say that the Middle C is here. So just for this exercise, we need to start with the G above middle C, with the blues scale HISAT below subsequence of overlap peak to them. So you're gonna stop of that. So were this way left-hand starts on its side and the right-hand follows. So just take a little bit of time to get use to it. And now we're gonna go through all slowly, but with the counting 12312. So that's how you do it just slowly. You can go over that. And the other way which might help you with the counting is to think short, long, short, long, short, long low in your heads. Let this shot, um, so long. Felt bombshell felt. That might help, all the accounting might help whatever is easiest for you. So have a go at that end. In the next lesson, we're going to combine the straight runs the with what you've just been doing now, combine them together. They give nearly got all the tools you need to start to improvise some really great blue stuff. 44. Combining Straight and Swung Rhythms in Right Hand with 12 Bar Blues in Left Hand: We're now going to combine the left-hand 12-bar blues with the right-hand swim rhythm with the belief scale, with the straight runs have been doing as well. So has really sounds like That's what it sounds like. Essentially, as you can probably see, you're just combining the two different ones for the moment if you again have some structure. So with the right hand you gotta start with the strong rhythm and an alternate between that and the straight ones. As far as it goes, nine went to change with the left-hand. We talked about the 12 Abdullah was and it was in first for j's and then two. And then two Gs. And then one day, one say, and then the two genes. If you change between the two different rhythms in your right hand, every other to the matter theology, or a C or a D. For example, you do the swap one and Iraq and for the first two G for that one. And, and then you change for the next two of Charlemagne. One. And then they've got cleanup details. There's another Tyrion efforts by far. This is wearing the right-hand. You move to the straight rhythm. That make sense. So then the next two you've got, it's actually two Cs. So you go back to that. Someone with a minaret right-hand. Let's say you see, isn't enough time to go back down to the G, which again is millet two bars in your left hand and about to strike the right. So then you've got two single bonds and you're left-handed, got one day a one sates that goes again back to the SWOT money, right? And then finally two Gs in the left with Australia, right? And that's it. So he can practice that, see, feel nice and comfortable with it. You might find that you'll already built a stat to improvise. Because what you're doing in this exercise is, is swapping between straight rhythms and swell rhythms in the middle of doing the 12-bar blues. And all you need to be really after that is changed the rhythms up a little bit more. And it'll sound like you're playing some really great blues. So it's a practice that's the, you know it really well. And you'll find that you're almost there. 45. Different Rhythms Groups of 6 Part 1: In the last lesson, I mentioned about playing around with some different kinds of Britain's. Now some of you might have already started TB apps. Do this. You might be able to not to lease of Hey, the vitamin and feel where the solid is ago by that. But somebody might initially mass structure. So this is less than is for those of you who need a bit more guidance on playing different rhythms. Throughout the course. We've kept on talking about the groups of six and counting and sixes. So you're gonna use that again with the blue scale, 1-2-3, 4-5-6 bond of buff six. But if you try not playing on some of those beats, you start to create newer than to already. So for instance, if I did a silicon by just don't play on the second B of the six beats like this. 123456123456. It's creative rhythm already, so I'm going to not count it could his head up but without the second beat. That's TB F66, but missing the second Biao. Again, you could maybe try missing the first Biao. So 123456123456. So it's really observed does have a play around it to try and missing. Now, 1-2-3 and display all the 456123456123456. There are without counting. And the next stage it's a try with the left hand. So if he'd maybe start off with a simpler Feeling Good left-hand GF. And again, I'll just use the example of the missingness second, be up to six. So 123456123456123456 pumps in cyber go traveling around with it. And you'll find that you might just, might just fall into place after that. And I neither want to try that slightly harder left-hand 12-bar blues. So again, I use the example of missing out the second be seeing 3456123. Music. You get the idea, so have a go. But hopefully learning all these different exercises, you might just fall into place. It's not enough to work at it a bit harder, but that's fine. You've got there in the end. 46. Part 2 Counting Groups of 6 Combined with Straight and Swung Rhythms: Now I want you to try playing with the rhythms in the blue scale in the right-hand. If you also try and combine it with the other two rhythms, a straight rhythms and the swung rhythms. It gives you an example, 1234 