This works with the basic blues turnarounds that we cover in the first lesson in the turnarounds module. This creates a ‘drone note’ which stays consistent through the other chords. We are playing blues in F and so the root of the 1 chord is “F” and we keep this note on top throughout the turnaround. Here are some general rules to follow: Using The 1 Chord Root As A ‘Drone Note’įirst I recommend to practice the turnaround phrases that keep the root of the 1 chord as the melody note throughout the turnaround. It really depends on the type of turnaround being used. I hope that helps Paul and let me know if you have any other questions. I’ve also made a note to cover drum backing tracks in my seminar next week and I’ll do a little more research in the interim to find the best backing tracks for this course. Here is a forum post with links to the app: Also the drum sounds in DrumGenius are much more realistic and authentic than iRealPro. The nice thing with DrumGenius App is that there is no bass lines – just the drums – which works perfectly playing this style of blues where we are playing the bass line. That one works quite nicely for the slow blues. When you download the app I believe you get a few credits for free, and so check out the category “Jazz – New Orleans & Traditional” and then select the backing track “Gospel 12/8”. Regarding inversions and slightly different voicings, yes this is also important, as you progress through this course you will encounter drills and exercises to explore the different registers of the piano when playing slow blues.įinally, yes for a backing track for slow blues, there is a cool little app called “DrumGenius” which is available on the App Store and the Android Store. You can add the seminar to your calendar here:

Next Wednesday I’m hosting a slow blues seminar on the tune “Drown In My Own Tears” which is in the key of C and we will apply material from this course, and vice-versa, and i will explain the process of transposition for blues material, and challenges with different keys/registers. Yes indeed transposition is important to really ingrain a melodic idea, fill, chord voicing, lick etc… in our mind and our muscle memory. I’m glad that you are enjoying the course. The final 2 improvisation lessons will be added to this course today. Please let me know if that helps and if you have any further questions here. In the seminar we explore the slow blues tune “Drown In My Own Tears” and we will demonstrate this exact technique over the C7, F7, and F#dim7. I am hosting a seminar on slow blues on the 24th January, and I have made a note to demonstrate and discuss this concept as it’s an important part of the slow blues. The note ‘D’ in my left hand is played in unison with the right hand triad. The left hand grace note is the note ‘C’ which I am playing with my index finger, and this is played momentarily before the note ‘D’ which I am playing with my thumb. The key to this technique is to play the left hand ‘flick’ or ‘grace note’ immediately before the right hand plays the inverted Bb Major triad. Yes any time that I play a grace note in the left hand bass line, it’s my left hand index finger ‘flicking’ into my left hand thumb. Towards the end of the lesson we introduce some more advanced concepts and harmonic ideas such as leading tones, passing chords, chord alterations, walk-ups, walk-downs, and options for the turnaround at the end of the tune. We cover some important voicings techniques that help us to connect the chords smoothly and cleanly and create a synergy between our right hand voicings and our left hand bass line. We explore a number of drills to help internalise this rhythmic framework of the slow blues. The easiest way to visualise the 12/8 meter is to divide each quarter note into 3 8th note triplets.

Generally speaking, when we are playing the slow blues, the underlying pulse will be 12/8. We learn the best way to count the slow blues so that we stay in time and never lose the groove. We first voice the chords with triads and then explore the 7ths chords, inversions, and isolating 3rds and 7ths in the right hand to create smooth voice leading. We start by discussing the foundational blues theory including the 12 bar form structure and the core pillars are the harmony. In this lesson we explore slow blues piano for beginners and beyond using the basic 12 bar blues in the key of F.

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