TN ee ee Professor Dave Limina shares his proven method for neers eee rt nr teeter funk, and jaz styles. Professor Limina has been teaching at Berke Colege of Musi since 1999 and continues tobe one ofthe most Sought after and effective piano and keyboard lab instructors. Hs perform Pe erat eter ety See eae ee ete Cee Le ele ad De ee ee a tt De eT y Se ee Se ie ae eas Cee eee a (Clear and detafed instruction is given both onsereen and in the Cee Cece ‘ALSO AVAILABLE! ent Ly Series has sold over 70,000 copies in Japar tn ee ee etre es fe tay a eed 1 eC ter mo (ah PLAYING BRR Sas eens emg eeeconTENTS INTRODUCTION... Part! ‘Scales and Blues Techniques. = Example: Mixolyaion Seal exercise! mrlydian scale exercise exercise? Imncalydian motives. Example: Blues Scale... exercised Buss scale exercise exercised Buss scale motives exerciseSa ‘eushed nates" exerciseS "aves IS. exercisese Buse motives with “crushed notes exerciseéa ‘ues lochnique with “Chicago" style let nang, key C exercises 'Bues technique with “Chicago” sive left nang, key G exercise6e [Buse technique with Texas" sto bass ina, key exerciseéd [Buss tochnique with Texas" sto bass tino, Key G oxerciso7 [BUss comping with mbxolysian triacs exercise8 Bes tune #1, key 6. 10 ” 12 14 16 7 18 PART2 ing, Rock and Blues Ph 1D Example: Intervals within the Mixolydian seal exercised Understanding intervals within the mixolysian scale 35 Example: Intervals within the Blues scale. on exercise10 Understanding intovals within the blues scala... 37 exercise! ‘ook mates and phrases, Key Covent so 98 exercisel2a-< {ook all ANG TeSPONSEAN-B, KEY Cesena 40 exercisel3 rock comping, 48 exercisel4 Focktluss phrasing technique, key a8 exercise! moxalyaian figs, key G. 50 exercisel6 ocolyaan Miss, key C. 52 exercisel7, rmoeolydian thirds, key F sa exercise!8 rroeolydian thirds, key 8 56 “Texas shutle'comping, Key 6 60 exercise200-d 2 hanes tank eetrique #1 62 ‘exercise? {Une grocver, key G. 6 exercize22a-b hand tune taennique #2 6a 3exorcise2sa-b 2 hand funk technique #3... 65 xercise24 "Roots T0Ck 8 Fl pian en 66 exercise25 atin comping “Montuno” oo. CI exercise26 Tank grove 2“Slow super funk” 70 PARTS ‘Jazz Comping / Guide Tone Voicing and Anyihms... Example: Guide Tones and Voleing exercise27a-b {guide tone voicing progression with tension 9, key €)..75 exercise26a-b ‘ude fone volstI-V progression wth tension 8 813, key F).76 exercise29a-b ‘Guide tone voicings(iLV progression with tension 9, key G).77 exercise300-b ‘guide tone voenesiI-V progression with tonsion 9813, koy 8.78 exercise31 ex 27b with “waking” bass. : 7 exercise31b (x 28 with “walking” bass, = 180 exercise3te 24 290 with “walking” bass, at exercise31d 6:00 with walking” bass, 82 ‘ABOUT EACH DEMONSTRATION ... CONCLUSION... PROFILE INTRODUCTIONS ———~—S In his DVD | wll demonstrate some fundamental exercisas taken from actual lessons and classes given at Berga. | havo carefully chosen each exercise to help buld your harmonic, melock and yh ‘mic vocabulary in blues, rock, funk an jazz styles. Allo he exerci ‘8 and concepls ara draun ftom my experience as & professional musician, | havo tied to make them as musical as possible. [As you work trough the exercises try to emphasize the rhythmic feel and the species of each syle tha! point out in the bookie. you are able fo master the exercises quick transpase them to other keys. Make sure that you read through the booklet as you watch the DVD as | provide detailed explanations of each exercise and way’ to practice. ‘Some ofthe exercises are intended to be more challenging than cthers. Be patent, work at your own pace. These exercises have proven to be effective through my years as a teacher at Berklee. | also try to stress the importance of expression and ythmic foe in these exereses, | have found that when studying improvisational sles many student piano players tend to focus more on harmony ‘and neglect foal and time,The majority of music that is popular ‘employs very lied use of harmony It is your feel tht wall get you noticed in these styles. | ried very carefully to balance fun leks that everyone craves with sold fundamental tecnriques and concepts. thas been my exper: fence that you can be expressive and musical at any level of profi ciancy. Try toe satished wih the level hat you aro a, this is the key to musical freedom. | have enccuntered many students with great amounts of technique and harmonic knowledge that are very unsat- isting 1 listen to. The opposite is very tua, So ba true to your own ables and have fun with my DVD. LET'S GET STARTED!Part 1 of this OVD deals with mixolydian and blues harmony and ‘blues technique. Exercises 1 through 4 give an example ofthe harmonic environ ‘ment of blues, rock and funk styles. It is important to understand the ‘theory behind what y our ears are heating. From these scales we can derive melodic and harmonic * comping” material. ( “comping” is an lmprovieed accompaniment based on the h armony and thm of tho piece of music) “Crushed” notes area really just grace notes. In thes ‘styles grace notes are often played with the same finger siding from ‘one key 10 the next Blues trils and crushed notes wil be used ‘throughout the exercises ‘Blues technique exercises are applicable to rock and funk also, ‘hey appear in a blues setting here. Folow the instructions carefuly as you can adjust the lovel of dificuly to suit you present abil. Be ccareful not to strain your hands while practicing these exercisas. Your hhands should be loose and relaxed, stop if you are experiencing