We use cookies to personalise content, serve ads, and analyse traffic.
Lesson time: (8min 46sec)
This lesson is part of the course Rockschool Piano Grade 4
Watch a preview of the full course below.
Lesson transcript:
Hey, how's it going? I'm James, and today we're looking at Funkometer, which is a grade four Rock School piece. Now, the tune's name says it all, Funkometer. It's funky!
We're playing funk music, drawing inspiration from artists such as:
Check out these guys because they are all incredible players, and the music is as funky as anything!
Funk music is a mixture of elements, including:
Syncopation is the idea of playing notes that aren't on the beat.
"The left hand in this piece is filled with these."
Let's play the left hand from bar three, and you'll see how much of that is actually syncopated.
It's amazing! You've got some stuff on the beat and some off the beat.
I feel like syncopation is leading somewhere else. Being on the beat all the time can feel square. By taking off the beat, we make it really interesting and funky.
The left hand in this piece kind of follows the same shape throughout the A section.
When we head to the B section, we switch to a very different feel.
"In a lot of funk tunes, you have this B section, which is a lot more chilled out."
This adds diversity and makes the piece more interesting. When you're playing B, it's all about:
Then, of course, when you return to the A section or the C section (which is the solo), you're really thinking about making it funky and having a good time!
The melody uses what we call the blues scale, derived from the minor pentatonic:
Adding the blue note is what gives it the blues quality. Most of the melody in this tune is based on this blues scale, especially in the A section.
"The blues is an amazing thing that has influenced music from jazz to funk to hip hop."
Knowing this scale is one of the easiest ways to become a good improviser.
In the C section, we have the piano solo. If you're doing the Rock School exams, you'll play the solo that's written on the page. However, if you're just playing for fun or with your band, I recommend trying your own solo.
For example, you can develop your solos using:
You can even alter the sound by a semitone up or down for variety.
"This sounds really horrible."
An example of this occurs in the solo in bar 26, where we have a D flat scale over C. It sounds a bit out, but when you return to the main line, it sounds fantastic!
When practicing with the blues scale, experiment with taking notes out and bringing them back in to discover what sounds good to you.
If you're playing the written-out solo, remember:
When doing the solo for Rock School exams, note that the left hand remains similar rhythmically and harmonically throughout. The one difference occurs in bar 30 where the music changes.
Instead of using one shape, you'll need to use another. This can be a little tricky, but with practice, you'll get it right, and it will sound great!
One thing to watch out for in this piece is the coda. The DS that precedes it is very short. The DS section happens at the end of the solo and takes you right back from the third page to page one, but it's only four bars until you reach the coda.
Make sure you don't mistakenly carry on reading on page three or even page one, as it's really short compared to usual.
When transitioning, your hands do basically the same shape using the same fingers. However, descending chromatically can be tricky.
"Keep it slow, keep the articulation nice and crisp, and it will sound super funky in no time."
