Rasta Monkey Music Lesson

Overview

So this is Rasta Monkey. This is a really fun piece to get your teeth into. There are a lot of different elements to it, all of which will help you later on throughout the grades. It presents various technical challenges but ultimately is just a really jolly good fun piece to play.

Key Signature

Before we look at anything else, a quick note about the key signature:

• We have one sharp, which means we're in G major.
• I'm sure you've been over your scales with your teacher, but just to demonstrate: that's the key throughout the entire piece.
• In this case, it doesn't change. Sometimes the key signature can change halfway through, so watch out for that. But in this case, we're okay; we're in G all the way to the end.

Influences

This piece brings to mind reggae stars, particularly:

• Bob Marley
• Jimmy Cliff
• Toots and the Maytals

This style predominantly represents the music of Jamaica, which gained worldwide success and appeal through the hits of Marley. He still remains the undisputed superstar of the genre. Although in the UK, it was Eric Clapton who brought it to wider attention with his top 10 hit of one of Marley's tunes, "I Shot the Sheriff." So there are a few key players to check out in this style.

Section A: Counting and Entry

First up, we actually have eight bars of rest. The first skill you need to work on is:

• Counting for that length of time and making sure you know exactly where you are.
• At the top, the bass and the drums are in, so you've got to be really certain of where you are at the end of those eight bars to make a nice strong entry into B.

Section B: Swung Feel

By the time we get to B, the first thing to look at is the feel:

• Instead of straight eighth notes or straight quavers, we're actually in a swung feel here.
• We have a kind of shuffle feel going on to these notes, even though the rhythm section isn't necessarily playing that behind you.

Left Hand vs. Right Hand

• The left hand plays solidly on beats two and four, this is very symptomatic of the reggae style. I like to think of the left hand as being like a rhythm guitar.
• In the right hand, we're looking at having swung eighth notes or swung quavers.

Isolating the Quavers

The first thing to do would be to isolate those quavers and practice your swing feel.

• Straight feel example:
  • 1, 2, 3, 4....
• Swung feel example:
  • 1, 2, 3, 4....

There's a distinct difference between the two feels, so keep that in mind for section B.

Syncopated Rhythms in Bar 17

Another slight challenge will be from around bar 17 onwards, when syncopated rhythms start to creep in.

• In bar 17, there are quite a lot of offbeats.
• It's a good idea to isolate this and maybe loop it, certainly slowing it down to start off with.
• As always, get the metronome out to ensure you're not pushing ahead while playing these notes.

Example Counting for Bar 17

• 1, 2, 3, 4....

This can be a good three bars to create a loop and play around with for a while.

Section C: Straight Quavers

Moving on to Section C:

• The quavers or eighth notes are now straight.
• The right hand melody is in octaves.

Articulation

There's no specific articulation, but there isn't any staccato in the left hand. We want to make this melody quite smooth and legato.

• Occasionally, I like to use a little bit of the sustain pedal.
• Be careful with the pedal; use it sparingly to avoid smudging the notes together.

Demonstration

• Without pedal:
  • 1, 2, 3, 4....
• With pedal:
  • 1, 2, 3, 4....

Your teacher can help you out with pedaling techniques if needed.

Section D: Comping and Grace Notes

In bar 33, we have eight bars of more of an accompanying role or comping.

• It's essential to lock in with the bass and the drums, focusing on beats two and four.

Grace Note in Bar 41

Now, there's a new technical element: the grace note.

• In bar 41, be careful that the grace note is not the important note. The first D natural is the most important note, which we want to play on the beat.

Incorrect vs. Correct Demonstration

• Incorrect:
  • 1, 2, 3, 4....
• Correct:
  • 1, 2, 3, 4....

Rhythm Caution

Also, watch the rhythm in the next bar on beat one, which has semiquaver triplets and a grace note on beat three.

• Take this slowly, using the metronome.

Section E: Melody with Octaves

The hardest part comes next in Section E, where you have the melody line with straight quavers that are a bit faster than the swung feel.

• This is also in octaves.
• You'll need to keep the left hand going on beats two and four.

Use of Pedal

I used quite a bit of pedal here to avoid sounding forced and staccato.

• Start slowly:
  • 1, 2, 3, 4....
• Gradually speed up:
  • 1, 2, 3, 4....

Use the pedal sparingly; otherwise, you lose the articulation in the left hand.

Final Thoughts

As you prepare to finish, you need to go back to swing quavers. Be mentally prepared to switch back to that feel.

Ending Notation

Watch the last three bars, which also feature octaves but in a swung feel. If you nailed the passage in E, you shouldn't have too much trouble with the ending.

• A nice tight ending on the last beat of the last bar makes for a satisfying finish.

Enjoy this fun piece as much as I have, and I'll see you for the next lesson!