pain. “These “technique" exercises are designed to teach licks and hand ‘postion for phrasing 2s well as develop hand strength. The goal is to learn the harmonic and melodie vocabulary ofthe styles. hase exer- ‘isos are a good beginning, Exercise 7is an example of triads used inal of these styles. Many ‘great players use these to create comping patterns. Make sure that {you understand the mixolydian derivation ofthese triads as they func- ‘ion within the harmony of a dominant 7th chord. They are relly just another way to play a dom. 7 chord. ‘Do not use any pedal in these exercises. ‘Exercise 8 is a combination of tachniquas covered thus fa. Try to ‘emphasis the blues shut fe! in your pertormancs ofthe tune. Have funil!Example: Mixolydian Scale C micolysian harmony is based on a C7 chor. The C mixolydian scale fs essentially a C major scale witha fat ted 7th ‘Blues siyles consist of mixolyeian narery, ‘This ‘chord scale" serves as a basis for melodic and comping material exercise! mixolydian scale exercise (@This exercise wil amiarize you with mixolydian harmony. twill ‘also give you a sense of hand positon relevant to blues and rock sty. ‘@Ptay is exercise wih your Nand in unison with the metronome con 284; ths will help you fo internalize the te feel (@Aiso play the exercise in the key of F Band G. These are good keys to got started wih in lugs and rock styles. important to play the exorcise in sovoral Keys. When you can play th first 4 keys well, try playing them in succession without stopping (@Vioke sure that you ty to play witha "bes shuffle or “wing fee" ADDITIONAL POINTS: (01 you are able to quickly execute the exercise in 4 keys ty play: ing through ll 12 keys in succossion folowing the circle of Sths. (CIFIBVEAY, ot.)exercise? ‘mixolydian motives hate 5 ‘MAIN PURPOSE (This exercise wil familiarize you with how notes from the maxaly dian scale can be used to create motives and melodies WOE ‘eP ay tho exercise withthe metronome on 284 ‘erry to wanspose these @ bars oF, B, and G. Te {@Make sure that you play with a swing feel ‘eNotce how the motives phrase to ether the fith or frst degree of the scale EE (@1vien you listen to music sae if you can recognize simple motives lice these. Try to play thern back inthe same key that you are ls tening te Example: Blues Scale an example of a “lues scale” inthe Key of C it's important not to think ofthis as a scale in the tad onal sense. We rarely, when performing music, execute the above notes in scaluar order; the results ofen unmusical | keto think of ve example as a “set of notes" that can be used to create ember that any theoretical explanation of music is based on what was hoard frst. Not the other way around. When you Iisten to ‘blues listen for motives and phrases that use notes from tis “scale.exercise3 Blues seal le ‘exerci (@This exercise wit familarize you with what I cal “blues phrasing positon’. Thats the position that your hands aren above the key board and the fingerings that provide the most strength for exo 9 music in this style ‘@Piay the exercise withthe metronome on 284 ‘@Piay with both hands together or hands separate. (@7ry f0 use the suggested fingering this is uncomfortable for you it isokay to use your own. Ihave found tha the fingering works well with most students ranspose the exercise to FB, G and al keys eventually ‘evake sure that you play witha “shuttle fel ‘@7’e fingering will not be the same as you move through aferent eye, 50 you may asjst it accordingly PEI (@7ry changing the tempo or playing along with a recording in the ‘einen you pay along with a recording try to approximate the fel of the band you are istening te, Try to biend in. 3exercised ~~ blues scale motives u @ This exercise wil familiarize you with the use of melodie motives from the blues scale. It also Incorporates some let hand synco- pation (@P lay the exercise with the metronome of 284 ke sure that you emphasize the shuttle tea (@7ry to use the suggested fingering, ‘©! only play this one twice through on the DVD, you may repeat ice hands separately if you need to. PONT (@7ry to incorporate the accents in your playing 's exercise can be performed lke an actual tune,exercise5a “erushed notes’ (@This exercise demonstrates ono way to pay grace notes in co: temporary Piano styles, ‘@Watch how | play this exercise in the OVD. (@Siide your third tinger from F 0 G in one motion Side down trom >to F with one finger inthe next measure, {©Use your thitd and fourth fingers in the tracitonal way inthe hire bar Mea (01 this tachnique is uncomfortable for you it snot necessary to use I. nave found ‘hat wil help to give you a systically authentic sound, (@7Tis technique evolved as an atts by plano players to emulate the pitch bending that singers ang other inatuments can perfor ADDITIONAL POINTS. (@This tochnique works difrenty in itlerant keys. When the to900 raphy of a certain key does not allow fr siding fom note to note use traditional grace notes. For this reason many kayboard play ers favor the key of G for Bue. exerciseSb blues tellle” — Oo Eo | (This exercise wil familiarize you with tailing in blues and rock styles, aa (Triton each minor thie fora few seconds each, (© Then piay thar in tie for a few ars each. iy nem in aterant key. (©TFi betwoen the fist and lated thc and the With and fated sev: nth TIS Ty to uso “strong” fingers at frst ike 1 and 3, 3 and 4 and $ and 5. Thon ty weaker fingers like 4 and 5, PENI ‘@Triis are a big part of creating sounds that are syistcaly aceu- {@Aiso try triting between the fh and