Smack Talk: Modern Blues Rock Composition

This is a modern blues rock composition inspired heavily by the likes of Joe Bonamassa and Gary Moore. One interesting aspect of this style is how far you can take the blues towards a heavier rock sound.

Getting Started

Diving straight into the piece, at the very top, we introduce one of the main riffs. Make sure you're prepared for it! Here are some tips:

• Get yourself in the groove while the piece is being counted off.
• Don't wait until the quaver rest before the first note. You need to be fully engaged from the count-off.

Eighth Note Triplets

Right from the beginning, familiarize yourself with eighth note triplets, as they form the backbone of the first A section.

Important Detail:

• You need to miss the very first note of each triplet group. This means starting with a quaver rest at the beginning of the triplet runs.

"This is just a small detail, but again, it can trip you up if you're not careful."

Practicing the Triplets

A way to practice this is to replace the gap with a note to train your ear on what it should sound like. Try this:

1. Count: 1, 2, 3, 4.
2. Play: 1, 2.

This gives you a feel as if there were a note there, and then you can focus on that little breath before starting the phrase.

Bar Two Challenge

Another technical difficulty begins in bar two. Upon revisiting this piece, I found this section quite challenging. Here's what to focus on:

• Eighth note triplets in octaves only for one phrase.
• Slow down to get the feel that desired. Use a bit of the sustain pedal for smoothness.

"If I didn't use the pedal, it might sound a bit choppy."

Alternative Method

If you're not comfortable with the pedaling:

• You can play the run with both hands, provided you can switch back down to the left hand for the answering figure immediately after.

C Section Piano Solo

Grace Notes

In the C section, during the piano solo, we have a few grace notes. Remember, the grace note is not the most important; focus on the main note that follows it.

"You don't want to play the grace note too slowly."

Also, ensure the grace notes don't detract from the feel of the eighth notes.

Technical Difficulties in the Solo

• Bar 23: More octaves with that swing feel, these shouldn't be a problem as they are not as fast as the triplets in bar two.
• Bar 24: Practice those trills in the right hand for speed.
• Bar 28: This line might look intimidating but fits nicely under the fingers.

D Section: Bass Solo

Volume Transition

This section features a bass solo. Transitioning between sections is crucial:

• Come down in volume quickly to allow the bass player their moment.
• Pay attention to the stabs in bar 40 and ensure they are rhythmically solid.

"Wait for beat two in the next bar before the melody starts."

E Section: Different Vibes

In the E section, expect anticipated beats and pushes, including across bar lines.

• Be cautious not to rush; a metronome can be invaluable here.
• Aim for a smooth, legato sound with sustained left-hand notes.

F Section: Drum Solo

In the F section, prepare for a drum solo:

• The rhythms are definitive and require strength.
• It's important the drummer expects them to be right on the beat.

G Section: Final Challenges

As in bar two, those octave triplets appear again, particularly at the end of the piece.

Final Notes

• Look closely at bar 63, which is often a trick point in Rock School compositions.
• Slow down and review fingerings.

Besides that, I'm sure you'll have great fun playing this piece. I know I have!

Best of luck! See you next time!