fasted, 1-2-3, 4-5-6. We felt pulses 1-2-3 buffer, pumped it up six blocks. So now I'm just going to give me some examples. I'm going to play without counting, just combining the two different bonds have been doing in the exercises and also some more random bones like this. So I wasn't trying to do anything incredibly complicated. But if you put that on top of some left and blues improvisation triggers, so just take some time collapsing in your right hand, count out loud if Anita, but you might find that this stage that I might be easy to sort of have that rhythm in aside as what happens to me. So I'll have it inside. If you've been counting up louder, no fee. It's almost it's training like an internal metronome and that's what I've got on a plane. I don't eat itself counts all the time. I just do it now and you'll find that this will happen itself. So the next stage, our needs it again, try it with the left hand. So so I'll just give an example of that was, was what even practicing, so habituate yourself tau tau allowed if he needs a and eventually how that count in your head, that eventually you wanted to count at all. 47. Blues Soloing Adding a G Above or Below: So when salary you can use a really cool technique to add another dimension to the sound. All you need to do is add a G underneath are both YFP acclaim. For example, normally if established scale your style the chain. And in the first foreign office that if you've incidence play the G underneath, every night, sounds really cool. Or you can do with the geoloc top like this. So hop to chair the fingering that during his first finger and your second finger sec AF_INET grew again and certainly C-sharp. Submit. And then back down. This a little bit more advanced, but you can always try it. So just to show it in context, Here's what it sounds like. Saw again, I was improvising that I was just starting Jesus both APA law every now and again, just as a different sound. So have a go. 48. Crushed Notes in 12 Bar Blues Chords: With the 12 babbling is cause you can add what's called a crushed nerves to edit sounds really cool. So Krishna is waves of glands of one node to another. That's a frictional crushed. Now, if you do it with the trial Bob lives. They'll Santa B_s so that you can throw the LSA. Wait till it goes to establish the tropopause leaves. The second finger, goes to the B flat. And then you slide femtosecond finger on TV. Stuff, right, happened. Anomaly father Alex's of the star. And then again, I'll postpaid they've been done. Another place can do, it's here, C sharp or D flat to date, but this clumps from your B flat. Then here. To do this, well, you have to put your second finger, that policy shop next to. You could divide that third finger. Knowledge it with my second, but I think it's easier. So if the chief part and the c part the same, again, it's, it's been the same place. So if you've got your c pop that fund, the second finger on the ESA started up here again. Second finger on the F sharp to G and a B flat. And ended the day one. It's hard to do on the T1 because of my fingers here, it has a low calorie slide up from y naught triplet. Now, sir, I normally don't Tyvek aftershave the whole fingering. So cardinality stopped at country on the, on the second finger on law. And third, fifth and the NSA say to after every side at the Sharia, all of it together. And that's crystallites, fire. 49. Crushed Notes in Solos: You can also use crush notes while solving the blue scale. I would advise to use Krishna outs. From the C-Sharp. On the F-sharp. I'll show it to me and said, if you could go from a C-Sharp, the path of solder. And if it goes to the Earth, and then to go from the F sharp to G, to slide off again. Could do anywhere. So I say what it sounds like. And you can do anyway. So have a go at adding those Krishna tells to your salary. 50. Blues Exercise 5 Blues Chords Combined with Swung and Straight Scales: In this exercise, you're going to become battling both hands, the 12-bar blues cards with the swung rhythm of the blues scale and a right hand. And then alternating between that and the straight rhythm in the right hand as well. Here's what it sounds like. And there it is. So if you remember in lecture 29, you combining the swarm illustrate rhythms with C left under the 12-bar blues. And we use in groups of two to guide when to change in the left-hand. You're doing the same again, but this time you're just adding the corpse as well. So you start off with the cause here. And then you go to the song with them. And then starts far in the left hand and do it over two and the c. So again, in-between each one goes back to the cobs signal to the sea card. Then he go back down to the G. And now you're not the straight norm. And then back to the calls. Now you go back to this room with them for the last two of the G. Don't expect to be able to do it as fast as Albert's doing it just then it does take time. But with enough practice, you will be able to eventually. 