LOTW – Rai’s Second Lick

hack-the-piano

The Pop-Piano Method

Hack the Piano is the essential guide & backbone to all my lessons. Get this bible of Pop-Piano, learn to understand the language of music and express yourself just like the pros, without sheets by chords, by ear, by heart.

LEARN MORE



Chord Piano Formula


HOW TO
PLAY ANYTHING
YOU WANT

A FREE workshop on music's "6 layers" - how to play piano without sheets and sound like you want to

Register For FREE

No Spam Ever. Unsubscribe Anytime.

This week’s, another bluesy lick stolen from the mighty Rai Thistlethwayte.

A few weeks ago I posted a lick of Rai taken from his Roland V presentation gig at the Sydney Conservatory.

Great responses means great success, so.. here’s another one!

Rai will likely be good for more lick-grab-bag fillers in the future.

It’s a Bbm lick that resolves to major at the end, making it very suitable to take a short, bluesy sidestep into minor pentatonics when playing in a major (Bb, in this case) key.

First the “basic” version of this lick:

 

You could, however, also “drag” the roll, like this:

 

When landing on the “d” – we are pretty much insinuating having arrived home. The most obvious chord / harmony for that, in this case, would be a Bb.

This means that we could easily harmonize the “d” with a sixth on top, or in other words, the root “b-flat.”

 

In this last version I harmonized the lick with some chords, first insinuating Bbm – or better said, it’s parallel/relative Db – as the key (which, technically, it is – but don’t be fooled by the versatility of, in true blues-matter, using such minor flavors over a Bb major harmony / key) by playing a 2 – 5, expected to go to the 1, which is then not only substituted for it’s minor parallel/relative (Db -> Bbm), but also turned major. So that’s IV, VII, I in minor, where the I is then turned major. Quite a nice sound I think.

Other way to look at it is the “traditional gospel” ending flat VI – flat VII – I, where that flat VI is then no longer a rootless Ebm9 (although that’s easily substituted in as the minor relative/parallel) but an Gbmaj7

The first is more-or-less a way to clarify why the second explanation sounds good (it’s all about II V I’s ;))