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Toggle navigation. Here is B. King's "Blue Shadows" on YouTube. Born in a sharecroppers' shack out in the country between two small Mississippi towns Itta Bena and Indianola , B. King said that he plowed fields behind a mule six days a week for so many years in his youth that he could've plowed a furrow around the world.
But it was a guitar, not a plow, that was to take B. He started recording singles in , and somewhere between and - the date is unclear - he recorded "Rock Me Baby" for Kent Records.
When it was finally released in , it became B. King's first Top 40 hit. Finally white America knew what black music fans had known for years - that Riley "Blues Boy" King was simply the best at singing and playing real, authentic, Saturday-night juke-joint Blues. The rhythm track of "Rock Me Baby" is anchored by a mid-register blues piano riff in 6th's underpinned by growly open fifths in the bass.
Only when B. When the vocal re-enters, the piano reverts back to that classic, growling mid-register riff that began the song. The piano track behind B. It works as a blues riff, and it works as a rock riff. The pianist whose name has been lost to time laid down a riff as original as the singer whose voice it supports.
Enjoy learning and playing one of B. King's - and the Blues' - greatest piano parts. To listen, just click: B. King - "Rock Me Baby". Some of B. King's early works, from the 's and 's, had the best piano parts of any of his recordings.
Elegantly simple in conceptualization and beautifully executed, this piano part is a model of how old-style blues was played before becoming overly commercialized in recent decades - not too many notes, but every one perfectly placed. The two contrasting sections compliment each other perfectly. In the A Section the rhythm pattern of the 4-note chords in the Right Hand is a textbook study in how to keep the forward momentum going without getting too busy, and uses classic blues voicings.
The B Section never even uses chords, opting instead for tinkly thirds and using a higher register of the keyboard. This is a perfect piece for anyone who wants to learn how to distill a blues piano part down to its essence, perfect for learning the original rhythms and voicings of that wonderful early blues style. It fits perfectly into the rhythm section, yet is also completely satisfying to play as a piano solo.
This is an exact note-for-note transcription of the piano part for the entire song - all 72 measures. Play along with B. King using the exact same notes that his own piano player is playing. Michael Corby, keyboardist and co-founder of The Babys, played the very distinctive and catchy piano intro , which can be a little tricky to pick out. This is a note-for-note transcription of just the brief 4-bar piano intro.
Unlike most of their other recordings, Garth Hudson did not play piano on "Caledonia Mission" - this wonderful piano track was played by John Simon , sometimes referred to as the "sixth member" of The Band for producing and playing on "Music from Big Pink", co-producing and playing on "The Band", and playing on other songs up through The Band's reunion album "Jericho". Not only is "Caledonia Mission" a lot of fun to play, but it's a wonderful study in "white funk" that incorporates:.
Right Hand fills using the Major pentatonic blues scale , not the Minor pentatonic scale we all know and love Left Hand voicings that are not just octaves, but also sixths, plus a specific 3-note "funk" chord a funky rhythm pattern divided between the two hands: a quick left hand chord then a right hand chord, followed by a quick right hand chord then a left hand chord - a Left-Right then Right-Left rhythm pattern used in the Choruses This is an exact, note-for-note transcription of every note played in the entire measure, 3-minute song , complete with the chords included above the staff.
However, when recording "The Weight" they reversed roles with Manuel on organ and Hudson on piano. Manuel's organ part wasn't used in the final mix; but Hudson's piano part became legendary, mostly for his octave fills during the choruses that are the signature licks in this classic recording - always different, never repeating exactly the same way, and perfectly reinforcing the gospel-rock flavor of the song.
This is a note-for-note transcription of the entire piano part, not just the main riffs, from beginning to end. This includes the hard-to-hear Left Hand part during the Verses and the chordal voicings in the Left Hand during the Choruses.
The entire song - 82 measures - is mapped out in a beautifully laid-out score showing those bars. Not only is "The Weight" great fun to play, but practicing Garth Hudson's octave fills will also improve your octave technique. If you'd like to play "The Weight" exactly as Garth Hudson recorded it 50 years ago, this is just what you need. This is a note-for-note transcription of the piano part, exactly as played on Windham Hills' "Piano Sampler II" album.
Using a traditional two and a half minute pop song structure, Wilson creatively chose chords that are rarely picked out correctly - especially those in the Choruses and the Out section. It is a wonderful example of 'deceptively simple', i.
