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Best Lay Wild Child Chords

author
Christina Perez
• Sunday, 20 December, 2020
• 97 min read

Publisher: Hal LeonardContributors to this music title:Josh Osborne (writer) Kenny Cheney (writer)Shane McNally (writer)This item includes: PDF (digital sheet music to download and print), Interactive Sheet Music (for online playback, transposition and printing) About Windchill “Digital sheet music for voice, piano or guitarist: chords, lead sheet indications and lyrics may be included (please, check the first page above before to buy this item to see what's included).

wild child lyrics song
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Contents

Over the years I've picked out precisely the keyboard parts for many classic recordings: for my own high-school cover band as a teenager, to the keyboard tracks in the hits by The Beach Boys, Ricky Nelson, and Rod Stewart, to perform onstage with them around the world. Also, The Beach Boys themselves taught me exactly the keyboard voicing that they used on their hit records, some quite ingenious.

All the piano sheet music on this page has been created by me, Elmo Peeler, a conservatory-trained professional rock pianist/arranger/conductor. Over the years I've toured the world, playing and arranging for three Hall-of-Fame rock artists: The Beach Boys, Ricky Nelson, and Rod Stewart.

As a response to colleagues and students who have asked me to teach them those keyboard parts, I've created piano sheet music (or organ sheet music for “Green Onions”, “A Whiter Shade of Pale”, “The House of the Rising Sun” and others) that is note-for-note accurate -perfect piano transcriptions. Purchase any of this piano sheet music by clicking on the ADD TO CART button just beneath each piece's description.

Since then, it has become a blues classic, recorded by many artists, from Otis Rush to Eric Clapton to Stevie Ray Vaughan. Albert King's recording, released on his “Born Under a Bad Sign” album, contains 7 verses and a wonderful piano part played by Booker T. Jones.

They changed their name to The Animals, and when “House of the Rising Sun” became a #1 transatlantic hit, the world took note of Alan Price's haunting, bluesy Vox Continental organ part that underpinned the entire song, complete with one of rock's classic organ solos. Their biggest hit was a highly creative arrangement of the old Screaming' Jay Hawkins blues classic, “I Put a Spell on You”, driven by Alan Price's organ.

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In 2009 Alicia Keys released a video performance of a two-minute version of “Empire State of Mind”, which she co-wrote, on the Deluxe edition bonus DVD with her “Element of Freedom” album. The first half of the song is a classically-influenced instrumental piano intro, building to a dramatic transition into the vocal section.

In various interviews Toussaint would play the actual 12-bar Professor Longhair piano riff that he heard and learned at the age of eight. This is a note-for-note transcription of Toussaint actually playing that influential riff during an interview by Elvis Costello on NPR's “Piano Jazz” on 8-31-2012.

This simple, basic riff will get you started into that wonderful pianist world of Toussaint and Longhair, and continued by Dr. John. New Orleans piano legend Allen Toussaint, in various interviews, would play the two Longhair riffs most important to his own development that he had heard and learned as a child.

When The Allan Brothers Band released “Jessica” in 1973, suddenly the world knew about keyboardist Chuck Leavell, who improvised a classic piano solo on the recording. That solo became so famous that Leavell picked it out from his own recording and memorized it, so that he could perfectly replicate it in The Allan Brothers' live performances.

For the piano, the Allan Brothers brought in Georgian Chuck Leavell, who since then has played with The Rolling Stones and Eric Clapton (“Unplugged”). This note-perfect piano transcription shows Leavell's solo in “Jessica” to be beautifully structured, containing a great section of over-the-bar-line type of phrasing, which leads into ascending and descending octave phrases, then into a section of “hammer-on” fourths, ending with an ascending broken-octave passage in unison with the rest of the band.

If you'd like to play the original 1973 solo but include a genuine Chuck Leavell left-hand part, this 'hybrid' will work perfectly for you. This is a transcription of just one particular 2-bar electric piano riff in Gregg Allan's own version, released in 1973 on his “Laid Back” album.

Leavell, who also plays for the Rolling Stones and Eric Clapton, pulled out the jams on “Rambling' Man”, using a highly syncopated right-hand part that creates terrific forward momentum, driving the entire rhythm section. Throwing in everything from very rhythmic chords to single-note lines to sixths to twangy country-rock fills, Leavell created one of the best piano parts in Southern rock.

“Stormy Monday”, on the legendary 1971 album by The Allan Brothers Band, “At Fillmore East”, is one of the classic recordings of this perennial 12-bar blues favorite, written in 1947 by T-Bone Walker. During these 50 seconds, Gregg Allan plays a jazzy, Jimmy Smith-influenced organ solo that takes good advantage of the Dorian mode, and throws in some fun B-3 techniques, such as holding one note while improvising around it (great way to build the tension), and repeated notes, augmented chords and seven-sharp-nine chords.

Underneath this wonderful organ solo, Berry Oakley plays some of the most creative walking-bass lines ever recorded in a 12-bar blues context. Plus, it also includes a transcription of the bass guitar line, so that the keyboardist can better understand what is going on underneath him/her in Berry Oakley's excellent part.

This should also prove very helpful to bands that are working up this version of “Stormy Monday” and want it to sound exactly right. This transcription is perfect for learning Allan's classic organ solo, and for studying his Hammond B-3 style.

The Animals were very lucky to have had a very talented band leader, Alan Price, a versatile musician who played not just rock, but jazz and show music. Not only did he create the legendary haunting, bluesy organ part on “House of the Rising Sun” but he also provided the driving instrumental force behind The Animals subsequent hits, including a re-working of Sam Cooke's “Bring It on Home to Me”.