51. Incorporating the Blues Licks: Now it's time to incorporate those two blues licks, which hopefully from collapsing along the way. The first one was this. And you can do that as many times as you want, as fast as you want. And the other one was the one up here. So the idea is you can throw there isn't any point, that kind of thing. So the main thing where it just knowing when to come in with these legs. And if you're using the counting the left-hand 120, whether it is on the CRDT. The main thing to remember is coming on a main beads like a number bits are one or 234, etcetera. Not other add-ons or one of the small beads, because it's Il-Sung, quite strange becoming halfway through. So I'm gonna do in a given frame, you're going to have this real glad that's just a little bit not quite as clear. So come in on the men, be, so for the moment, just to practice coming in with those two different blues licks. If you do the SWOT rhythm in your right hand on the blue scale and the left-hand top bars, tragedy and on the third bow. And your left hand with displays, let this 13. So if I go that come in straight and on the third beat.com before, after battle when you hit set as 33 should be committed together three, again. And you can do exactly the same with a second blues lick that hot yeah. So again, you need to practice flowing into it so you can use the same rhythm. And again, if you practice coming in on the third bath. So you could cool it at any point. As long as it's on a maybe if you've had a course and then coming on the scene and say, it's all about you've really you can decide. So my advice would be to start slowly as usual to make sure you're coming in on the med be together. So try integrating that into play. 52. Improvising with the Blues Scale - 3 Octaves: Hopefully by now you're very comfortable with the structure of the 12-bar blues and also with the blue scale in the right-hand, including during the correct fingering. And in this lesson, we're going to be doing some improvisation. So we're going to use the left-hand 12 babbling structure. And in the right-hand you going to be doing the blues scale. But instead of doing two octaves, you can have your three octaves starting below middle C. I go into three octaves above. You're also going to be doing the swelled with them. But instead of doing any stops, you're going to keep on going. Such gonna be short, long, short long, short long, short long, short long, short long, short long, short long, short long. Like keeps on, keeps on going. And then another thing I want you to do as well. You're not just going to go up and down. You're going to go anyway, one sticks the fingering, but, but you're going to go to different paths, deprecates and he can go anywhere. I'll give you an example. So it's easy to start with the first beat, the left-hand, and then carry on with the surrounding them like this. So that's exactly why I said it would pay the left-hand top applicants with three octaves of the place, skeleton right hand with the swing rhythm. So I will just have a go at that because if you get comfortable with being able to do this, this will act as Soviet Brandon Botswana. It will join all the parts have been learning you bill to go for me, please call c whatever that she believes, lakes seeing better paths that the octave, geez you've been doing back in T accounts. So this exercise will really help you to solve, glue everything together. Again, you just need to last town of soft slowly. Short long, short long, short, short long, short long, short long, short long, short, short long, short long, short, short, long, short. Notice, you ought to have a go. 53. Improvising with the Blues Scale Swung and Straight Rhythms: Now I'd like you to try improvising again with the 12-bar blues near left-hand and right-hand. Again, you are going to be doing three octaves. That player scale with the continuous swarm written, as well as the straight with them to make all of the six beats. And you going to improvise, you can go in up and down, repeating parts, go wherever you want, but swapping in between the swim with them and the straight rhythm. I'll give you an example. So they go, how the go improvising with a swim with him on the street rhythm on top of the left-hand 12-bar blues. 54. Blues Improv with Licks: In this lesson, I'd like you to have a go at improvising with the two different rhythms on top of the left-hand 12-bar blues like you've just been doing, along with incorporating the blues licks as well. And now we get into a stage where I can't really tell you how to do it because it's up to you. You need to decide what notes to choose. If you've practiced a Scales and all the different exercises enough, you should start to be able to develop the freedom to be able to choose what notes you want to do. So I'm just gonna give you an example of an culprits in the blues licks with us two different rhythms of the scale. And also if you can have a go at adding the octave G's. So how a play around with that. If you're struggling to join model together, just go back a few stages of practice them so you know the fingering better. And you don't have to count out the left-hand as much. And if he found in you can't devolve it you daily there. The final stage is to include the COD with everything you've just been doing them. So if he can move on to the final lesson. 