Transforming the Piano into a Big Band

When Ray Charles recorded this incredible tune in 1956, he had a big band. Right now, I don't have the big band; we've just got the piano. So, we need to think of ways to make the piano become our very own big band.

Section Breakdown

Now, we can break this up into various sections. To me, I see the piano being split:

• Middle Part: This represents the rhythm. Think of it as the piano or the guitar.
• Bottom End: Of course, this is going to be the bass.
• Right Hand: This represents the horn section.

Making the Bass

We can reinforce the bass in various ways:

• Always reinforcing the root note (the number one of the chord) gives it strength.
• The bass player will always do this.
• Consider walking bass patterns, we'll get to that.

The Horn Section

The right hand needs to emulate the stabs that the big band would do. The stabs and the space in this tune act as the drums, which contribute to the rhythm.

Starting Simple

Let's start really simple and focus on the middle part of the piano here.

Picking Octaves

Let's just pick these two octaves. This is the guitar or the piano. Imagine we are just comping, playing along with a singer. This part needs to be:

• Simple
• Rhythmic
• Steady

It doesn't need to be anything fancy; just nice and steady.

Focus on the A Section

Let's take the A section and focus on my right hand. You'll have the chord chart there, so feel free to use your own ideas to add some sevenths, ninths, or other elements to make it bluesy.

But for now, focus on the rhythmic element. Here's an example of how you could play:

"Let me tell you about a girl I know."

The comping should be quite simple and repetitive. You can have space, and then stab back in with the chord.

Introducing the Walking Bass

Now, let's look at the left hand as a walking bass. Let's take the first four chords:

• G
• G over B (G in the right hand and B in the left)
• C
• D

In this context, the left hand is the bass player, which means it can only play one note at a time.

Walking through Chords

To walk that, we want to create a note on every beat of the bar:

• 1, 2, 3, 4

This means splitting the bar into four beats, and we'll play one note on each beat.

Linking Chords

You need to find a way to link those first chords:

• G to G over B: How do we transition while hitting a note on every beat?
• The left hand must move and feel like it's constantly advancing.

Notes in the Walking Bass

We want notes that work diatonically, meaning notes that work within the chord. We know what works in G, which is the major scale. The minor seventh (F natural) will fit better here.

Here's a simple walking bass line for the left hand:

• G, A, Bb, B, C, C#, D (then down to octave D).

Now, the right hand can be really sparse. It doesn't have to play all the time, just adding little bits here and there, like a guitar.

Playing with the Melody

Here it is with the melody (left hand only):

"Let me tell you about a girl I know"
"And again, she's my baby; she lives next door."

Navigating More Complex Chords

Now, let's break that down with more complicated chords. Use a numerical approach to the chords:

• Chord one
• Chord two
• Chord three
• Chord four

A good strategy for walking in the left hand is to think about moving from chord one to chord two closely, then from chord two to chord three with a jump.

For instance:

• From G to E minor 7, walk it with close notes: G, A, G, F#, E.
• From E minor 7 to A minor 7, create more distance, e.g., jumping a seventh.

Exploring Movement

Use the pattern:

• Walk from this chord to this chord, jump to the next, and then walk again. There are endless possibilities, so explore this idea!

Incorporating Horn Stabs

As mentioned, there are many stabs in this tune, which are essential for rhythm:

"That's why I know."
"Oh yes, I know, Hallelujah, I love her so."

Give that stab strength; you're the drummer here, showing authority in the tune!

Big Band Influence

Having grown up with a big band, I understand how powerful a stab can be. Each member of the band hits a note and then stops. This is classic big band style, often celebrated with a brass line leading into that stab.

Using the right hand to create that lead-up:

• Think of how we can create those horn stabs, use the blues scale as your guiding tool.

Now that you have the basis of the blues scale, practice it, and explore creating your own horn stabs. You are your own horn section, and the piano can become your big band! Enjoy playing and experimenting with these ideas!