root of a weyexerciseSe ‘blues motives with "crushed notes” cr ($226 / -* a Co @Tthis exercise gives you example of practical uso of “crushed notes and grace notes ina 12 bar blues tune, ay this exercise Ske you are performing a blues tune, (@Veranome on 284 IMPORTANT POINTS (@Pay special attention to how you execute the ‘erushed” and grace ‘otes. Try to mako them sound authentic, Se (@in te OVD | only play tho exercise onetime through. Feel free to Play it through twice each time you practice, 18exercise6a ~~ Blues technique with “Chicago style Tet hand, Key © CONE (©8308 technique exereisas ul familiarize you with the Blues, rock ‘and funk vocabulary. (@Thoy are Intended to be repelive in order to bull tho hand strength necessary to execute pirasing that is stylistically accu: rato, ‘@This is another example of a "Chicago" syle left hand part. (@F'ay the exercise with the metronome on 284 several times through (@Xake sure that you play withthe proper “shut foo (@Transpose tis exorciso to FB and G. 20 (98 careful not to stain your hands whon practicing this exercise Koop your hands relaxedA@@ane loose over the Keyboard. (you feo! your hands getting tight stop and rest fora while. ‘een you can play the fist 4 keys try the other 8.1 oftan play biues in keys ike B and C* (91 nave provided a suggested fingering again. If you use another ‘ingoring remember that the goal is to exacute phrasing wih strong fingers: (@6n the DVD | end the exercise-you should continue several times, through 2ise6b blues technique with “Chicago” style left hand, Key G hatte 5 This is another exercise intended to increase vocabulary and develop hand strength, WAYS TO PRACTICE (ePlay the exercise with the metronome on 264 several times through, ‘@Mako sure that you play with the proper “shut” fel (@Transpose to C, F, and 6 IMPORTANT POINTS ‘@Again be careful not to sain your hands. (Notice how these licks phrase tothe root ofthe Key 2 at ot 5 ‘ADDITIONAL POINTS ‘ener you get the ist 4 keys down tr the rest. ‘@v¥ake sure that you sive for accuracy and good fel. ‘@Dont rush though these blues technique oxorcises. There is ‘much more to them than just the notas.| ly: be ‘@7his is another blues technique exercise, This one incorporates the use of ‘crushed’ notes and employs a "Texas" style walking bass line NaC ‘@Aaain play the exercise with the metronome on 284 with the prop- er shut fel (@Pay several times through. Then progress through the other keys (@Piay the bass notes slightly detached, but not staccato, This will help your loft hand to emulate the sound of an acoustic bass. also helps “drive"the swing foo, fsaierae aos caus Whoo ape oO tg sari ptcNonang eranThs exercise is designed to develop your ablity to play eighth note tp ‘against a quarter note bassline (@Piay this exercise as you played the previous tee; metronome on ‘284 with a good shuttle feel, progress through the Keys, ‘@7his one may cause your right hand to get red relatively quickly emember to stay loose and to stop it you experince too much cdscomtort, % \ ett +> He ‘ePiaying music isnot about forcing some technical act. f you play what you "hear" you should be able fo execute with ease things that may have appeared to be techrically complex al one ine ‘ADDITIONAL POINTS ‘@Continue to work onal 4 Bluos technique exercises. You can com- bine thom if you wish. Try to creata a solo performance in a few ays with licks from the exercises. W they are swinging they will sound very authenticercise7 ~ blues comping with mixolydlan triads ates (@7is exercise wil introduce you to Mixolyaian viads. These triads are made up of notes from the Mialytian and Blues scales. There aro many diferent wrisds that oan be used for comping, The ‘mo that appoar inthis exorcise are widoy used in blues, rock and funk sive. ‘eStart by playing the exercise with the mettonome on 284 with a shuttle fea @ Transpose to the other keys starting with FG and B Try t0 croate your own comping pattern with these tad. Try thom in diferent inversions, 28 ‘@Within the context of Mxotydian harmony these ere two mcr ti ‘ads built onthe ith and sith ofthe chord ( Din and Emin played (over G7 harmony, Gin and Amin but over C7 harmony) CON ‘© pattern in this exercise works great for comping behind a solo oF 8 melody ona. blues shut »exercises: blues tune #7, key G ae (This exercise fs a blues tune thats made up of several devices we just covered. It wil Cemonstrate to you now these techniques can be combined, WAS ‘@Piay this exercise Ike an actual blues tune tobe performed. ‘ei to transpose Itto a fow other keys, ‘@Piay withthe metronome on 284. ‘eFemember that this tune i full of harmonic and rhythmic devices from the standard blues vocabulary. The introduction and “turn= around! ick are also standard, ‘@Transpose this to other keys as it should be part of your vecabu: lary of licks, : oN (@Make sure you play with a good shuttle feo aIn part 2 we wil cover a few ways to practice ear training. | can't ‘emphasis enough how vial itis 10 make ear training a part of your practce everytime you play music. There simply are no great musi- cians that do not possess highly developed ears. | have found that ‘mary great musicians had highly ecient practice routines. Many of them were doing ear traning and didn't even know it. | can think of ‘mary examples of people simply playing along with recordings; laarn- ing sols, voicings, melodies.chord changes, etc. They thought they ‘ware just having fun learning tunes, but they were developing the ‘Quintessential skill involved