Groove

Lesson: Exploring Professor Longhair's "Mardi Gras in New Orleans"

In this lesson, we will explore Professor Longhair's "Mardi Gras in New Orleans," focusing on its unique feel and what can be done with it.

Basic Feel

• The basic feel is akin to a rumba pattern with the left hand.
• This serves as the fundamental root.
• Professor Longhair employs a two-handed groove approach, outlining chords as the basis of the groove.

The Feel in Context

• The overall feel is characterized by:
  • A distinctive groove.
  • An opportunity to incorporate a little skip, similar to what you might find in Tiptina.

Incorporating Rhythmic Variations

Now, let's discuss a rhythmic variation that John Cleary utilizes in his rendition, which is really hip.

• Instead of a straightforward rhythmic pattern, John slightly alters the rhythm while maintaining that two-handed groove.
• Both hands are not playing together in a straight fashion.

Right-Hand Technique

• In the right hand, John does not play repeated chords.
• Instead, he creates a rolling figure that bends around the E flat 69 chord, which sounds a bit like this:

(Insert sound example here)

• You can choose to play those together to lock the phrase at the end.

At Tempo

• At tempo, it sounds a bit like this:

  "Three, four..."

• This rhythm lends itself to John's version by anticipating chord four.

Key Points

• The anticipation occurs a couple of bars before, allowing you to hear it still locked within the New Orleans vibe.
• It effectively accents the upbeat at the end of the second bar.

Conclusion

This lesson offers you a little rhythmic idea for the classic New Orleans tune, "Mardi Gras in New Orleans."