Piano blues licks

5 Jazz Blues Licks in F

For those willing to pay their dues and play the blues, these licks are a rite of passage and a continuous source of inspiration. Presented here for your edification are 12 classic blues phrases, each with a certified pedigree.

You can drop any of these into a blues-based progression and come out smiling. A quick run through these shapes will help wake up our hands and minds. Notice that it contains the root, b3rd, 4th, b5th, 5th and b7th degrees of an A major scale. The second pattern, FIGURE 2is a reduced version of this same scale, which includes only the root, b3rd, 4th, 5th and b7th.

Resolving to the root A of the I chord allows us the opportunity to follow with a lick that can chart an entirely new course, which is exactly what we see next.

The bends to the b5th Eb and the b7th G tantalize our auditory nerves before resolving smoothly to the 4th Dwhich is the root of the IV chord. Any listing of the great blues guitar licks would have to include its fair share of B.

King-isms, and this one is no exception. The bend of the b7th G to the root A should be executed with the pinkie, backed up by the ring, middle and index fingers. Accurate intonation and a steady wide vibrato are paramount to make this bad boy sing. Start with your ring finger, using it for the full-step bend and the repeat of the root A. Use your index finger for the b3rd C and the bend and vibratoed major 3rd C. The resulting dyad A—C provides the 5th and b7th of the IV chord, reinforcing its bluesy, dominant 7th flavor.

The quarter-note bend that begins each beat imparts an elastic feel that is quite captivating.

piano blues licks

Walk down the chromatic run E-Eb-D with your ring, middle and index fingers. Articulate the half-step bend with your ring finger. Note the use of Eb as a passing tone between E and D, and the half-step bend from the B to C - neither of these twists belongs to the A blues scale.

Bend up to the 3rd C with your ring finger, holding it while you play the 5th E with your pinkie. Vibrato the root A with your index finger like a hummingbird. Use one continuous upstroke to zip down the run to the 5th E. Play the root A with your ring finger, crossing over it with your middle finger to access the 5th. Try doing the same yourself.

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Remember all of these licks can be moved up or down the fretboard, which means that you can fit them into just about any key. So find a lick or two that you like and practice it up and down the neck.

Hungry to further improve as a guitarist? Check out our top six tips for better guitar playing. Guitar Aficionado. Home Technique.Welcome to lesson 5 in this course on boogie-woogie piano.

In this lesson, we will examine the right-hand riffs and licks that make the boogie-woogie style so infectious. Besides the standard major and minor scales, there are two scales that are more common to playing blues and boogie-woogie; the blues scale and the pentatonic scale. Within a particular boogie-woogie piano piece, you will find yourself using elements from both of these scales. Although in boogie-woogie, the pentatonic scale more is more widely used.

piano blues licks

If we take the basic major pentatonic scale, we have the following notes of the related major scale: The blue notes are minor 3rd, and the flat 5, and this give it that kind of hard, gritty, bluesy sound. You will notice that the major pentatonic scale contains the primary notes of the I6 chord voicing we have explored in previous lessons.

This means that many of the same principles can be applied to right-hand licks.

15 Blues Licks

In particular, we can utilise the chromatic element when we move the notes up or down a half step to achieve interesting tension and release. In boogie-woogie music, the RH licks are often made up of 3rds and 6ths intervals moving chromatically up or down the keyboard. This is a characteristic sound of the music and one that you will hear in countless recordings. One stylistic device that gets used a lot is a quick slur through a number of notes, often outlining the shape of an arpeggio.

We already explored this concept in the turnarounds examples in the previous lesson. We will now look at more specific examples and demonstrations. The slide-off is a similar concept to the slur, and the demonstrations in this lesson will help you to understand this concept and its use in boogie-woogie music. Trills get used all over the place in boogie-woogie music. They also get used very often within the verses, like in the verse from The "Boogie-Woogie Prayer" that will will arrange later in this course.

Download theory supplements, midi files, chord changes and full note-for-note transcriptions of every lesson. We will explore the pentatonic scale from a jazz improvisation standpoint applying the scale to different chord types and common progressions. Slurs, trills, and slide-offs are 3 of the essential right-hand ingredients to create the feel of the boogie-woogie style.

This is not 'stealing' in the literal sense, instead, we are referring to listening to boogie-woogie records, and learning the licks by ear. Most modern online video players will give you the option to slow down the performance or recording which is useful to transcribe the notes by ear. You can also use transcription software to slow down and loop a particular section of a recording.