with making musi; ear training, ‘The problom that ocours in the learning process is that teachers ‘that are accomplished players often take their ears for granted. Once developed your ears will ever fall you. Students tend to focus on the ‘tangible aspects of learning music like sight reading, theory and tech- rigue. These things are analogous to tools and language, but they dont provide content. The music comes from your inner hearing. This @pplains why there are so many inspirational musicians that never studied music formally. They may not be able to read music but they sure can play Many teaching methods focus on the tangible technical things or use ear traning exercises that are out of context. The fect is ‘hal all those literate great players did study at one point. They stud- ‘ed what they were hearing with their cars. In the folowing exorcises wo will deal with one part of developing your ears the ability to recognize and play back melodic fragments or ‘motives Melodic material is made up of intervals. Recognizing nter- vals is the fst step. Even if you can instantly recognize them by ame you should be able to play them back on your instrument, Play the intervals inthe examples preceding exercise 9 and 10. Learn to ‘associate their sound with tamiiar molodios or licks. There aro a few Intervals that oceur often in the blues and rock vocabulary. The fol- lowing exercises wil help you become familar with how they sound ‘and how tey feel to play. ‘The socond hall of part 2 will expose you to more laments of [luestock vocabulary. Mixolycian thirds are great for creating Hicks. ‘You can uso thers parts of your solos or in your comping. Tho 4 koys {hat | provided work with a natural fingoring. | have heard players play these in thor koys, bul the fingering can be more challanging. Try 12 ‘memorize these licks and make them part of your styl. 33Example: Intervals within the Mixolydian scale é ft ots Here are som intervals that are diatonic tothe Mixalysian scale tis important to nave the ability to recognize the sound of these Intervals within motives. A good way te tain your ears for his king (of recognition isto start with bluas and rack motives. exercise? Understanding Intervals within the mixolydian scale Sqainiie $ Ths exore'se domonstrates how Mxoiydian motives and phrases, can be harmonized with eatin interals (©Pay the exorcise withthe metroname on 284 in time, Then play the exercise and stop on each ofthe labeled intervas. Arpegkate them and sing them with and without the piano (@These intervals are the staring point for developing your inner ‘melodie hearing, Whether you are improvising @ phrase of trying to play back a kok you heard, its the same thing~you are using your iner hearing, ‘@7ry 0 recognize ints wen you are listening to music. Stop the recording and sing what you are hearing, and check your recogriton on your instrument 35Example: Intervals within the Blues scale , apg Hore are a few interva's found within blues harmony. 26 ° exercise10 “understanding intervals within the blues scale ‘@This exorcise demonstrates how blues motives and phrases can be harmenzed with certain interval, (@Piay the exercise in time wit the metronome on 2&4, Than stop (on each labeled interval. Arpeggiate them and sing them wit and without the piano. ‘@'Those Hoke ave also standard ues Hoke that you can ad Yo your voeabuiary,exercise "Tock motives and phrases, key © ee = — le F B (Tris exercise demonstrates blues/rack motives in the context of a rock vamp. (@Piay the exorcise with the metronome on the quarter note, (© ou may play it hands soparataly at frst and then combine them, 38 IMPORTANT POINTS ‘@8e careful o properly execute the "crushed" notes, (Notice how the matives resolve to the key of C. FO Try to improvise your own motives while playing the lett hand vamp »exercise] 2a-¢ rock “call and response"H1-3, Key © Fe xe (@7Tis exercise demonstrates tussock motives in the context of a rock varnp (@Piay the exercise with the metronome on the quarter note (© You may play ithands soparatly at frst hen combine IMPORTANT POINTS, (@8¢ careful to proponty execute the “crushed notes. ‘@Niotice how the motives resalve to the key of C COE ‘erry to improvise your own motives while playing the lett hand vamp. asail 14 mat \| [| “ - | iE ahi || | ss L. ‘ " ee MI iy | fi FF oF ee Fe A | \ | ii NH 4exercisel3 Teck comping St heeeceees (This exerese is an example of straight eighth note rock comping is important to be able to play the syncopated tight hand ‘hythms against he straight eighth base lin, CaCI (©? ay tno oxorcise wih the metronome on the quart nate. Neke sure that you play with an aggressive rock fae ‘@L.cton to whore | place the accents inthe OVD. Try to get.a similar feel when you pay. CIN (@7his kind of groove is not as easy as it may seem, Try recording yoursol! and isten back to see how you are doing a(©\ou should begin to associate the sounds you're making with how (eThis exercise isa slow blues that damanstrates the position that feels in your hands. The goal isto lot to music phrase through your hands are in when playing phrases that sound ike authentic your hands. blues and rock ks: Notice now the phrases resolve to the root or the fith ofthe chor, (@Pertorm the exercise ike a slow blues tune withthe metronome on 42, (@7ry to emulate the fee that | play within the DVD or any authentic. slow bives that you know. IMPORTANT POINTS (Notice the position of your hands when playing the exercise. 