Mind the Gaps: Music Lesson

Okay, so here we are with Mind the Gaps. Now, this is a really fun piece to play. I've had a lot of fun relearning it from many years ago when I actually recorded the original backing track here.

Overview of Sections

We've got a lot of different sections to get your teeth into, particularly in this piece. I find it really fun playing the B sections, B through D. This is because the rhythmical aspect is really hip and cool, and it gives you a sense of being part of the rhythm section.

Section Highlights

• D Section:

  • Contains some really nice hits where you're playing stabs with the drums.
  • From the first bar of D, for instance: 1, 2, 3, 4, 3, 4.
  • It's really good fun trying to nail those and get them really tight.

• C Section:

  • Features a nice melody line that wants to sing out.
  • For instance, here we are at letter C: 1, 2, 3, 4.
  • Loads of cool bits in this piece!

As we go through later, I'll be explaining ways in which I can help you get these things together.

Key Signature

As with any piece of music, the first thing you want to look at is the key signature. In this case, we've got two flats: B flat and E flat. This means we're in the key of B flat.

Genre Context

Here's a quick overview of the piece:

• This is a funk track in the style of bands like:
  • The Average White Band
  • Crusaders
  • Tower of Power

The genre is born from a merging of styles within African American music. During this time, jazz musicians achieved great commercial success via the popular rhythmic appeal of funk and soul genres. Groups like these used their knowledge of jazz harmony to create a more complex form of funk-soul music, branching away from traditional one-chord vamps, as you might find in James Brown's music or, more recently, Maceo Parker.

Influential Piano Players

In terms of piano players in this style, besides the bands listed above, I would definitely check out Herbie Hancock. He took this idea to a whole different level, particularly in albums like Headhunters from 1973. The figure at the end of bar 6 going into bar 7 reminds me of Herbie's version of Watermelon Man.

Playing Techniques

Just a quick note in terms of tonally: I probably wouldn't have chosen to play this on a piano, actually. If it was up to me and we had one available, I'd probably use the Fender Rhodes sound, very stylistic of music from this time. Also, Herbie plays a lot of Fender Rhodes on the Headhunters album.

Rhythmical Complexity

There's a lot of rhythmical complexity in this piece, as I mentioned in the intro.

• After the intro section at A and B, the main melody of the tune begins.
• Already in the first bar of B (bar 5), we've got some offbeat pushes tied across the bar.

Practicing Offbeat Pushes

If you're not used to playing these, be careful about where you place the notes. A good way to start practicing this is to divide the entire bar into four groups of four semiquavers. Here's how you can count through those:

• 1E and A (each semi-Coeva): 1, 2, 3, 4, 1E and A.
• In bar 5, the last hit is on the A, so 1E and A of the last group of four semiquavers.

This is just a useful way to ensure you're playing the notes in exactly the right place.

Coordination and Timing

Be very careful not to rush. When you're practicing by yourself, there's a tendency to rush when playing semiquaver pushes. Slow down with a metronome to ensure it feels right.

• Keep subdividing the bars.
• In the first section, watch for coordination between the two hands. There's a subtle detail written by the composer in the part at the end of bar 7: 1, 2, 3, 4.

Try your best to play that as it's written.

Harmony and Chords

There's a lot of typical funk-based harmony in this piece. The intro reminds me of the intro to Pick Up the Pieces by the Average White Band.

• You've got your dominant seventh sus going to dominant seventh tension and release.
• This harmonic idea continues throughout the B section, with the chords at C getting slightly more complex and a bit more jazzy, introducing minor seventh chords and major chords.

Towards the end of the C section, particularly in Bar 28, be careful of those stabs and the chord F13, sharp 5, sharp 9. It's typical of funk harmony. Always keep the sharp nine on the top of the voicing, putting it lower changes the entire sound.

Focus on Groove

The overriding element of this piece is the sense of groove. Even more so than melodic ideas, it's essential to maintain the feel.

• While practicing with the backing track, be careful not to speed up when playing those pushed rhythms.
• Start by counting and subdividing the bars, but as you progress and take the tempo back up, avoid counting through each bar, it may become rigid.

Detailed Section Analysis

In terms of sections, there are roughly six different vibes to explore:

• B Section: Make that melody sing out.
• C Section: Pay attention to the melody.
• D Section: Careful of those tight hits with the drums.

Transition to E Section

In the E section, we move into a different time signature: 12/8. This drastically changes the feeling to a triplety shuffle feel.

Preparing for the Transition

To prepare for this change, do something in the preceding bar (bar 36) to set up the new feeling. The composition helps here because the second half of that bar features a triplet rhythm:

• Maintain that triplet feel: 1, 2, 3, 2, 2, 3, 3, 4, 3.

Each of the bars in 12/8 is divided into four dotted crotchets.

Solo Section Technicalities

In the solo section, watch out for grace notes. You'll see a few dotted around in the C section, but they appear mainly in the solo.

• Be careful not to let the grace note overshadow the melody note.
• Here's the correct way to do it: 1, 2, 3, 4.
• What we don't want is: 1, 2, 3, 4.

The grace note must be a fraction before the main note, so keep that in mind.

Technical Tips for Smooth Playing

It's a good idea to slow down some of those runs. They should be nice and even. For example, at the end of bar 41 going into the run in bar 42: 1, 2, 3. They should be smooth and even.

Section F and Dynamics

Moving on to section F, we see the introduction of octaves. These can be a bit harder to make sound smooth.

• In performance, consider using a bit of the pedal to connect these notes.
• Be careful not to smudge the notes as you do this.

At the end of this section from Bar 53, the hits may catch you out if you're not prepared:

• 1, 2, 3, 4.

At the end of bar 54, we're switching back into 4/4, so prepare your mind for this straight feel.

Accompaniment Dynamics

With a bass solo happening, you need to drop down the dynamics.

• Illustrating this: 1, 2, 3, 4.
• Notice how I really drop back so the bass solo can come to the foreground.

Returning to B2 and C2 Sections

Lastly, we've got sections B2 and C2. We return to the same melody that we first heard at B. The difference here is that the left hand comping figure has changed slightly:

• 1, 2, 3, 4.

At C2, it's almost a direct repeat of what we had at letter C, moving through to the end. Pay particular attention to the penultimate bar (bar 63) because you'll be on your own.

Final Thoughts

So ensure the line in bar 63 is tight in terms of time and feel. Otherwise, you might find yourself out of sync with the backing track or band, which would be a shame not to nail that ending.

Hopefully, that covers some of the main aspects of the piece. As always, your teacher will be able to answer any questions you might have.

Enjoy playing it, it's a great, fun piece! See you for the next one.