These are not only Brian Wilson's original chords but also the correct chord voicings. When I played keyboards for The Beach Boys, they themselves showed me the correct keyboard parts that they wanted performed. This is the original Beach Boys' piano part - the only completely accurate transcription available - all 71 measures of the song. The Left Hand usually is playing the bass line, so this chart includes much of the exact bass guitar part also.
And you may well learn a new chord progression or two from it - it, like many of Brian WIlson's compositions, contains some really creative chord progressions. If you've been wanting to play "California Girls" exactly as it was performed by The Beach Boys, here is your chance.
In a 4-CD compilation, "The Pet Sounds Sessions", was released, containing Brian Wilson's original piano solo demo of this remarkable composition. This is a note-for-note transcription of Brian Wilson's original piano demo - all of it - fifty measures total. If you ever wanted to study Brian's chords, their voicings, and play this harmonically advanced song just as Brian originally conceived it, this is your opportunity. T he "Pet Sounds" version is different from Brian's Piano Demo , in that it includes different chords and bass lines plus a completely new Instrumental Bridge, which is where the lovely string quartet comes in.
However, I've carefully transcribed every note of the "Pet Sounds" version - chords, chord voicings, bass line played by Carol Kaye , string quartet parts, etc. The only part that it does not contain is the lead vocal melody, making this a perfect piano accompaniment for a lead vocalist, or for anyone who just wants to be able to play the "Don't Talk" track on solo piano.
Students of The Beach Boys' songs will want both versions, in order to first study Brian's Piano Demo, and then compare it to the more evolved, final version that appears on "Pet Sounds". This solo piano arrangement is the full, complete "Pet Sounds" version, perfect for studying the compositional genius of Brian Wilson at his creative peak.
Amazingly, it came to Brian intact, as a complete song, in about 30 minutes. A harmonically complex song, with a lot of chords and inversions, this piano arrangement has been transcribed note-for-note directly from the original Beach Boys' recording.
It's not very difficult to play, although the four-bar Instrumental Break can be challenging to learn. The Left Hand vs Right Hand coordination can be learned pretty quickly by most keyboardists. This arrangement of the original Beach Boys' piano part played on the record by Don Randi is the only completely accurate transcription available - all 74 measures of the song - and includes the exact bass guitar part in the Left Hand played on the record by Carole Kaye.
And you may well learn a new chord or two from it - it contains some really inspired chord progressions. If you've been wanting to play "God Only Knows" exactly as it was recorded, here it is. To see a video of Rivers Cuomo of "Weezer" playing and singing this transcription, click here. Rivers is one of my students. Get more info on how you, too, can improve your keyboard and musical skills with me via Skype lessons.
There was no band or back-up singers accompanying Brian - just him singing and playing a grand piano. This is a precise, note-for-note transcription of Brian's piano part from beginning to end. If you've ever wanted to play this great classic, the most complex of all the Beach Boys hits , but just didn't know where to begin, this is your solution. Here are Brian's own chord voicings and rhythms - play them exactly as the composer himself does. This Beach Boys classic from their "Holland" album was the most fun piano part of all of their songs to play on-stage with them.
The repetitive triplets in the right hand drive the song and sometimes change chords in anticipation of the beat, such as in the two Bridges, requiring a little more coordination and sense of rhythm than may be apparent at first hearing. Another element that makes it such fun to play is the lush chord progression behind the lyrical hook, "Sail on, sail on, sailor" - extremely fat, lush chords, made so in part by the ingenious voicings that Brian Wilson used.
You'll have every note spelled out for you, just like the Beach Boys themselves used. They taught it to me. When I toured with The Beach Boys, on "Sail On, Sailor" I played their 9-foot Baldwin concert grand piano yes, they carried it from concert to concert , starting the song off with the piano triplets.
This is the original Beach Boys' piano part played on the record by Daryl Dragon, better known as the Captain in the pop duo Captain and Tennille - all 52 measures, note-for-note, beautifully laid out with chords above the staff and even tempo BPM. If you've been wanting to play "Sail On, Sailor" exactly as it was recorded, here it is. Written by John Lennon, there is some confusion as to who played the atmospheric, minor-key Electric Piano part.
There is no dispute that McCartney composed the part, but some claim that Lennon played it on the recording after learning it from Paul. In an interview Playboy magazine, December Paul has said that he himself played it.