43 4“This excreise demonstrates another standard blvesiock eves This descending thitds pattern is great to have in your vocabulary of ideas. COA lay the exercise with the metronome an 284 (©? ay caret attention tothe fingering You may try it hands soparatoly atts then hands together. You may by aslower tempo at fst. y playing this exercise with a straight eighth feel aso, @The note heads that are x’ are “ghost notes’ these notes are usually not fly attacked, they are implied 50exercisel6 ‘mixolydian thirds, This is another example ofthe Mixolydlan thirds lick in the key of this time Taos (ePiay the exercise withthe matroname on 284, (@7ry ns one witha straight eighth note feel ais. foe and 2(©The ie another exampie ofthe Mixolydian thirds liek in the kay of this tee WA (@P a the exercise with the metronome on 2&4 IMPORTANT POINTS (0Try this one wth a straight eighth note feel also. ce on li works better in certain Keys. C,F, Gand Bare a few. You fo experiment wit fingerings to make this workin keys and A 82Ta (@7is is another example of te Mxolydian thirds lick inthe Key of @Try this one with a suing feel also. F this time, oe (This licks good practice for straight eighth note rock and rol plana (@P ay the exercise with the metronome on 24 playing 54 55~ -mixolydian thirds, Key B= lf note =65| (@This exercise isthe Mixalyaian thirds lek in B witha walking bass WAYS TO PRACTICE ‘@P lay the exercise with the metronome on 285 Try tho other kaye with a walking bass ine Ike tis one, rN (@Try to make this one swing. This is great practice for bass ne independence % aPart 3 is designed to davelop independence between the hands. {tis important io have the abit to play syncopated rhytims in each ‘Simultaneously. The following exercises cover many styles that Jawolve 2 hand syncopation. Plano players have the added challengo ‘of making 2ctierent parts sound tke one. The “up" sie to this that ‘the posstblties become much grester. We can create Imiless inter ‘esting ideas atthe keyboard. ‘When you are working on part 3 don't be intimidated by the com ‘lexty of some ofthe exercises. Remember that itis the musical idea, ‘hat you are trying to convoy. This is far more important tho just tha ‘execution ofthe notes. hore wil aluzys be players with greater tech- ‘ical ability than you. The fst goal when performing should be to pay ‘Some music. Be musical and creative. If these exercises are too hard {or you at first play them hands separataly for a while. For a year if yu have to. Try them at slower tempos or break them down into, ‘smaller sections. ts okay to switch 1o just one hand during a pat that you find particulary dificult. Put the exercises togethersiowly, ‘When you can exacuts the notes hands togethor start to ison and {ol the groove. Avoid the instinct to speed up. Many students simply ‘rush through the notes when they have learned apiece of music. This ‘should be a warring sign that you aro missing the musical point ofthe ‘lece. You may try recording yourself and istening back. Tis should Jt you hear where you are layingtne time and if you are grooving. ‘The funk technique exercises wil provide you with a tochnical "starting point to create your own funk silo. Pay caretul attention to ‘how | execute the'ghost* notes inthe exercises. "Ghost" notes are ‘notes thal are not played firmly enough to fully speak. They can used 1ocreate a percussive fect hats vital to keyboard funk, Watch how use many "ghost" notes with the frst finger of each hand. This is ‘whore the “Funk” is. Also experiment with diferent dynamic levels _betiieen the hands and between diferent sections of the exercises. Remember there s much more depth fo paying music than execution cof the notes. Notice in these exercises that you are utlizing many of the har ‘monic ideas from parts 1 and 2. z Brcise19 “Texas shufffe"comping, key 5 y SS ges \¢ 6 = PP are 7 + ws ¥ r Cin Ty tobe auaro of where you are placing the right hand comping Make sure you are laying it right in the pocket” (07s exercise isa typioal "Texas" style shut It wil provide good practice of walking bass line and comping on the “of! beats” ‘Anotnercharacteriste is a 2-6 turnaround. (Cmin- F7) ‘11s common for keyboard players to rush this comping thus dimin ing the feel. tis also common for student piayers fo overcom Maen nsate for playing on top of the beat by artificially dragging the ‘ePiay tne exercise with tne metronome of 284, ime, ry to establish @ good swing lel between the bass notes and the @This wil also diminish tho foe. Listen to some recordings and play ‘comping. The swing eighth notes occur between the hands inthis along, try to “feel” where the *pocket" should be. style, ‘@P lay he exercise inthe different keys als.ise20a-d hand funk technique #7 ec) ks @This exercise is good practice for developing Independence between hands It also serves as techniques. AI Watch carefully how | play the exercise in the DVD. (@Piay with the metronome on 2 and 4 ry tin diferent keys and a ferent Qa for mary 2 hand funk IMPORTANT POINTS (@Ftemember that this exercise is about the distribution of the 16th notes over the keyboard wih bow hands fertake sure that you ave laying the tine right inte pocket. Co (@¥/ake sure that you are using the same fingering that | use In the DVD. This will enable you fo create your own patos and ste more easily “2 exercise21 Tank groove, Key G (This exerese Is good practice at laying down a groove TAC ‘@Piay this one with the metronome on 2 and 4 ‘Try to feo! where you are laying the sixteenth notes. Make sure nat the groove Is inthe pocket. ADDITIONAL POINTS: 'y to