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Lesson time: (7min 56sec)
Paddy Milner le da más funk al groove con una articulación más marcada, más espacio en el bajo e inflexiones menores y bluesy en la armonía.
This lesson is part of the course Toca auténtico piano de Nueva Orleans
Watch this lesson for free below.
Lesson transcript:
So, get to grips with that feel.
Once you're feeling a bit more happy with it, we can look at ways of making it a bit more funky.
Instead of those long notes in the left hand, we can play kind of short notes.
This may sound a bit funny, but if you change the harmony up a little, and rather than doing all this very major sounding stuff, you can add some juicy, gospel-y, bluesy harmony to it.
By introducing some minor inflections, suddenly it takes on a different side. It sounds a lot more like New Orleans funk, you know.
All I'm doing here is changing the way I'm playing it. The rhythms are essentially the same. Forgive me if I throw in some other stuff, but the groundwork is the same.
You can hear that by changing the voicings and perhaps changing the attitude with which you're playing, while still keeping that fundamental funky rumba feel underneath, it can take it in a whole new direction.
A good way of practicing this is by tapping the rhythm.
Let's look at this feel:
You can hear there it's just one on the left, then two on the right, and then one on its own at the end, a big fat one. You could imagine that as a big snare hit.
I'm going to demonstrate that tapping and then transferring the groove to the piano:
You can see that the feel can be transferred from the raw kind of fill you practice by tapping to the instrument. You can do all kinds of slight variations on that to make it funky.
It's a really nice rhythm that lends itself to what Fess uses on Mardi Gras in New Orleans. He can also use it here, and indeed, Booker uses it through Fess's influence on lots of stuff.
That's just a simple arpeggio going up.
In context, it would be:
So leading up to the four, essentially, that's it. They're using it in a slightly different way. Just going down to that third of the chord, 4.
There are some little ways of kind of making it funky. The important thing is to remember that the feel is still stomping away underneath with those accents, whether you're playing or not.
Time still going. Time still going. You can hear just a little nod towards a real Cuban thing at the end.
Paddy Milner está reconocido como uno de los mejores pianistas de blues del mundo: actualmente es el teclista de confianza de Sir Tom Jones, tras varios años con el gran y ya desaparecido Jack Bruce, pero también es un magnífico compositor original y un cantante con personalidad propia. ¡Basta con leer los elogios de figuras como Dave Brubeck que aparecen más abajo! Su forma de tocar apareció en la banda sonora de la exitosa película de 2019 'Rocketman'. Ha ganado dos veces el premio al Mejor teclista en los British Blues Awards, y mantiene una residencia de larga trayectoria como miembro fundador de la Ronnie Scott's Blues Explosion en el mundialmente famoso club Ronnie Scott's. Su grupo actual LONDONOLA toca música británica de cosecha propia con una buena dosis de espíritu de Nueva Orleans, y su grupo colaborativo JAWBONE va de fuerza en fuerza tras la publicación de su álbum de debut homónimo. "Me encanta... hay un tipo que sabe tocar de verdad el piano" - Dave Brubeck "Lo recomiendo encarecidamente. ¡De algún modo las cosas empiezan a sentirse mucho mejor!" - Jack Bruce "El mejor pianista de blues de Europa..." - Blues Access, EE. UU. "Impresionante y original" - The Times "Deslumbrante" - The Independent A lo largo de sus cursos, Paddy desglosa el auténtico shuffle de blues, el slow blues, el boogie-woogie, el rock 'n' roll y el piano de Nueva Orleans -incluidas tres canciones clásicas de boogie-woogie- para que aprendas estos estilos de uno de los mejores del oficio. read more