This is a note-for-note transcription of the entire Electric Piano part. Although a fairly simple part, it is rarely played accurately. Here is your chance to play it exactly as Paul McCartney composed and played it. Issued as a single, the B-side of "Get Back", it was first released on an album in on "Hey Jude". John Lennon was the primary writer of the the song and played piano on it , one of the few Beatles' recordings to revolve around a piano riff.
Originally intended to be used in the animated film "Yellow Submarine", "Hey Bulldog" was cut from the American version but restored for the film's re-release. John's catchy piano riff starts the song; and although the part changes in the first Verse, the entire piano track continues in the lower mid-register of the piano - a lower register than is usually used in rock piano parts.
This is a note-for-note transcription of the piano part for the entire song - all 84 measures. If you'd like to play "Hey Bulldog" exactly as John Lennon recorded it, this is your opportunity. Paul McCartney said, "'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing It took my voice to a very odd place. Even though "Lady Madonna" is not boogie-woogie, the left hand is in broken octaves.
And during the choruses the right hand has a nice line that moves in contrary motion to the left hand - a line that is overlooked by most pianists trying to learn the piece, as are grace notes liberally sprinkled throughout the verses, along with wonderfully effective rhythmic 'bumps'. And of course the song ends with a classic honky-tonk type of figure , the perfect coda to end an outstanding piano part. I've never seen an accurate transcription of this piece before, but here is your chance to play "Lady Madonna" exactly as Paul McCartney recorded it.
One of rock's greatest classics, "Let It Be" was written by Paul McCartney alone, with no help from John Lennon, and was inspired by a dream he had about his mother , who had died when he was fourteen. He said she was the inspiration for the "Mother Mary" lyric, and that "It was great to visit with her again. I felt very blessed to have that dream. So that got me writing 'Let It Be'. McCartney played the piano on the track, using a Bluthner grand.
It is a simple, but very effective piano track. During the two instrumental Verses and subsequent Chorus after the Bridge, he expands the three-note triad voicings in the Right Hand into larger, higher four-note chords , and adds a few more interesting rhythm patterns , before returning to the simpler triad voicing for the last two Verses and Choruses. This is a note-for-note transcription of the complete song - all 71 measures. Pepper's Lonely Hearts Club Band", contains a wonderful piano solo, performed by their classically-trained producer George Martin.
Although a fairly brief piano transcription, only nine measures, it contains a number of fun elements: honky-tonk sixths and tremolos in both sixths and thirds, and a couple of classical runs, one a fast descending 7-note scale in tenths, and the other an even faster ascending note diatonic scale that ends the solo.
It's fun to learn and play George Martin's exact notes on this Beatles classic. It was written in India by Paul McCartney, and at first was an attempt at a ska-influenced recording.
John Lennon played the piano part , although Paul overdubbed two bars of a second-piano part near the end. This is a note-for-note transcription of the piano part, not only including John's complete piano track but also the two higher-octave piano overdubs by Paul.
It's fun to play, and yet fairly simple to master. Two different recordings of "The Long and Winding Road" have been released. The first, which included a large orchestra overdubbed by Phil Spector, was recorded on January 26, and released in A different recording made five days later on January 31, , was issued on "Let It Be Naked" in , without any of the orchestral overdubs. I am providing three transcriptions: the original single, the "Naked" version, and both of those together in one score.
This is a note-for-note transcription of the piano part on the original single release - all 59 measures, the entire song. If you've had difficulty in hearing McCartney's piano part clearly through the large orchestra, this is exactly what you need to play it precisely.
This is a note-for-note transcription of the piano part on the stripped-down "Let It Be Naked" version of "The Long and Winding Road" - the entire song.
Although similar to the version, the piano part is not the same. And the two Bridges are in fact quite different. This is a note-for-note transcription of both piano parts for "The Long and Winding Road" in their entirety: the original version plus the "Let It Be Naked" version.
The score for the version is placed directly above the version, so that the same measures can be easily and quickly compared, one over the other. If you'd like to study, play, and compare both piano versions, this double-score is what you're looking for. This is not a transcription of the entire recording, but is a precise transcription of the main, repetitive 2-bar phrase. If you'd like to be certain that your chords, rhythms, bass line, and kick-drum punches are exactly right, this is what you need.
