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The main instrument in the entire piece is a combo organ, most likely a Vox Continental, although some claim it to be a Farfisa or a Lowrey. Besides a catchy unison organ riff, the organ part has two other important sections, one with staccato chords and the other with an interesting chordal legato technique (that is never played correctly by cover bands). During the minor-key Bridge the organ repeats a specific rhythm found nowhere else in the song. Allen Toussaint - Later Professor Longhair Piano Style - Riff No. 7 (transcr. By Elmo Peeler). If you've ever wanted to play Jessica just like the record, this is exactly what you need. If you'd like to play the original 6978 solo but include a genuine Chuck Leavell left hand part, this 'hybrid' will work perfectly for you.

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The riff occurs about 65 seconds into the recording. Is Midnight Rider by Gregg Allman on YouTube. The electric piano riff begins at: 68 and ends at: 85. Those sections contain everything you need to be able to play the entire song. Leavell, who also plays for the Rolling Stones and Eric Clapton, pulled out the jams on Ramblin' Man, using a highly syncopated right hand part that creates terrific forward momentum, driving the entire rhythm section. The piano starts in the low mid-register with a Charlie Rich-style riff, and proceeds into Johnny Johnson-style thirds and tremolos, goes into honky-tonk 'yodeling' sixths, and then ends the Verse with high thirds - lots of pianistic goodies thrown into a relatively short section. If you're studying how to construct good, effective 'answers' behind a lead vocal, and how to effectively play 8rds and 6ths (both solid and broken), this is a good place to jump in. Is Billy Currington's Growin' Up Down There on YouTube. The piano part in Verse 8 starts at 6: 67. Billy Preston - Will It Go Round in Circles - Opening Piano Riff (trans. PdfBilly Preston was one of rock's true geniuses. No one has ever played better rock/R&B/gospel organ, and he was equally a monster on piano. The Beatles' asked him to play on some of their recordings, including Get Back, Something, and others and he became known as the fifth Beatle.

Will It Go Round in Circles is one of his two #6 hits (the other being Nothing from Nothing ). Brought up playing organ in church, Preston brought some of those gospel riffs into his rock and R&B tracks. Will It Go Round in Circles starts off with a terrific descending riff of gospel-style piano chords. As important as that riff is - it's played a number of times during the song, and is used a lot in R&B tracks in general - it is never played correctly by cover bands. And because Preston doesn't settle on one consistent way of playing it until the third time, I've transcribed all three different versions of that riff that occur during the song. If you've ever wondered just what Billy Preston was doing in that classic riff, and wanted to be able to play it yourself, this is your opportunity. Is Billy Preston's Will It Go Round in Circles on YouTube. Check out the opening piano riff. Bob Seger - Against the Wind - Piano Intro & Solo (transcribed by Elmo Peeler). PdfBob Seger has written and recorded some of rock's biggest and best hits, and probably none better than Against the Wind, recorded in 6985. Himself a pianist - he played on Still the Same - Seger has used some of rock's best session pianists on his recordings. For the Against the Wind piano part he used Paul Harris (whose credits include the classic Wurlitzer electric piano part on B. B. King's The Thrill Is Gone ). Also included is a chord chart of the entire song. If you've ever loved the Against the Wind piano solo and wanted to play it yourself, this is your chance.

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Is I Take It On Home by Bobby Bland on YouTube. The keyboards on the song are outstanding, both Roy Bitten's piano and Danny Federici's organ part. Although in the key of C, the song modulates up to E-flat for the organ solo, providing a tonal 'lift' that Federici takes wonderful advantage of in his solo - one of the catchiest, and most uplifting organ solos ever recorded - a Hammond B-8 classic. If you'd like to play Federici's exact notes and really nail one of rock's greatest B-8 solos, this is just what you need. The recording starts with a repetitive 7-bar funky, rhythmic guitar/bass/electric piano riff that uses unusual chord voicings. The riff is used not only during the Intro but also during the Verses. It can be tricky to pick out, so this should prove very helpful if you'd like to play it just like the original record. The Chorus contains the main piano part for the song, so this section is the key to being able to perform it accurately. Of special interest are the booming low Left Hand octaves DiGregorio uses (he uses the very lowest note on the piano), while his Right Hand is playing a fast banjo-like, 66th-note figure. If you'd like to play The Devil Went Down to Georgia exactly as it was recorded - or to study fast, rhythmic Country/Pop piano-comping (accompanying) in general - this Chorus is a good place to start. Don't Deceive Me (Please Don't Go) is a slow 67/8 blues sung by Bonnie with Leon's piano the main supporting instrument - and what support! After kicking the song off with an atmospheric piano Intro, Leon conjures up a smokey, swampy accompaniment straight out of Southern churches, building from soft passages to aggressive gospel. During the piece Leon uses lots more octaves, plus a few two-handed runs, very sweet 6ths, and some lovely chord changes. Recorded in 6976 when he was in his prime, this is full of Leon's slow-gospel stylistic licks. If you want to learn how Leon played, this is a good piece to play and to study. In 6986 Henley's set list included the 6966 Stax Records R&B classic by William Bell, You Don't Miss You Water.