55. Time to try it all: It's finally time to try and incorporate everything that you've been learning in this course together. Now the idea is that any point whilst playing, you can draw upon any of the things I've learned in the cause, whether it's the Cavs, the blues scale with either swim off straight rhythms of completely improvised rhythms, the crush notes, the different lakes are playing the blues scale with octaves, are both. Obama when he first tried putting altogether our advice, first of all, to move in-between them and the little bit of structure. So again, used groupings of two bars on the left hand. So you can start the cultural identification, say rho, collapse clouds MAP left France. Nonetheless. And once you've done that, you might find that you feel a lot more comfortable. So you can start to move in between like half a baseQ Joe after through. But you will have to sit down and just try these things out. And the moisture level that easy will get. So I am going to improvise using the 12 publishers Tao. At some point, every single if not, in this course, will be included. So as you can see, everything in this course was excluded at some point during the improvisation. It's almost like you got a toolbox and depicting the choosing what you want to use along the way. And the more you use the tools, the easy we'll get to incorporate them into your blues plane. Now it's your turn to try. So as I kept on saying throughout the course, stamped off slowly because you'll find a lot easier to get the joins. And eventually over time you claim will speed up. So have a go and enjoy yourself. 56. Advanced Blues Riff The Turn Around: I want to teach you a riff that's a bit more advanced than the other ones you've learned. But it is combining stuff you've learned in the course. So I think it'll be okay. So here's what it sounds like. That's it. Again, this is something which you preload. And then whilst he played the blues all improvising, you can throw in any pions, it'll sound really good. So let's stop. So middle seats here and go up to the G above that. So mitosis. And then what is some of this G here? I'm going to show in pots and then you build to unopened together. So here's the first pop. So you're using the octave G technique that early when the cost is dots off, the third one is lambda. And then you second goes into B flat with a five on the G, both someone on the second, on the sea. Again to G up top. Second the sea shop again with the G up top. The muddy. Again with the five and the G up top. So hit the fast path as again as a first pop. And once you've done that, I want to show you the next pass. I'll go from the stop. So oxygen, this bet. You sum comes back down to the G. And then your second, let us say, and you find the g, that's m time. Some comes back down to the G. And then you're going to use a Krishna. I see a second goes into the B-flat on slides up to the b. Ok. So here's what it's like so far. Like you have maybe processed os u times to get control of it. And here's the next pop. So I'll go from the stop. So after you've played the first partly been practicing, second goes over the top onto the thumbs, combs underneath. And then you've actually repositioned your hands. So you then you said can go into g. Second on the f, on the thumb to the d. So you go like this. So second thumb on the D and the third and the GI. The second finger. Thumb onto the D. You've got that. So this time I'm going to go at this a bit further on the stop. So third goes up the top. And that takes you to the end naturally. So from this point, third goes over the top to the C-sharp, to the Krishna up onto the, say, third onto the C-sharp. Krishna onto the same second, onto the B-flat thumb on the G. And then you can easily second slides onto the bay. Whilst at the same time, your third plays a day like this. Say a second plant the B-flat first, and slides onto the bay with a third on the D above. Here's the last half of that from the middle pot. So it might be worth propped in that bit on it's drawn as well. And now we're going to play the whole riff slowly. Okay, and putting this in with your left hand, use that same 12-bar pattern in your left hand on the J. And so think about like this. It starts off with a beat on its own, so it becomes 123456. And then after that point, that would be called an upbeat. So it's a B on its own. And then after that point, you playing on every single beat, 1-2-3, 4-5-6, 1-2-3, 4-5-6 by this, 123456123456123456. So it's hard to count it. And the reason why I've told you that is so you can up the left-hand side, right-hand plays the GIS on Fest. And then after that is three notes in your right hand to everyone. In your left hand. Like this. See playing on the one and the fall. Or if you're counting in 1231231 of every three. So just to recap, if playing three notes of your right-hand ref, every one of you left 3123. But the most important thing to remember is that you start off with the GLM zone. So there's no left-hand with that. And then for the rest of it stops together. That said, I want to play it one more time, full speed. I bet it's over to you. 57. Walking Bass Line 12 Bar Blues Left Hand: Now I'd like to teach you a walking bass line that you can play it underneath the 12-bar blues that you've been learning in your right hand. So throughout the course, you've been doing this