The main 2-bar phrase starts at The "12th Street Rag" was written by Euday L. Bowman in when ragtime was still the leading genre of popular music, and became one of the most famous and best-selling piano rags. Bowman had been a pianist in Kansas City bordellos, and he named "12th Street Rag" after a street in the redlight district there.
In Big Tiny Little recorded the 12th Street Rag with a small ensemble, including drums, bass and banjo. If you'd like to play the "12th Street Rag" exactly as Big Tiny Little did in , here is your chance. Bill Payne, founder of Little Feat, has been a first-call L. When he was 5 or 6 years old he began lessons with Ruth Neuman, who would guide him through a study of the classics until he was At his very first lesson he played for her the theme from "Davy Crockett", which had swept the nation because of the Disney TV shows and movies starring Fess Parker.
At his second lesson she presented him with it handwritten, as he had played it for her. She encouraged him to play by ear but taught him how to read music also. In an interview Payne discusses his history with "The Ballad of Davy Crockett" and plays a brief, second improvisation that starts simple and child-like and quickly evolves into a Left Hand-octave-laden Gospel rendition quite unlike any childhood version. If you'd like to see how a simple child's song gets transformed into a Davy-Goes-to-Church display of Gospel piano , this is a great example.
It's an excellent addition to any keyboardist's repertoire: short, sweet, well-known, effective and impressive - and fun to play! An uptempo, very dance-able song, the piano, played by Nashville session player Gary Prim, is understated but in the third Verse the piano answers the lead vocal with the best piano part in the entire song.
This is a transcription of the piano part in the third Verse, plus the bass guitar part during that section. The piano starts in the low mid-register with a Charlie Rich-style riff , and proceeds into Johnny Johnson-style thirds and tremolos , goes into honky-tonk 'yodeling' sixths , and then ends the Verse with high thirds - lots of pianistic goodies thrown into a relatively short section.
If you're studying how to construct good, effective 'answers' behind a lead vocal, and how to effectively play 3rds and 6ths both solid and broken , this is a good place to jump in.
The piano part in Verse 3 starts at The recording, produced by the great Phil Ramone, features both men playing two pianos at the same time - with Ray Charles' piano coming out of the left stereo speaker, and Billy Joel's piano in the right stereo speaker. Ray Charles suggested to Billy Joel that they record a song together, and this is the song that Joel wrote for the occasion.
It was very intelligently recorded, with each pianist careful not to step on the other's phrases until the Out Section. The Intro and the Out Section have no vocals, and really highlight this wonderful interplay between the two master pianists. Ray Charles starts it off with a couple of chords, then Billy Joel plays a phrase, which Ray answers, then Billy answers - and that interplay continues.
This transcription only contains the Intro and the Out Section, for that is where the pianistic interplay is uninterrupted by any vocals, showing off each man's skills to best advantage. And this is arranged for solo piano, based note-for-note on the original two-piano duet. Sometimes, especially in the Out Section, both men were playing some complex ad libs at the same time, impossible to reproduce with only two hands, so the most important - and fun to play - riffs were used in this arrangement.
If you want to play the two most fun sections of "Baby Grand" as a piano solo, this is exactly what you need. Here is the entire "Baby Grand" on YouTube. Most of the song focuses on the vocal duets, except for the Introduction and the Out Section. During the Intro each pianist is careful not to step on each other's phrases. That's not the case in the Out Section - each man cranks up the intensity and lays down some wonderful phrases at the same time as the other one is showing off.
This transcription is a note-for-note two-piano score that reveals every note played in both the instrumental Intro and Out Sections. One grand staff for Ray Charles' piano part, and a second grand staff for Billy Joel's piano - not a note is left out. And there are some very interesting notes indeed, including an awesome black-key glissando by Ray Charles in the Out Section, preceding the very last phrase in the piece, where Ray plays a G-chord riff in counterpoint to Billy's F-blues scale riff - and these two piano masters make it all work perfectly.
If you want to study in note-for-note detail Billy Joel's and Ray Charles' wonderful duo-piano interplay , this two-piano score of the Introduction and Out Section is exactly what you need. Here is the entire "Baby Grand" piano duet on YouTube. He began the piece with a long solo piano introduction. This is not the entire Introduction but a part of it - 10 bars at the end of the Intro, just before he starts singing. In free timing, it includes some classic Billy Joel chord voicings and a fun two-handed run.