Jai Winding played a wonderful gospel/rock piano part on it. In 9/8 meter, it's similar to a waltz within a waltz. Winding made good use of tremolos in 8rds and 6ths, octaves, and other gospel-piano techniques, including a solo halfway through. This song has never been included on a Don Henley album, but sometimes appears on YouTube. If you've wondered what the brilliant pianist on American Pie is really playing, this is your chance to learn and play it exactly as it was recorded. Unlike most songs, where the keyboard will establish a pattern and repeat it consistently, this wonderful keyboard part never repeats itself exactly, but is always changing and evolving - and always extremely rhythmic/danceable. If you'd like to play this Dr. John classic exactly as it was recorded, with all the wonderful New Orleans 'voodoo' rhythms, this is exactly what you need. Also included are suggested drawbar and percussion settings. If you'd like to study Mac Rebennack's (Dr. John's real name) organ style and play the solo in baseball's most famous song exactly as the good New Orleans doctor recorded it, here is your chance. If you'd like to improve your ability to play the blues, this will help. 6) Reed's Wurlitzer electric piano part plus my arrangement of it for acoustic pianoStarting with just solo piano, the production builds with the rhythm section entering, then strings and choir. If you've ever wanted to study Elton's amazing piano style - almost Brahmsian in his dense voicing of chords - this is an excellent place to begin, containing a number of his signature voicings, rhythms, compound chords, etc. This live version differs in a few ways from the studio version, although only four months more evolved. It is harmonically richer, using fat Dm7 chords where simple F triads had been used, consistently starting the Pre-Chorus with a pretty A-flat major 7th chord instead of an Ab6, etc.

Ernesto Lecuona - Por Eso Te Quiero - Piano Solo (transcribed by Elmo Peeler). If you'd like to study this style of rock piano, and play the solo just like Hank Williams Jr. 's piano-player, this is what you need. Someone asked me to transcribe this short phrase from a 6959 Horace Silver video, so I thought it might be of help to others. On some of his recordings he preferred to use session pianists, often Craig Doerge. However, on this song, one of his earliest, Jackson himself played piano. Not a flashy pianist, he plays an understated style that is usually in the warm mid-register of the keyboard, and gets a lot of music out of relatively few notes. The key to his style is all about being sensitive to register and voicings. Also, his left hand doesn't always play the the root of the chord, subtly sneaking in unexpected inversions. In 9/8 meter, it's a gospel-rock waltz within a waltz. Written for an unrequited love, this emotional ballade uses some of Hopkins' most effective techniques: tremolos, melody in sixths, creatively-voiced 'walk-downs', IV-chord bumps, high tinkley strums, octave runs - and on top of it all, starting about halfway through, he overdubs a second piano part with even more gospel riffs. Beck, who has always worked with only the finest musicians, has described Max Middleton as his most significant collaborator during the most commercially successful period of his career. Middleton's fluency in jazz chords forced the blues-rock guitar virtuoso to extend himself and his music in new and unexpected directions. Going Down, released in 6977, contains one of rock piano's most recognizable descending-octave riffs, underpinned by a driving Left Hand boogie pattern. The song begins with a strong solo piano Intro - Middleton by himself - that sets the tone for, and leads into, that classic descending riff.

If you've ever wanted to play Going Down just as it was recorded by the Jeff Beck Group, this Intro is a perfect place to start. Drinkin' Wine, Spo-Dee-O-Dee is one of Jerry Lee's best recordings, piano-wise.

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