copy the way that | play at fis. Pay spacial attention tothe vay I “ghost” certain notes. This serves fo enhance the fe. 33exercise22a-d ~~Phand funk technique #2 (This is another 2 hand technique that can serve as a basis for your own sive Maas ‘@Play the exorcise with the metronome on 2 and 4 (@7ry this own hands separatly at fis. (ey it in oher keys, (take sure that you ate “ghosting” lft hand notes with the x note heads. COME (©7rie “k fe great fr any dominant saventh chore exercise23a-d hand funk tehnique ¥— ae This exercise ull expose you to yet anather 2 hand tachnique This one is more dticut than the previous. TN (©P ny the exercise withthe matronom an 2 and 4 (Try itn other keys. Practice hands separately at first IMPORTANT POINTS (eT one is great for minor funk grooves, CEI (@Tis one can also serve as a basis for your oun licks.exercise24 _ ~"Roois"rock & Fall piano (@7his exercise is rally a short rock and rll tune in ©. It wil expose {you to many ofthe stylste aspects of “oots" rock piano. Play he © h the metronome on the quartar note, This wll help emp the straight eighth foe 66 . ee Annut NAAN te Tons ge (0Try i hands separately at frst. you may find this one the most challenging yet ee ‘@Try to maintain the feel once you can pul it together. It is okay to sacrifice few notes to maintain the integnty ofthe fee! This style should be driving and rockin 7exercise25 ~~ Latin comping "Montuno™ Pprepreaiiiittiiiiiiis Shag * f @ This exorcise is one way to play a Latin “montuno" like pattern. A “montuno' is a comping patter in Latin styles. | included this one because iis another 2 hand groove and itis fun to pay. ‘eP tay aggressively, you need to covey the energy of the sy. WAYS TO PRACTICE ‘©Pay the exoreio with the metronome on the quarter note, CEN (Try hands separately it you need to, ‘@Playing aggressively wil also help you with the execution ofthis exercise, This is not a Bach invention or a Chopin noctume, ts ISSN ot intended to be pretty. So aig in I (@¥ake sure that you are laying the time in the pocket 68 6exercise26 junk groove 2 "Slow super Tunk™ (@This funk groove is an exercise in independence between the hands. tis intended te be challenging I also contain a few cool les: (9P ay tis one with the metronome on the quarter note. (@Siart hands separately t fist. Dot try it hands together untl you have each hand down by tl mn Don't get frustrated with this one, tis lif @26 you learn atfirst otes be careful not to start playing it too fast, rushing through the grou, 7 ‘@Remember boing able to groove is net jst learring some notes to play inthe aight dar. ‘ADDITIONAL POINTS. (Try to copy how | “ghost the left hand notes, this isan important aspect ofthe groove. Whan you gat the notes under your hands rake sure that you lay itright nthe pocket 7Part 4 Is an introduction to jazz guide fone voicings and jazz ‘comping rtythms. We will also cover some walking bass line con- struction, Guide tone voicings are made up ofthe third and seventh of a sev- ‘nth chord. These 2 notes along with the root are usually enough to define the chord. "What we wil be doing in part 4 is applying a voicing technique to «2 fourbar progression made up of "two fives". A minor seventh chord followed by a dominant soventh a fith below is called a two five, In ‘major key diatonic harmony the chord bult on the second degree is ‘ahvays a minor seventh chord. ‘The chord built on the fith is always a dominant seventh chord. ‘isthe most common cadence in jazz and many other styles of ‘music. This cadence can serve as a component or “building block for ‘many chord progressions. Since many tunes contain two fives is it Important to treat them as parts ofthe language of jazz, ‘The folowing exercises wil give you a strong beginning in your ‘uest fo master the intricacies of jazz harmony at the keyboard. The \volcings inthe exercisos are made up ofthe third, saventh and one ‘other note. the other note can be a chord tone ora tension. tis impor- tant to be able to play the voicings in elther hand. Future exercises will incorporate these voicings in to actual tunes. These volcings ork especialy well for left hand comping, ‘Syncopated comping shythms are important also. Tho exercises ‘serve fo develop your ably to internalize the time. Playing with the ‘metronome on 284 will leo help develop your swing fel. ‘A“waiking* bass lines are made up of constant quarter notes. One ‘way to construct thems to approach each new root by @ half step. i the frequency of the chord changes or "harmonic rhythm" is every 2 ‘beats this technique will work wel, ‘Once you understand the exercises harmonically move on to the other Keys. itis very important to have these voicings at your command in al 12 keys. z 2 73Example: Guide Tones and Voicings bei org on ar bed Feo 7 Ss oy ty es —— | Dene cmap | Fe Guide tone voicings are made up of he third and seventh plus @ cho tone oF tension, Voicing #1 uses te fith of the minor chord and tension 9 of the dominant chord as a common tone Voicing # 2 usas tension 9 of the minor chord and tension 13 of the dominant chord. This one sounds atte more jaz2y" due tothe se of tensions on all chords, ‘When voicing chords we try o keep the common tones between | the chords. This helps to create good “voice leading’. (the loast ‘amount of motion between chords) 74 ey) vg ee MAIN PURPOSE This 4 bar exercise will teach you how to voice seventh chords ‘hough a progression of two fives. The goal is to memorize the ‘Guide tones and tensions of the seventh chords. You should aso ‘memorize the voiings and comping rhythm, (@Piay the oxorciso wit the metronome on 286. (@Mlemorize it as quickly as you can, IMPORTANT POINTS (@Ftememiber thatthe goa isto make this part of your voicing vocab- lary 2nd to incroase your mastery of the keyboard, CoE (@¥ake sure that you feel the swing and work towards internalizing the tne. 75exercise28a-d ‘uide fone voicinge(I-V progression with Tension 9 &15, Kay F) (This exercise isthe 4 bar example inthe Key of F This time ten: son 9 is used on the minor chord and kopt as a common tone on the dominant(Tension 13). The tythmic variation Ison the ‘and of beat 6 ‘@Play tne exercise with the metronome on 284. ‘@Nomorze it as quickly as you ean, TI (@¥ock towards internakzing the tie tel. 7% exercise29a-d ‘ide tore voilngaIFV progression wih TenaTon 8, Rey GY Cen Fr Bent €7 Ania? D7 “Gmai (err da le Messe a a == | eee Ee Beet EY Ant? D1 Gna? b= ppg DSR is cares rerrrary SK eos Hao LPs s: his exercise is the 4 bar example inthe kay of G. This voicing ‘again uses the fith onthe minor chord kept as a common tone on the dominani(Tersion o) TO ‘@Piay the exercise with the metronome on 284, Memorize, IMPORTANT POINTS. ty to wsvalize the keyboard in yout head. You should be able 10 ‘un through an exercise tke this in your head without tho Koy. board. Try it when you start to gain command ofthe exercise. ‘ADDITIONAL POINTS ‘@7ry 1 play the chords in exercise 296 with your lft hand alone in the same octave. Try tis withthe other exercises,exercise30a-d ‘uid fone voicings(I-V progression with Tension SATS, key By] Gcttigts ei ew | Emr Ar DmnrGr | Crier Fini? SS | b:Rhythmie variation (@This exoreso isthe 4 bar example in the ky of B. Tho tension ‘combination in 9 on the minor chore and 13.0 the dominant ICs ‘@Play the exercise with the metronome on 2&4. Memorize Ie ‘@vsnen you have memorized this exercise and the previous 3 begin to transpose it to othor keys. Play both voicing positions in a keys, (Try going through the keys in this order C, FB, ©, AV, ot. (The starting chord of each new key will be an augmented fourth away from the one chord of the new key. For exampie: inthe key Of B the starting chord wil be Fminor 7, an augmented fourtn up from 8. The progression will be Frin7/B7-Emin7/A7 Cimin7iF*7-Bmaj7. 3 sets of two fives resolving down bywhale stop. (@D0nt worry about anharmanic spalings, ust get the chords under your fingers 78 exercise31a ex27b with “walking” bass This exercise wil introduce you to one method for constructing “walking” bass ines, ‘@Pay the exerese with the metronome on 284. ‘@start withthe bass ine alone at fist, then add the right hand tis ‘okay to vary tho bass ling, you dont have to play it exacty the same way each time, CI ‘@Aoproach each new rotor ‘target note" by a hall step from above. or below (@Donit try to play along exacty wth me in the DVD, ty to create your own based on wat! play, (@Remembor that a “walking” bass lina at this tempos made up of constant quarter notes. n the DVD | add some oxnamental eighth nates. | included afew in the booklet, coe ‘@7ry to make the exorcise swing, be aware of where you are plac: ing the tim, 7exercise31b ‘ex.28b with “walking” bass ‘MAIN PURPOSE This is another example of playing a "walking" bass line against a ‘syncapated comping rythm, (@PIay the exercise wih tha matroname on 284. (@tart with te lett an! frst. Aad the ght Nand when you are com- fortablewity the left Mie (@Ge careful not to rush ts one. ‘@You may slightly accant beats 284 in you left hand. This will help emphasis the swing fee. 80 €x.29b with “walking” bass eminent: eats e—e are CONE @7This exorcise is the "waking'bass oxampla inthe key of G CGI lay the exerciso witn the metronome on 284 (@Siart with the loft hand. Add the right when you are comfortable with the lt IMPORTANT POINTS. ‘@/gain bo caretul to emphasis the swing feel CEN (try ctterent touches inthe right hand, Staccato, long short, short long etc aaking” bass gh at Ta a t= 60 ape Drwt Gr | Gna? Fr CON ‘@TThis oxerciso fe tho examplo in tho koy of B Ts {@P lay the exorcise withthe metronome on 284. “@Start wih tho loft hand then add the right. ia (@Tanspose this and the previous 3 exercises to all 12 keys. CI {@7ry combining the shyt variations in the same exercise, Then Create your on comping rhythms against the bass line. 2 ABOUT EACH DEMONSTRATION demonstration 1 Blues Styles (Texas She, chicago Shute, Boogie Woogie, New Orleans Rum) ‘This performance demonstrates saveral “buss” plano styles. | begin witha "Texas" style shutle in the key of G. Ths style is ced by the playing of Floyd Dixon | switch gears a litle into a *Chicago" style shuttle inuenced by (8s Spann also in 6 | then move to a Boogie Woogie "roots rock and rol syle inf enced by Professor Longhair inthe key of E his segues to a New Orleans Pumba style also influenced by Professor Long hain F. It's Important to point out tat the my intention with these per formances is simply to expose you to the diferencas in the fee, ‘groove and technique ofthese essential piano sts. Listen to great influential players like the above mentioned and, Johnnie Johnson, Pinetop Perkins, James Booker, Dr. John, ote ‘Leam some oftheir performances, ry to copy every nuance and sub- ‘ity of the feel. Understand that It more about expression and feel ‘han technique demonstrat Rock Styles (American rock, “Roots” Rock & Roll) In this performance | demonstrate several “caesc ock” plano styles | boain wit a groove influenced by Elton John inthe key of G This moves into a more