Duke Robillards Piano Blues

February 14, 2018 | Author: Tony Bermea | Category: Guitar Family Instruments, Music Theory, Pop Culture, Elements Of Music, String Instruments
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would you like to know how to play blues?...

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S

E

S

S

I

O N S Duke Robillard’s Piano Blues B Y

D A V I D

H A M B U R G E R

DUKE ROBILLARD HAS A slick, swinging alternative to four-tothe-bar comping. He terms it pianostyle comping because it recalls the tightly voiced, riff-style approach of

Count Basie and other Kansas City pianists. This 12-bar example also has some cool guitarisms, particularly the Bb13Bb13b9 move in measure 4. “I should

b E b6 E°7 B b 6/9 B b13 B b13 b9 Eb9 öö öö n öö öö öö ö ä ööö ... b ööö ö ööö n n öeb n öö .. Jöö î b 4 # #öe ööö öö úúúú .... ö ö ö # ö ö ä n ö ä ö b î Î . ö b ö b ö ö ö J ö ö ö ö Jö #ö ö . ==================================== & 4 = B 6

1

6 8

7 8 6 7 7 8

T A B

6 4 5 5

6 4 5 5

6 5 6 5

6 5 6 5

6 6 5 5

3 3 5 6

3 3 5 6

3 3 4 6

6 3

5 5 4

6 6 5

6 6

b E°7 B b6/9 Dm7 D b m7 Cm7 ö ö .. b öö ö ö öö öö ö ö ö ö b ö ö ö ö b öö öö # n öö öö ä n ö î . ö b ö ö ö ä ä ä n ö ä b Î î Î bö ö ö. Jö ö ö ö ö Jö Jö Jöö= ==================================== & E 6

6

6 4 5 5

T A B

6 4 5 5

6 5 6 5

6 5 6 5

6 6 5 5

8 6 7 7

8 6 7 7

7 5 6 6

7 5 6 6

6 4 5 5

6 4 5 5

B b6/9 B b°7 B b 6/9 B b°7 Cm7 F13 U À ö À ö ö À À ö À À ö ö À À ww ö ö ö n bb ä öö ÀÀ # n öö öö ÀÀ n öö öö ÀÀ ÀÀ # n öö öö ÀÀ ÀÀ n b öö öö ÀÀ ÀÀ # ö öö n ö # ö ( ) g n w ö À ö ö À ö ö À À ö ö À À ö ö À À # öö ö g ( ) ww ==================================== & = ö g ð 10

g6 g 655 g

let ring - - - - - -

6 4 5 5

T A B

b

X X X X

6 5 6 5

b

B 6 1 2 3

IV

V

1

X X X X

X X X X

b

V

2 3

4

X X X X

6 4 5 5

X X X X

III

1

III

1 2

2

V

8

7 7 6

7 5

F13

XX

3 4 3

6 6 5

E 9

XX

4

X X X X

b

B 13 9

XX 1

X X X X

b b

B 13

XX 1

6 5 6 5

b

B 6/9

XX 2 3

4

6 6 5 5

b

XX

VI

X X X X

E°7 B °7

E 6/Cm7

XX

6 5 6 5

X VI

1 3

Dm7 X VI

1 2

1 2 3

4 3

XX 4

give credit where it’s due,” says Duke. “I got that from a Rhode Island guitarist named Fred Bates. He used to play with tenor man Scott Hamilton in the Hamilton/Bates Blue Flames.” Duke also likes to slide into the chords from a fret below, which is easier on six strings than 88 keys. The signature sound of this Bb blues chorus is the recurring IV6-#IVdim-I6/9 ramp into measures 3 and 7. The familiar minor-7 chord shape on the top four strings (used in measures 7 and 8 to chromatically descend from the IIIm7 to the IIm7) doubles as a IV6 in measures 2 and 6. It’s cool because it lets you keep a Bb ringing on top of the IV without using the ubiquitous 9th chord, which becomes a welcome sound when it appears in bar 5. For the scratches in bars 10-12, muffle the strings by relaxing your left-hand grip and continuing to strum. Duke tends to do this when he gets fired up. The final V-I cadence is a crafty chord-melody move. Check the fretboard grids for Duke-approved fingerings. g

L i c k S P I K Y

o f

t h e

M o n t h

B L U E S

KENNETH LASAINE, SEPTEMber’s lick champ, hails from Los Angeles. “In the May ’97 and Nov. ’95

C7 or C #°7 (IV7 or #IV°7) G7(I7) bö ö ö 4 bö ö bö ö ö ö #ö ö ö ä n w ö ö ( ) ================= &4 =

issues,” Kenneth recalls, “Scott HenB1/4

derson and Charlie Hunter mention that straight diminished or symmetrical-diminished (whole-half) patterns can make you sound like a student. To help you avoid that, here are two phrases that merge diminished pattern elements into 12-bar blues. Each goes over bar 10’s IV chord (coming from the V) and outlines a common substitution, the #IVdim7.”

6 T A B

8 5

6 5

8 7

5

7

8

6

7

6 8

5

B b7(IV7) B°7( #IV°7) F7(I7) Ã nö 44 ö b ö b ö n ö ö ö # ö ö ö ö b ö ä w ================= & ö bö = 4

2

1

B1/4

g T A B

10 12 13

11 12

10

13

14

13 15

14

20 16

13

13

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