with the left-hand and the right-hand that's been developing and getting more and more advanced. So the walking bass line that you go to learn now, cells like this. And then, yeah, so in the right hand, I was using the most advanced stage of the 12-bar blues, which stays three, along with pushed beats and the crushed nerves. And it was also doing an octave higher, but I think it sounds better than doing it down here. It's quite close together. You can't do it down there. I quite like it of productive here. So mitosis here. So it's what you've learned already. The right-hand stage three with a push beats and also with the crush note. So that's focused on the left-hand that went you learn great balls of fire that earlier on in the cost, you did learn to walk and baseline this walking bass line that you go to learn now is slightly similar. So here's the notes, G, B, D, F, B. And that repeats G, B, D mean. And the fingering, why would suggest is what I just did that. So fifth on the fed on the beat, self-funded on the D. Then thought that aid. And I'm gonna go over the top with the second finger. And then you keep your thumb rested on a and he comes straight back down to it. This G being the thermometer and eight of the top of the second comeback underneath the Sefton comes back over the thumb alter that day. And if third button to the B side like this. Okay. And then just to do with accounting that we've been counting what the tuba under, sort of stick with that C sub C left. I was gonna go 12. And then it does the photo, the two bus 34. And so that's a first fall parts of the GI pattern there. And that the c pop. So see parts of here is c, a, jane Bay, B flat, a, G. And a fingernail is exactly the same. Fifth, third, second film on the a of the top of the second by from Denise with his thumb and bringing back round suffered on the third on the eight. And then it goes back down to the G, F2, so the two, and then the D-pad. So you've got a D, F sharp. And that's all about and it's for one back and the fingerprint is just way a Hutton is resting or 5321. Then it goes to the C part for another basso. Fine 321 of the scene. Gene may. Then he goes back down to the Z button with a walking bass. But for two bar, so man. So what I'm going to do now is I'm going to play the full left-hand part for that walking bass person of the 12-bar blues are first of all, I'll show you the full thing, but plate slower. Do three burden than long. Wom, wom, wom, wom pattern. And now faster. Okay, so now it's time for you to have a practice of that. So practice the left-hand separately on its own until the favorited comfortable with those notes. And I'm with the changes as usual starts off slower and then wants to have control of that left-hand part. We're going to take a look at in the right-hand into that. 58. Walking Bass Line 12 Bar Blues Both Hands: Hopefully you've managed to get that left-hand walking best possible under control. And now let's take a look at putting it together with both hands. Here's what it sounds like. And there we go. So in that right-hand, I was just using the third stage of the 12-bar blues that you've learned already, along with the push beats. And I was adding in some crushed notes as well. But you have looked at already. And the actual coordination is the same as when you're doing it with that left-hand patents and like that. So it's exactly the same because you left home to go and warm and do and but instead of doing those to me, go in. And and the reason why I'm saying this is because your right hand is doing that crush beat before the main beat. This one. Okay? So with that in mind, that it's the same co-ordination is when you were doing with the most simple left-hand part. You see? So hopefully the transition will be too difficult. But I'm now going to go through it with both hands, nice and slowly just to help you. And what are the thing is with a right-hand part, just to meet the jumps between the different card chips, a BTS yet because you've got the new hand shipped to worry about. I've taken off the last thumbnail of each hand share. I'll show you what I mean. So I'm not adding that last thumb just to give you an extra bit of time. With stopping. They're not adding the extra. Just to give you a little bit more time to move to the next culture. But let's go through it slowly with both hands. So it starts together. And remember thumb is playing in between on its own epi time 12. Okay? So remember, you push be ahead of the main second beat, 12 on its own into left. And again three. And don't need to put it as some x. It gives you time to move up to the C part for to one man. And and And then again, you don't need to put someone that c part there because it gives you a bit more time to move that down to the g for the two bars. And stop there. Don't put you some down. Then you move up to the deep part one. And then here I was actually pushing it a push B because I think it sounds quite cool, but I think you're ready for that now. So you're gonna go to the D again, one, push on the sea wall, and he left and follows after. So I'll go from the D again and then down to the jetpack for too long. And then he couldn't finish off under the g if you want, but you can go about round. So now I've got to go through the whole 12-bar blues with both hands, counting to seek adhere where you are. And then I'll do it without the cartoon just after. So first nice and slow, 1231221. And finally confessed on the G that sit with the counseling. And now we'll do it without that. And they go. And if you're struggling to do the push b over the top here, you could just do it without the push b sub t. Okay, so practice that with both hands. I hope you enjoyed playing that. I think it just gives you a nice different sound to the 12-bar blues with that left-hand Rafi Best pattern. 