acto groove aise infuenced by Elon, (Other inuences | draw trom are Chuck Lavell, Billy Powel, Stove ‘Winwood, etc. Tis groove gets explored a bitin part 2 as tis a great ‘vehicle for rock improvisation on piano, | conclude the performance with a "toot rock and rll example in the key of This sin he style of Jerry Lee Lewis and Lite Richard | fee! that it very important to learn by ear a fow performances by those 2 players. Adc Johnnie Johnson to that ist aso. This performance is a iti diferent than exerese 24, bu ithas the 83demonstration 3 aoe SS ere oo, Neuen mettnoalenaaere Mears yatarnaeta ae es ie cieten iosird anaes rt demonstration 4 Jaze Changes (Comping ahd improvieation) In his demonetration | play some standard chord changes nF My Intention is 10 exposa you to some diferent chord volcings andl jazz ‘sings. | play some left hand voicings during the improvisation that are based onthe vocings in part 4, Notice that itis very important to mas- tar the exercises in part 4 Playing a progression with chromatic two fives lke this one requires an inimate knowledge of seventh chords and tonsion com binatins. Chromatic two fives are a sequence of minor seventh chords followed by dominant seventh chords dasconding in half taps. Two tives are an important component of jazz harmony. demonstration 5 “dust Funky” composed by Tomo Fujita "nope you enjoyed working with me.I believe strongly in the con cepts in this DVD. hope that you continue the exercises that | spec: ed for al Keys. Take your time and listen to great players constant: |y Learn great performances by ear. Start with simple ones and work your way up. Try to hava @ "tune of the week’ that you chip away at. Don't be overly concerned with now you compare with ather players Remember thatthe goals to make music. Music doesnt exist at only one level of technical proficiency. You can express yourself at any level ‘You wil begin to hear the harmonic and technical concepts in tis DVD in other recordings. I tried to tind some common threads that capture the essonce of styles, When you listan to great blues players you will hear Molin this and blues technique. When you listen ‘9 rock you will ear rock motves and rock comping, whan you listen to funk ist for funk tachnique and Mixolydian triads. In jazz per Jormances you should hear guide tone voicings, especially in lft hand comping, Remember thatthe exercises inthis OVD are just the beginning, always be true fo your own syle, Remember that the goal is beyond the notes, te music is greater than the technical task your hands are performing, Ifthe process isnt fun you probably arent listening 10 ‘enough great music. Got inspired again and have fun with i! If you would tke to continue studios with me please feel free 10 vst my wed ste. |/am available for correspondence lessons by mail or in person in Boston Plaase visit my wob sta for information on my othr books, Keep on Groovin 85Dave Limina has been a facuty momber at Berklee Collge ot Music since 1993 and has been an Assstant profassor since 1999, During that ime ne has been a consistenty sought ater teacher for private piano studies. A Berklee, Dave has maintainad a ful sched tle of classes and private lessons, hai always one of he frst teach 78 10 “il up" due to studant requests Dave has designed one of Berklees) most popular abs for key- board players-Roots/Rock. tis an in depth study of American prow Isational plano styles such as: blues, New Orleans, boogie woogie and gospel. He has developed @ vast curriculum for this course and wil soon release much oft in book form. Since fst offered in 1904, this course has grown in popularity and hundreds of students have boon exposed to “Rools style through study wih Dave. Dave designed the curriculum for Berlees fst Hammond organ ‘course, ‘Hammond Organ Techriques’. He began teacting the lass 1 prototype. He donated the use of his own Hammond to get the program going. Student response was overwholming and there are ow many sections ofthe techniques cass as well asa rock styles for ‘Hammond organ" cours that Dave ao teaches. The courses expos € students to BS history and playing techniques in a varity of styles. Dave has taught hundreds of students at Berklee, leading tham ‘through the study of jazz, blues, rock and pop style. He also offers a ‘great amount of classical experience to students. ‘Also Dave has performed all over the worldin a variety of musical ‘uations, and nas many recording and jingle credis ince appear- ances with Mighty Sam McClain, Michele Willson, 8.8. King, Chuck Berry, The Coasters, Courage Brothers, Brooke Benton, Paula Cole, ‘Warren Hl, Stove Forbert, Martha Reaves, Duke Robilard, Bartance ‘Whifield, Tracy Nelson, Grammy award winning songwriters Gary Nicholson and FL. Kass, and a iong stnt as the conductor and the koyboae player forthe national cast of the Tony Award and Pulitzer Prize Winning Musical RENT Special Thanks | would tke to thank most ofall my Father God for providing me ‘ith all hat is good and the challenges | learn from inthis ite | would also lke to thank the folowing people who made this DVD possibe: ‘Sam Kawa ome Fujita Hiroshi Noguchi Chiaki Matsumoto Larry Finn and Anthony vit for the killer groove, My family Paul Schinelling for the opportunity to teach at Berkion. Michelle Wilson for the opportunity 1 play great musie with great All my students for your support. And last but not least my wile Amy Beth for playing ll the Classic Elton stuff for me This OVD is dodicated to tho memory of my father Anthony M.Limina. 87