This is a transcription of those 19 seconds - a nice Billy Joel piano moment. In Billy Joel performed "Piano Man" live on "Old Grey Whistle Test", a British TV show, and played a solo that was different from his recorded version - a little bit 'jazzier', with some nice rippling 8th-note-triplet runs and octave flourishes. This is a note-for-note transcription of two important sections of "Piano Man": the brief, unaccompanied 3-bar piano Introduction from his original recording, and the bar piano solo that he performed two years later live on "Old Grey Whistle Test".
He also performed it on the very first episode of Saturday Night Live in Starting with a very catchy - and rhythmic - piano lick, the song progresses through Choruses, a Verse and Piano Solo before fading out on the Intro piano riff. The piano differs from most other pop piano parts in the way the Left Hand is used. Instead of playing rhythmic octaves mirroring the kick drum, Preston plays a non-stop series of Left Hand 8th-note chords. So that it doesn't get boring, the Right Hand throws in just enough syncopation to keep things interesting.
And during the solo he breaks out into a very syncopated Right Hand part full of octaves, tremolos, rhythmic 'pushes', and honky-tonk voicings. This is a note-for-note transcription of the piano part for the entire recording, all the way through the very last, hardly-audible, notes. Few pianists have had the technique and rhythm of Billy Preston, who was born with perfect pitch. Here is "Nothing from Nothing" on YouTube. The month that Billy Preston turned 18, he recorded an album of Hammond organ instrumentals that raised the bar for rock organ playing from that moment on.
At that young age he was already a seasoned veteran, having accompanied gospel singers such as Mahalia Jackson, Andrae Crouch, and James Cleveland in concert at age Born with perfect pitch, Billy was self-taught but by eleven was appearing on the Nat King Cole TV show and at twelve in a movie about W.
Handy Billy played Handy at a younger age. This is a note-for-note transcription of Billy Preston's complete organ part for "Slippin' and Slidin'". Starting at the very beginning with a growling, ascending palm glissando, Billy Preston uses the song to showcase his amazing bag of B-3 tricks, including his extremely 'fat' chords, 'crushed' notes, grace notes, tremolos, his amazing glissandi, etc.
If you've ever wanted to understand Billy Preston's style and be able to start incorporating some of his techniques into your own playing, this is just what you need. Billy Preston was one of rock's true geniuses. The Beatles' asked him to play on some of their recordings, including "Get Back", "Something", and others; and he became known as "the fifth Beatle".
This is a note-for-note transcription of the nine descending piano chords that start the song. And because Preston doesn't settle on one consistent way of playing it until the third time, I've transcribed all three different versions of that riff that occur during the song. If you've ever wondered just what Billy Preston was doing in that classic riff, and wanted to be able to play it yourself, this is your opportunity.
Check out the opening piano riff. The Black Crowes formed in without a keyboard player. For their first album they hired a studio musician, Chuck Leavell, to play piano and organ. The keyboard parts came out so well that the band hired their own keyboard player, Eddie Harsch. There is a brief, bar piano solo in the song where Harsch plays some terrific rocking, rhythmic licks.
This is a note-for-note transcription of this second piano solo plus the following four measures after the vocals re-enter. In against the better judgement of the record company executives, one of the longest records ever was released, Bob Dylan's "Like a Rolling Stone" - almost 6. But it climbed to the very top of the charts, making history. And although the organist, Al Kooper, had only been invited to the session as an observer, not to play, it became one of the Hammond organ's most famous songs.
The most important musical licks in the long recording were Kooper's indispensable Hammond organ lines. Falling Slowly. Castle On The Hill. Lay Down Sally. Peaceful Easy Feeling. Can't Help Falling In Love. Stand By Me. Fire And Rain. Someone Like You. Better Together.
Free Fallin'. Listen To Her Heart. Learning To Fly. Dock Of The Bay. No I Won't Back Down. Lonesome Moonlight Waltz.
Hell Or High Water. I'm With You. Girls Like You. In My Blood. Heart To Love. Love Me Tender. Behind Blue Eyes. Riders On The Storm. Your Body Is A Wonderland. I Won't Give Up. You Can Love Yourself. Country Roads. Purple Rain. Love Hurts. Tequila Sunrise. Don't Dream It's Over. Miss The Mississippi And You. Kingston Woman. Days Of My Life. The Fools Paradise. Publisher Info Lyrics and Chords Manager support. Additional terms Lyrics and Chords Manager privacy policy Terms of transaction.
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