For any boogie-woogie standard that you learn, you can use those licks in other contexts.

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So everything is transferable to other tunes you are playing.Curious about blues piano artists and songs? Read on for our favorite famous blues piano songs for beginners to check out, as well as some tips to help you play the blues! Here are some of the steps they recommend:.

Listen to famous recordings of blues music and blues styles, like rock and jazz music. This will help you to internalize blues music and rhythms. After becoming familiar with the basics of piano blues seek out other musicians to play blues, jazz, and boogie-woogie. It is all about playing with feeling and soul. Learn to jam with others playing blues to help you become more proficient at playing the piano.

Continue reading the article here.

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So there you have it — a blues piano songs list to get you started on your musical exploration, and then the steps you need to get started with playing the style! Readers, what are your favorite blues songs to play? Let us know in the comments! Search thousands of teachers for local and live, online lessons. Sign up for safe, affordable private lessons today!

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Blues Piano Licks

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piano blues licks

Interested in Private Lessons? Search for Your Teacher. Mark Reply. Mark Shapiro Reply. Dave Reply. Thanks for the tip, Dave! Leave a Reply Want to join the discussion? Feel free to contribute!Welcome to this lesson on Chicago blues licks and riffs.

1 Must-Know Piano Blues Lick

This lesson will inspire you to build your own vocabulary that you can use to improvise when playing the 12 bar blues. Perhaps the most used and common lick in the Chicago Blues style is the hammered 8th note. We can play this lick with either the 5th and the root, or the b7th and the root also works well. This lick has an interesting rhythmic placement against the left hand.

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Our right hand is playing full triplets against the bass line where we omit the middle note of the triplet. In the lesson on comping, we explored inner harmonic movement outlining the I and IV chords over static harmony.

This basic concept can be used to create some groovy right hand licks. We can incorporate the b7th to get some more interesting sounds and patterns. Sliding off the individual b3 and b5 is also an effective device to add some crunch and dissonance to our right hand licks. This imitates the slurring that is commonly heard in vocals. The 3rd and the 6th interval are very useful to create a bigger and fatter sound for any right hand lick.

Steve demonstrates this concept with chromatic movement and how effectibve this can be over the 12 bar blues. Download theory supplements, midi files, chord changes and full note-for-note transcriptions of every lesson. We will also explore the blues and pentatonic scales.

Bill Evans was a true innovator. He revolutionised the sound of the jazz trio and influenced jazz pianists that came both before and after him. The riffs and licks you learn from listening to recordings and going to live shows are building blocks. This gives you vocabulary, like learning new words that you can then use to express your own ideas.

Hammered 8th notes Perhaps the most used and common lick in the Chicago Blues style is the hammered 8th note. Easy Blues Licks In the lesson on comping, we explored inner harmonic movement outlining the I and IV chords over static harmony. All notation examples can be found in the sheet music download below. Lesson Downloads. Join PianoGroove Pro to access all downloads and learning resources.

Blues is about playing your own feelings, expressing your own life. This lesson will inspire you to build your own blues vocabulary that you can use to improvise and play your own way. Comments 0 Comment. Leave a reply Cancel reply Ask questions and get instant replies from our team of teachers.

Facebook Instagram Twitter YouTube.In this lesson I am going to go over 5 examples and some exercises to help you get started exploring this. All the examples in this lesson are on an F7 chord. I also kept the material in the position around the 6th fret. To be able to mix Jazz and Blues we of course need to have the material to play both Jazz and Blues in this position.

For that we need an overview of the essential scales and arpeggios.

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Since we are mixing two genres we need to get the tools to play each of them. On the Jazz side of things we need is a scale for the F7 chord. Since F7 is the dominant of Bb major that would be a Bb major scale:. And then it is also important to know the chord tones of the F7 chord, in other words: The Arpeggio:.

This position for the pentatonic scale is not the most common, but still has some great blues options! In the first example the opening phrase, and in fact the entire first bar, is minor pentatonic scale with an added blue note B. The second bar is coming more from the mixolydian sound but then using slides to keep the bluesy feel. What is often the case with these more bluesy sounding lines is that they tend to make less use of extensions and rely more on resting or resolving to the notes of the basic triad.

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The first part of the lick also uses the Blue note, but now as a more jazzy row of chormatic passing notes. It then continues with somthing that in this context sounds like F7 arpeggio material. In the second bar we get a descending scale run from D to A with a lower passing note added before the A. The phrase concludes with a diatonic 6h skip up to the root.

