Outkaster Posted March 26, 2019 Share Posted March 26, 2019 The Dr. John tapes were the worst. He can't teach anything very well. Quote "Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello" noblevibes.com Link to comment Share on other sites More sharing options...
David Loving Posted March 26, 2019 Share Posted March 26, 2019 The Dr. John tapes were the worst. He can't teach anything very well. They worked for me. Maybe you should try harder> Just play "Texas Boogie" and practice his "famous lick" over and over, in all the keys. with a metronome. If you can't do that, maybe this genre is not for you. Quote "Forget it, Jake. It's Chinatown." Link to comment Share on other sites More sharing options...
Jazz+ Posted March 26, 2019 Share Posted March 26, 2019 So many variations and key changes, quite a lesson: [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted March 26, 2019 Share Posted March 26, 2019 [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted March 26, 2019 Share Posted March 26, 2019 [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted March 26, 2019 Share Posted March 26, 2019 [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Stokely Posted March 26, 2019 Share Posted March 26, 2019 I can't really do that either. I slow down to a 1/4 note and then I can do anything (well, that I'm able to do!) with my right hand...but that "chop" also screws me up. I reckon just practice! It's not something I'd really ever do in a band situation right now so I've been working on other stuff, mostly singing Edit: and it REALLY wouldn't hurt me to work on "other" keys than the ones I'm somewhat comfy in. Those others outnumber the ones I can play in, sadly...including "B", which is somewhat embarrassing when I try to do anything other than basics on "Hard to Handle" among other tunes. I don't really solo much so it hasn't been a real priority but I really shouldn't be so handicapped Quote Link to comment Share on other sites More sharing options...
Joe Muscara Posted March 26, 2019 Share Posted March 26, 2019 Did anyone else laugh out loud at that OP video's intro? Or was that just me? It was just you. I've watched a few of his videos in the past, and I can't figure out if he's funny or just a dick. Quote "I'm so crazy, I don't know this is impossible! Hoo hoo!" - Daffy Duck "The good news is that once you start piano you never have to worry about getting laid again. More time to practice!" - MOI Link to comment Share on other sites More sharing options...
NewImprov Posted March 26, 2019 Share Posted March 26, 2019 I saw the Chris Potter trio live recently, and was absolutely blown away by his key player James Francies. The guy was doing crazy fast and complex LH bass lines that I wouldn't be able to do even if I devoted all my hands and brains to it (and of course he was comping and soloing at the same time) Damn, amazing playing! I'm not familiar with Francies, but have seen Potter with his Underground band, with Craig Taborn on keys, and they were pretty mind-blowing as well. Quote Turn up the speaker Hop, flop, squawk It's a keeper -Captain Beefheart, Ice Cream for Crow Link to comment Share on other sites More sharing options...
Sundown Posted March 28, 2019 Author Share Posted March 28, 2019 I got to play with my real gear today, and I have to say that the chop was easier on my MP11 than on a synth-weighted board. Im not sure why (and it could have been that my hands were just better tonight than most nights), but it definitely seemed easier to get the right groove and feel with wooden, weighted keys. Its tricky to play at 60 bpm without rushing, but its a great way to practice it. Occasionally Ill hit some sevenths with my right hand in different rhythms to see if I can keep the left hand going. My ultimate goal is to do a rapid, stride-like walking bass, the pattern for which is 1-3-5-6-b7-6-5-3-1. You play it in octaves, so in C, it would be your left pinky on C2, followed by your thumb on C3, your pinky jumps to E2, then your thumb hits E3, etc. The hardest part is getting your pinky to land on the right notes, You can see your thumb, but you cant really see your pinky. If I played the passage, you would recognize it in an instant. if I can master that pattern while doing independent RH work, that would be awesome. Quote Sundown Working on: The Jupiter Bluff; Driven Away Main axes: Kawai MP11 and Kurz PC361 DAW Platform: Cubase Link to comment Share on other sites More sharing options...
Jazz+ Posted March 29, 2019 Share Posted March 29, 2019 I got to play with my real gear today, and I have to say that the chop was easier on my MP11 than on a synth-weighted board. Im not sure why (and it could have been that my hands were just better tonight than most nights), but it definitely seemed easier to get the right groove and feel with wooden, weighted keys. Its tricky to play at 60 bpm without rushing, but its a great way to practice it. Occasionally Ill hit some sevenths with my right hand in different rhythms to see if I can keep the left hand going. My ultimate goal is to do a rapid, stride-like walking bass, the pattern for which is 1-3-5-6-b7-6-5-3-1. You play it in octaves, so in C, it would be your left pinky on C2, followed by your thumb on C3, your pinky jumps to E2, then your thumb hits E3, etc. The hardest part is getting your pinky to land on the right notes, You can see your thumb, but you cant really see your pinky. If I played the passage, you would recognize it in an instant. if I can master that pattern while doing independent RH work, that would be awesome. Practice doing walking bass up and down the scales like Monty does with those broken boogie octaves. It's much much easier and will train your hand for the hopping intervals which are much harder to manage. Lots of walking broken octaves here: [video:youtube] See walking broken octaves at 1:00 [video:youtube] Quote Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Theo Verelst Posted March 30, 2019 Share Posted March 30, 2019 On most sounds I know about, you could play a wonder or a hell of a Boogie Woogie, but nothing much would happen to the listeners. Also, to get that (limited, but fun) groove going, the same as with R&R songs with great piano drive, you need to link yourself with that sound and get the rolls where they belong. Or you sound like the maple rag from a GM midi sequenced. A slught bit fun, but close to nothing more, musically. T Quote Link to comment Share on other sites More sharing options...
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