Q TRACK Piiviee wisi ‘You should physically learn and memorize the octave intervals needed to play this example in the right. ‘hand, so that the thumb and pinky always lands the correct distance apart, This technique is great for build- ing up the energy in your Blues piano arrangements! Note that in the above example, the right-hand part for the first four measures was derived from the C blues scale, and this idea was then partly transposed and modified to create the A blues scale phrase in the second four measures, A mixture of C blues and A blues scale phrases was then used for the last four-measure phrase, ‘The last few examples have focused on the C blues progression, using the C blues and A blues scales—you should, of course, work on these techniques in as many keys as possible! Crossover or “resolving” blues licks ‘An indispensable part ofthe blues vocabulary, is the crossover or “resolving” right-hand lick (or what Dr John has referred to as “the famous lick”). [like the term “crossover,” as these descending phrases require the upper fingers of the sigh han co “cross over” the thumb on their way tothe lower notes in the phrase ‘The term “resolving” refers to the fact that these licks normally end witha half-sep resolution into the 3rd of the chord. Al ofthe following examples work over a C of C7 chord; you should, of course, learn these phrases in as many Keys as possible. Crossover lick #1 Q Ure iso fit sore ick example neseuy 4 spre sae ULURSUVEL uta Le Hoi Canna A Ar Vise ann rock 'n’ roll styles. The central feature of the lck is the descending C major triad arpeggio during beat 3. This requires the 4th and Sth (or 3d and Sth) fingers on the 3d interval E and G, followed by the 2nd finger on C, and then the thumb on G. Then on beat 4, the 2nd finger crosses over the chumb to play the F, with the Sth finger playing the C above. Finally the thumb plays the E> on the “and of 4,” which then resolves into E (the 3rd ofthe implied C or C7 chord) inthe second measure, played with either the thumb or 2nd finger Crossover lick #2 Now for a variation on this phrase in the style of Memphis, adding “chromatic third” intervals: 9 RAK To Sean? Note the descending C triad figure is again used, and the fingerings are similar. Crossover lick #3 ‘We can also add on some “Mixolydian third” imervals (with grave notes) 0 the basic crossover, to create the following lick inthe style of Big Joe Turner: Q ES SF —— =] pan Sa 3 Secon This phrase now uses the descending C triad figure during beat 4 of the fst measure. At the beginning of the second measure, I would suggest using the 2nd and 4th fingers on the third interval F and A, and then using the 2nd finger to “slide” from the E? to the E (below the 3rd finger playing the G). This then leaves the thumb free to play the C on beat 2. This fingering can then be repeated forthe remainder of the measure. Crossover lick #4 Now for a New Orleans-style variation: Q TRAKT Sean This phrase adds a few twists tothe basic crossover. Now we have a3-3 movement onthe implied C or CC chore, followed by the descending C triad arpegalo using a siteenth-noe tiple, all during Bet 1. The “resolving” part of the lckthen occurs fom best 2o eat 3, using the notes F and EP which are a bal step either side of the eventual target note of E again the 3rtof the chord). Crossover lick #5 Now a rhythmic variation on the above, with octaves: = o SS SS 1 a 51Here the repetition of the flatted 3rd (E>) inside the octaves, before moving to the 3rd (E) onthe sixteenth- note triplet, is particularly effective, I would suggest using the 2nd finger on the C at the beginning, fol Jowed by the thumb, 3rd, and Sth fingers (on the G, EP, and G), the thumb, 4th, and Sth fingers (on the A, F and A), and then back to the thumb, 3rd, and Sth fingers (on the G, E>, and G). The descending C triad arpeggio can then be played with the 4th and 2nd fingers, followed by the thumb. Crossover lick #6 <) TRACK 70 Satiove This is a variation on the above phrase, with the b3rd grace note (E>) moving to the 3rd (E) on beat 2 of the first measure, and without the octaves on beats 2 and 3, Crossover lick #7 ‘Now for a crossover lick that connects a IV chord back to a I chord (e.g., F7 to C7 on aC blues) in the style of Memphis Slim, as follows: m es oO % [SS = me === ~ Note that tis lick starts with the root and 3rd (F and A) followed by the 7th and 3rd (E> and A) of the F7 chord. Then during the last part of beat 3, we have a descending C minor triad (which can be thought of as being “built” from the Sth of the F7 chord). Then during beat 4, the root (F, Sh (C), and 3rd (A) are arpeggiated, before resolving to the C7 chord inthe next measure. In the preceding crossover ick #7, don't worry too much about counting or subdividing the 32nd notes (they go by too fast!) —just make sure the first G is on the “and of 3,” and the F is on beat 4, and play the noes inbetween as evenly as you san, Fingering-wise I would suggest using the rd an Sth fingers onthe 3rd interval Fand A, followed by the 2nd and St fingers on the (augmented) 4th interval EP and A. The descending C minor triad arpeggio can then be played wit the Sth Sd, and 2nd fingers andthe thumb, with the 2nd finger then “crossing over” to pizy the F on beat 4. Now we will combine all ofthe preceding crossover licks to create ables solo in C, a8 follows: @ anc