A melody that is very common to Blues and Country. Triplets and triplet phrasing are part of shuffle and blues phrasing.

piano blues licks

Much more so than most bop language. In the 3rd Lick I am starting with a triplet phrase that is using the leading note to the 3rd and then continuing with a melody outlining an A dim triad. From there it descends down an F7 arpeggio with an added passing note between the root and the 7th.

In the second bar we have a variation of the 6th interval, this time from the b7 to the 5th and from there the scale moves down the triad to end on the root. The first part of example four could be interpreted as F major pentatonic but you could also think of it as a Dm7 arpeggio.

The second bar is a phrase constructed from a repeated double stop idea.The idea is not to prescribe you a number of licks, but rather break down the common concepts which you hear in blues solos, and this will then empower you to listen and transcribe your own blues licks and lines.

For an example of how effective single note blues melody lines can be, take a listen to this section of the Bill Evans "Blues in F" record in the blues forum thread. Bill makes it interesting by first of all, not just using the notes of the minor blues scale, he is using the extended blues scale which opens up much more melodic possibilities and interesting chromaticism.

Next he creates a motif using a turn and he repeats over all of the different chords. This is a million times more interesting than just running up and down the basic minor blues scale.

If we combine this with some single note melody lines, you will be able to see how things are starting to sound more interesting. In the F extended blues we could also do this from the b5 to natural 5 with b7 on top. Listen to any bluesy players and you will hear them using this kind of device. This is perhaps the most characteristic elements of blues licks and you will hear it in virtually any blues recording.

Download theory supplements, midi files, chord changes and full note-for-note transcriptions of every lesson. In this lesson we discuss some general improvisation concepts for This Masquerade and also any other jazz standards you are working on. There are a number of F Blues records in the forum where you can find inspiration to transcribe your own lines. If you want to truly absorb the phrasing, rhythm and articulation of blues licks, you need to transcribe them, just copying me will give you some insight, but it won't be ingrained in you because you haven't spent the time to listen.

Remember that you can use the speed controls at the bottom of the video player, this will slow down the performance to. When you played the 12 bars, did you use the F extended scale throughout? Or you switched up when going to G? For example, you can play bits of the blues scale, and then create an approach pattern, or an enclosure into the chord tones of the upcoming chords.

Try not to just think of 1 scale over the whole progression. The chord tones are very important and that is the focus of this course. Also check out the jazz improvisation course here: pianogroove.

If you goal is to learn to improvise freely, do not ignore this advice…. You must listen to a LOT of blues records, anytime in the day that you have the chance to listen… do it! The more you listen, the better you will become at improvising. To get them in your head, you must listen and transcribe from records. The material and concepts covered in this lesson will help you understand what you are hearing.

But you must try to emulate recordings yourself. Start with Pfrancing, and play the rootless voicings underneath the recording. This will help you feel the chords and harmony moving underneath the solo. Just keep revisiting it every day, and you will see gradual improvement. The goal is to be able to play part of the solo just like on the recording. This lesson may seem a little hard to understand because it requires some Harmonic Generalization knowledge.

For example, Fm7 tonic play F minor blues; Bbmaj7 tonic play Bb major blues; and F7 tonic can play either F minor blues, F major blues, or F extended blues.Report Error.

Improvising the blues on the piano is a lot easier than you might think. It's a great way for beginners to sound very cool, without having to be as good as Oscar Peterson.

If you're just browsing, scroll to the bottom of this page and listen to the audio example to get an idea of what this lesson is about. In this lesson we'll introduce some neat blues ideas to get you started. Assumed knowledge : A basic idea of where the notes names are on the piano. Some ability to read music, at least in the treble clef. So let's get going! The 4 Note Blues Learn the blues scale and you're half way to playing the blues. We're going to introduce the first four notes of it now, played in the right hand.

If you're not familiar with improvising don't panic! It's really not such a big deal. Try following these two rules for now : You can change direction whenever you like, and repeat notes as often as you like - but do not skip a note.

For example, if you're on Eb, you can play F or C, or repeat Eb again. But you can't jump to F. Try to vary the speed and the changes of direction. Make what you play unpredictable. Once you've practised the right hand by itself a bit, add a C and a G in the left hand as shown: Try playing the left hand notes, then a long phrase using the four right hand notes. Once the left hand has faded away, play it again and start a new phrase in the right hand.

Click here to listen to an example:. Help Us Improve! Charity Jobs.

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