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Duke Robillards Piano Blues PDF
Duke Robillards Piano Blues PDF
Duke
Robillard’s
Piano
Blues
B Y D A V I D H A M B U R G E R
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6 6 6 6 6 6 3 3 3 6 3 6
T
7 8 8 4 4 5 5 6 3 3 3 5 6 6
A
6 7 5 5 6 6 5 5 5 4 5 6
B
7 8 5 5 5 5 5 6 6 6 4 5
b B b6/9 D b m7
ö ö .. b öö ö
E°7 E 6 Dm7 Cm7
6
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6 6 6 6 6 8 8 7 7 6 6
T
4 4 5 5 6 6 6 5 5 4 4
A
5 5 6 6 5 7 7 6 6 5 5
B
5 5 5 5 5 7 7 6 6 5 5
b
B 6 b
E 6/Cm7 b
E°7
B °7 b
B 6/9 b
B 13 b b
B 13 9 b
E 9 F13 Dm7
XX XX XX XX XX XX XX X X XX
VI 1 IV 1 V 1 2 V 1 III 1 III 1 V 1 VI 1 VI 1
2 2 3 3 4 3 4 2 3 2 2 3
3 4 4 2 4 4
3 3
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 mea-
sures 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 con-
tinuing 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 o f t h e M o n t h
S P I K Y B L U E S
C7 or C #°7 (IV7 or #IV°7) G7(I7)
KENNETH LASAINE, SEPTEM- bö ö ö
ber’s lick champ, hails from Los An- 4 bö ö bö ö ö ö #ö ö ö ä n w
geles. “In the May ’97 and Nov. ’95 &4
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issues,” Kenneth recalls, “Scott Hen-
B1/4
derson and Charlie Hunter mention 6
T
8 5
that straight diminished or symmetri- A
6 5 5
B
8 7 7 6 6 8 5
cal-diminished (whole-half) patterns 8 7
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