59. Blues Lick End Link 12 Bar Blues: Now I'd like to teach you a lit, which acts as a link between the end of 12-bar blues and the start of the next. So it just adds a bit of variety. I showed what it sounds like. So, so it's not the end. I think that was pretty cool. So let's dive straight in and learn it. And then I'm using the 12-bar blues with a walking bass line if just learned as an example, but you could also apply it to the simpler earliest edges. Okay, so here's where it comes. So after the ten and the sea pan, normally you play the G for two. Ok. But here is where you can throw in this new lik. Ok, so let's break it down. The right hand is playing the G chord first of all. Then I'll need to do is bring it down to the F below. Now technically that is a G7 chord or a G dominant seven. Like that. We haven't talked too much about the names of these kinds of cards in the cause. But a G dominant seven is a G major chord with a seven on top, 1-2-3, 4-5-6, seven. Technically it's a minor seventh interval. But again, we're not going to be going into that right now. Gonna be sticking to just learn in what you need to know. So you can upload it may to try cod and then you drop any thumbs down to the F. Then you go to be played an inversion of the C major and negative statement of the note sounds. So the C major is here. To find the first inversion. It take the C and go up an octave. Okay? And then you're gonna take the second hour. So that's all you are doing that. But that is technically a C major first inversion. Again, we haven't talked too much about this in the class. And this is all we need to know here. An inversion is where you just change the order of the nodes. So that's that you just need to play it in a and the C, C, G major. And then some down onto the F, and you can leave the G out. Then really all you need to remember is you bring a five down and then your thumb down. Because you hear see you just get a tree further up and kind of move those two fingers down to the left, to the next y naught. Obviously 100 like that. And I'll be very awkward kinda plane, I'm just doing it. So you can see. And then the next card is just giving you five up to the C-sharp. Again, we're not doing a full Called, it just sounds cool, nicely, open-mindedness. And technically, behind this card, there is a C sharp diminished minor. Again, we haven't really gone into these kind of technical terms because I've been teaching at just what you need to know to improvise. And we're not gonna go into that now either. I'll need to remember is to go up to the c-sharp on top. Okay? And then finally, the last card is a D major first inversion. So the d, what octave to your right to find the inversion. So that's the D major first inversion. But you're gonna take out that a. They're just going to let f sub netting. And that's the last card of that rift there. And it just finish off with some DIY cause on top. But let's just go through that one step at a time. So probably some. And then bring third up and bring the outside nurse to the left, the a and the C sharp and the sea. And then you've got an F sharp and a D. Instead movement there, that e goes to the F sharp. The five goes up a semitone, a T. It's going from there to there. What smart? G. G, dominant seven. C, first version without the j. Then you sharpen the sea. And then kind of do a twist with the hand of the D, first inversion. Without the timing wise, it's going more. And then you do the push beat before the second. That's just going. And ten. Okay? The left hand is just using the swing rhythm. And the notes are G, B, C, C sharp, and D. Never teaching, but just the notes. First of all, you've got five nodes and five fingers, so you can do 54321. And then you just play a swan rhythm at that, like this, 12. So again that D is pushed 12. And if you've been using the longshot, longshot technique to help you with that. Swim with them. If go long, short, long, short, long, short, long. And then together. The start together and you're left, follows with the swivel rhythm. They're so scared I this okay, once more. And then, but the timing one can practice that separately first and then put it together. And then all you need to do to finish off is do this on the end. So the right-hand here is just doing a D major chord. Fifth finger on an optically on top. If he struggled to do the stretch, you can't just take off the d on top and just do normal de Triumph. And the same goes with the left, is an octave denier left. Again, if the stretch is too far for yeah, you could just do maybe the lower one are the higher organism to you, but together. And then timing wise on the last part is going to again two. Okay? And then together is going. There are two of the ego but rounded to the 12-bar blues, and so on. So I'll just play it through once more, just in contexts of to speed. Just see, can see what you're aiming for. And so on. I hope you enjoy learning that. And I'll see you in the next lecture. 