The Dock Of The Bay, Otis Redding (Lesson)

Lesson Overview: Sitting on the Dock of the Bay

Hello, I'm Paddy, and today we're going to be talking about "Sitting on the Dock of the Bay," a great tune by Otis Redding that he co-wrote with Steve Cropper. This is a classic soul tune, a beautiful song. If you haven't heard the original, I urge you to go and listen to the original recording, which is on Stax Records, a classic soul record label that released some amazing records.

Capturing the Spirit

We're trying to recreate the spirit of the original recording in the performance of this piano arrangement. So really go and listen to Otis Redding's version and pay attention to:

• His phrasing of the vocal melodies
• The band's feel: where they accent things and the swing in the feel

Getting Started

At the start of this tune, we have a repeated groove. You can hear a percussive element doubling the percussion.

1. Lock in rhythmically with the backing track when you're playing this.
2. As soon as the count begins, the four-bar count, start moving your body or tapping your foot to really get inside the time and feel the tempo.
3. Playing in time is definitely easier said than done. So, while playing along with the backing track, notice if you're rushing or playing behind the beat.

Practice Tips

• Loop the first two bars on the player and practice until you're comfortable locking in with the percussion and the backing track as a whole.

Understanding the Feel

The tempo is fairly bright, but there's still a laid-back feel to it. The essence of the song is about sitting on the dock of the bay, watching the world go by, it's a lazy setting.

• Imagine yourself just sitting on a hazy morning watching the ships roll by and capture that spirit that Otis Redding did so well.

Arrangement Notes

As we get into the piece:

• The arrangement includes the vocal melody in the piano part, which might be different from playing in a band situation where vocals take the melody.
• Bring out that melody in the right hand while balancing it with accompanying notes in the left.

Dynamic Phrasing

• Dynamically, try to make the top note a little louder than the bottom notes. This ensures the melody sings out above the chordal texture throughout the song.
• As we reach the middle section (starting from Bar 19), the dynamics should increase, creating a lift. Then it should sink back into the final chorus.

Fingering and Voicing

Left Hand

• Use different fingers for each note and maintain control.

Right Hand

• Aim for a smooth top line. This might be tricky, so focus on bringing out the top note without overwhelming the texture with the lower notes.

Transitioning Between Sections

In Bar 11 to 12, we have different chords. Again, bring out the melody, including a suspended C chord transitioning into a C.

• Be careful not to let the left hand overpower; the strong triads can sound muddy at this register.

Emulating Otis Redding

Listen to the way Otis Redding sings this middle section and reflect that in your piano part.

Learning the Lyrics

Learning the lyrics and melody will really help you interpret them while playing.

Final Section

As you reach the last verse:

• Bring out the melody in the right hand while dropping down in dynamics leading up to the coda.
• At the end of Bar 25 (Bar 26), refer to the DS AL CODA symbol:
  • This means to go back to the sign (the squiggly symbol).
  • When you reach the coda, it's like a reprise of the previous phrase, softly echoing the earlier sections.

Ending the Piece

Hold it with a pedal if you like to finish the tune. Play this song nice and relaxed, listen to the original, lock in with the band on the backing track, and bring out the melody.

Enjoy playing this beautiful song!