Q. i know that it really needs experience in playing blues. but are there any standard guidelines or rules you need to observe. one example is this blues version of the Amazing Grace(http://www.playpianotoday.com/links/b12/).
The original song revolves around G, C, Em, Am, and D. I want to know when would you know what chord extension or bass line should go ok with it.
A. The first couple minutes to this video shows Rory Gallagher playing Amazing Grace in a blues fashion with a slide on acoustic.
http://www.youtube.com/watch?v=Bf6RRASIU7A
Followed by a nice Robert Johnson tune redone and an Elvis tune.
Then there's this piano gospel/blues version.
http://www.youtube.com/watch?v=jX5htlOLeFs
I don't know how to explain the technical terms to describe what or how its done but mybe you've got enough of an ear where the videos will be all you need to give you what your looking for.
Can someone help me understand tritones on the piano?
Q. I know you use tritones or fill in chords in between the original chord progression but how do you know which tritone or fill in chord to use in that key or chord progression? And how do I play the right tritone for a passing chord or any chord for that matter?
A. if you're looking to add more passing chords between the original changes of a piece, there are lots of ways of going about it. adding a secondary dominant chord or a secondary II V are popular method.
let's say the original progression is a bar each of Cmaj7 Fmaj7 G7, for extra passing chords, one could add secondary dominant chords (Cmaj7 C7 Fmaj7 D7 G7) or secondary II V progressions (Cmaj7 Gmi7 C7 Fmaj7 Ami7 D7 G7) but the real dictating factor in what you can get away with is whether the melody works over the new chords though, one can add extensions/augmentations to chords to help the melody fit. A tritone substitution is another popular way to alter progressions. wherever there is a dominant chord a tritone substition can be made, assuming the melody can be accomodated. the most important two notes in a dominant chord (aka the V chord) are the 3rd and 7th (in G7, B and F) because they move by semitone (considered a strong resolution) to the 3rd and 1st of the Key Centre. if you use the dominant chord a tritone away, you maintain those strong semitone resolutions, except the bass movement is now also a semitone resolution. In C Major, the V chord (G7) can be substituted with Db7, because it also has F and B as it's 3rd and 7th and the Db resolving to C adds and extra bit of chromatic resolution which can be tasty in the right circumstances. The Berklee Press Makes some great books about this stuff, there is really an endless amount of ways to reharmonize in, it's an exciting topic to delve into and to hear well executed.
When making extended chords does the leading tone need to be present ?
Q. can someone give me an example of how to make a extended chord ?
A. a basic triad and 7th are what is considered a standard chord. By adding 3rds on top of the 7th we create extended voicings such as the 9th and 11th and 13th chords. Once you get to a certain extension the 7th is occasionally omitted but this is not so common. It depends a lot on which instrument you are playing. The piano can easily accommodate the full voicing of these chords but the guitar requires much more edited voicings of the extended chords and frequently the 5th and 7th are omitted.
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Title : Are there any guidelines in making a blues version of any song?
Description : Q. i know that it really needs experience in playing blues. but are there any standard guidelines or rules you need to observe. one example...