60. Blues Lick Rocking 3rds: In this lesson, I'm going to teach you at other blues lick that you can use and throw in any point you on while improvising. Here's what's it sounds like. So and it can also use it when you played the left-hand walking bass as well. So let's have a look at it. It's only two notes. It's the F and the DEA. And it's just moving between those two nodes. But you need to play them a certain amount of time, just not a random number. So if you're counting grew to three and it counting of the f, And then the firm is an in-between p. So it would be an answer between 123, but it's easier not to sound the D. So if you're counting 123, that is one group and you need to repeat that three times altogether. Okay? So you're gonna go 123 and then repeat to the two times. So 12, 3123, that's the riff, 123123123. So you can practice not now, just moving between those two notes. And when you're doing it, try and count out loud for the moment as well, just so you can get used to play the exact amount of times, OK? And then the other thing you can do is you can use what is called an accent on the first of that v3. So an absent in music is where you play one of the notes louder than the others. So this case you're going to play the F louder, and that is the first of every 312123123. And I will show you again without McCallum saying something you can try but it's not essential, but it's something we can try to add in as you get more comfortable with this. So that's your right hummed RIF there. Okay. And now let's start off by putting it in with the left-hand simpler parts in Latin. And then we'll look at adding it to the walking bass afterwards. So if you count seeing the 3s here, he left down, it's gonna go 123123123. Ok. Simply add stuff on top like this. 123123123. So that's lick just together. Long, 123123123, faster. And with counting 123123123. So have a practices that small segment right now. Then I'll show you how to come out of it and into the Cavs. Okay, so hopefully practice that. Now I'll show you how to come out into the calleds. Okay, so what you're going to do is to go into play lethal top first of all. And then all you do is you move your thumb and third down to the C, then a. Then what I'd like you to do is play the B and the D, but with a secondary third finger. And the reason is because then your thumb is free for the gods. If you do that, you've just got to readjust anywhere. So it's easy to go straight to second and the third finger like this. And he can't add in the crushed. Now if you want. Timing wise, we've been using up to her to count. So again, we're going to stick with that. So this is going one way. And then that is the crushed part. Father too, like this one. And you can go back and see a riff on the piano, cause that one too. Okay. And I'm gonna add that end with the left-hand one. And again and again. And I'm just going to do it once more. But counting with the groups of three, because it might help here. 123123123. So that is a nice new clues that you can throw it. And I will show it once more up to speed to seek and have it in context. 61. Blues Lick - Rocking 3rds - Over LH Walking Bass: Hopefully you've got control of that blues lick there with a simpler left-hand. Now I'm going to quickly show you how you can use it on top of the left hand what he base pattern. So here's what it sounds like with that. Okay? So the left hand is the same timing really before you go in warm and all he's doing here is going one. Okay. So what you doing is counting equipped to senior at hand, 12312312. And that those with your 123123123. So that G B, D together, 123123123. Again, 123123123. And then he flew the c, the a with the beating, he left. And then you get a on the push beat to the beans. D on the left-hand comes with its own. Okay, like this. Okay. I'm gonna calcium with a woman, the IRS, etcetera 12. And then if you go back and take-offs again, and I've dealt with this 3s and you're right, the counting with the cookie three, If that helps, 12312323. So it's the same counting is the simpler left-hand button, but you just need to apply it to different nerves that the left heart and is in context. 62. Blues Lick - Rocking 3rds - Technique Applied Elsewhere: You can actually use that third interval, which is that's what it is. 1-2-3, It isn't a third. And you can use that as a link to throw in anywhere else, for instance, the state path here. What you can do, you could say is the top of that Teller if tab. And you can use the same thing with between the B flat and the G. So it's just something you can use. A third interval moving with the timing encryption X3, 1123123123123123. So you can use a third interval in any way you want really. But for the moment you can stick to the T and the F in the feature. You can explore ball with an interval of a third with that timing. 63. Blues Exercise - Groups of 6 Over Left Hand Walking Bass: Yeah. I would like you to be able to use the techniques you've learned so far in the course and also improvise over the top of that left-hand walking bass pattern like a was in the example just then. And so I think the easiest way to be able to make the transition to build, to improvise over the top is to take the blues exercises that we've done, but play them over the top of that walking bass button. And then you should eventually be able to pick and choose what you want to improvise over the top off, whether it's the most simple left-hand of the walking bass. So first of all, we're going to take the two octaves of the blues scale using the straight rhythm and apply that to the left-hand walking bass pattern. Here's what it sounds like. It is. So when you do this exercise before, you are playing this lower down, whether it was with the left-hand, unsellable. So you started below middle C. But what you're going to do is you're going to play above middle C. I just think the higher register sounds better with this. As far as the timing goes, it's exactly the same as when you were doing it with the simple 12-bar blues pattern, 123123123123123123123. The only difference is you doing it with 123123123123123123123123. I'll need to do is play the two octaves of the blues scale in your right hand with the 123123123, 56 over the top of the 123123123123 ball. You can count encrypt a six, which ever way you want to think about it. So all you really need to amend that is this three notes of the blue square linear right-hand FE walled, this node on the left. And I'm just going to play through nice and slowly fire. So you can see exactly or any to-do wall. Three, fall. Wall. Whoa. Whoa. Whoa. 64. Blues Exercise Swung Rhythm over Left Hand Walking Bass: And this next exercise, we're going to take the swimmer them in the right hand and apply it to that walking bass pattern. So when he did this previously, you would go in. Okay, so all you're doing now is applying that left-hand button. And again the counting you would go in to see taking the same concept but applying the Watson base. What I'm going to do here is just play it through first of all slow and then apply it through fast fire. Okay, so again, I'm starting off above middle C And Lindsey above that. But hopefully, if you've learned the exercises well enough, then it shouldn't be too difficult because the treatment is exactly the same. You just playing different notes, just applying that Watson and base pattern. So I'll play it one small but up to speed. 65. Improvising over the Walking Bass Line Call and Response: Hopefully those two exercises are gonna help just to get used to playing those two different kinds of rhythm over the top of the left-hand walking bass line. Now we're going to jump straight into improvising over the top of the walking bass line. Because once you get used to playing that left-hand, you should be able to just apply all the techniques we've learned previously in the course. But what's I'm going to do is make a suggestion and that is something called call and response. So when he first improvising, it's tempting to just play, play, play, play. And then, you know, it can make it quite hard if you constantly playing. So sometimes it can be better to rest and not play all the time. In fact, it can sometimes sound better if you're not playing all the time. So here's an exercise that you can improvise with so called response. So what you going to do is you're going to play a small melody in your right hand, over the top of your left hand walking bass. And then he going to leave of arrest. And then you're gonna go up an octave in your right hand and answer it. So you've got the call and then the response, ok. For instance, nice and simple. Rest. Sienna. For what you're doing, you're playing this role or the mother straight rhythm is up to you. You can just stick with S1 if you opt for the moment. And then you're just going to sum things simple with anything notes from the blues scale and you're right, and the negative two and put an answer it an octave higher. What I'm going to do is I'm going to use the blues live. Links are taught you a few lectures ago, this but just in the left-hand. Okay, because it just sounds a bit variety a chair. So let's start off with some calls and then the responses, and you can jump around the octave. Let's begin. So I was leaving nice big gaps circuit. However, it time to think I wasn't doing anything extremely complicated. I was calling and responding. Calling and responding just so you can folks on that left-hand, I'm just going to give you one more example that I might throw in some different rhythms as time. Then you go and you can go around as many times as you want. It doesn't matter if you make mistakes. Remember it's not performance to practice the mike, get used to it. The molecule built, find hilly old licks that you want to develop and mu, just kick each of the rhythms and the coordination. So have a go at doing the call and response of the top of the left-hand baseline. 66. Congratulations!: Congratulations have completed the costs. Thanks again for interesting me with your musical education. I really hope you enjoyed it on. Please feel free to check out my other classes. Goodbye.