Based on a sixteenth-century English folk song about a Soho brothel, it tells the story of a man's downfall in a New Orleans whorehouse. In 1962 The Animals were formed by Alan Price, an excellent, self-trained organist, whose instrument of choice was the Vox Continental.

However, most keyboard players simply arpeggios the chords, whereas Price's right-hand part was more rhythmic and creative than just simple arpeggios. If you want to play “The House of the Rising Sun” exactly as Alan Price recorded it in one take for The Animals, this is just what you need.

“Domain” is a wonderful 6:12-long classic, reminiscent of “We Are the World,” the 1985 charity single by the USA for Africa. The pianist chosen for the project was Eros Cristian, who plays with beautiful sensitivity and warmth, and an excellent sense of dynamics.

Asleep at the Wheel is an Austin, TX-based band that specializes in country/Western-swing, of which “Boot Scooting' Boogie” is a good example. Later in the song the piano throws in another fun riff, which incorporates yet more 'flips', thirds, and a blurring of Major/minor tonality by the use of grace notes.

During the last half of the 1960s, The Association, a pop group from California, were among the most respected bands of the day, because of their excellent vocal harmony and instrumental tracks. What the public didn't know was that the backing tracks were recorded by the Wrecking Crew, Los Angeles' leading session musicians.

The keyboardist on “Never My Love” was the legendary Larry Bechtel, who had recorded the piano track on Simon & Garfunkel's “Bridge over Troubled Waters” and Johnny Rivers' “Rocking' Pneumonia”. This is a note-for-note transcription of both organ solos, containing several techniques from Larry Bechtel's bag of tricks, including double grace-notes, harmonizing the melody in thirds, 16th-note triplets, etc.

Released in 1976, the recording is built around a Wurlitzer electric piano, played by Dean Daughter, a founding member who still tours with the band. “So Into You” begins with a haunting, atmospheric 4-bar Intro played on a Wurlitzer electric piano, slightly retuned using a Lexicon Harmonizer H910.

Although it's not a difficult part to play, the Intro can be a little tricky to pick out, as it uses some unusual chord voicing. King's greatest classics and pick up some new ideas on how to structure a blues riff in general, and to use 6th's specifically, this is a great opportunity.

Born in a sharecroppers' shack out in the country between two small Mississippi towns (IATA Ben and Indiana), B.B. The rhythm track of “Rock Me Baby” is anchored by a mid-register blues piano riff in 6th's underpinned by growl open fifths in the bass.

When the vocal re-enters, the piano reverts to that classic, growling mid-register riff that began the song. 'S original Kent Records “Rock Me Baby” (he re-recorded it years later) is one of Blues' greatest piano parts.

It fits perfectly into the rhythm section, yet is also completely satisfying to play as a piano solo. Michael Colby, keyboardist and co-founder of The Babies, played the very distinctive and catchy piano intro, which can be a little tricky to pick out.

This is an exact, note-for-note transcription of every note played in the entire 44-measure, 3-minute song, complete with the chords included above the staff. Fifty years ago this month, in July 1968, The Band released their first album, Music from Big Pink.

“Pet Sounds” is one of rock's truly classic albums, and includes some very advanced recordings by Brian Wilson at the peak of his genius. “Don't Talk (Put Your Head on My Shoulder)” is one of Brian's most beautiful compositions, and contains some complex chord progressions which can be quite difficult to figure out.

“Don't Talk” is harmonically one of Brian Wilson's more advanced compositions, using some very sophisticated chord progressions found in no other pop/rock music. This solo piano arrangement is the full, complete “Pet Sounds” version, perfect for studying the compositional genius of Brian Wilson at his creative peak.

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. When I toured with The Beach Boys, I played synthesizers on “God Only Knows”, including beginning the song with the French Horn part.

In 1976 Brian Wilson performed “Good Vibrations” on Saturday Night Live as a piano/vocal solo. 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.

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.

If you'd like to play “Hey Bulldog” exactly as John Lennon recorded it, this is your opportunity. And although it's not exactly in the Fats Domino style, it has indeed turned out to be one of the great piano parts in rock history.

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. McCartney uses several pianist devices very effectively in this track, including grace notes in the Left Hand, contributing to its church/gospel feel, and a classic “walk-down” at the end of every Verse.

During the two instrumental Verses and subsequent Chorus after the Bridge, he expands the three-note triad voicing 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. 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 12-note diatonic scale that ends the solo. It's fun to learn and play George Martin's exact notes on this Beatles classic.

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. Big Tiny Little was the honky-tonk/ragtime pianist who appeared regularly on The Lawrence Well TV show from 1955 until 1959, when he was replaced by Jo Ann Castle.

In 1979 Big Tiny Little recorded the 12th Street Rag with a small ensemble, including drums, bass and banjo. Bill Payne, founder of Little Feat, has been a first-call L.A. session player since the early 1970s, recording with artists of every genre.

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. In an interview Payne discusses his history with “The Ballad of Davy Crockett” and plays a brief, 26-second improvisation that starts simple and child -like and quickly evolves into a Left Hand-octave-laden Gospel rendition quite unlike any childhood version.

This transcription only contains the Intro and the Out Section, for that is where the pianist interplay is uninterrupted by any vocals, showing off each man's skills to best advantage. If you want to play the two most fun sections of “Baby Grand” as a piano solo, this is exactly what you need.

In November 2009 Billy Joel performed his “New York State of Mind” at the Tokyo Dome. In free timing, it includes some classic Billy Joel chord voicing and a fun two-handed run.

And during the solo he breaks out into a very syncopated Right Hand part full of octaves, tremolos, rhythmic 'pushes', and honky-tonk voicing. If you'd like to play “Nothing from Nothing” exactly as it was recorded, or study the style of one of rock/R&B's greatest keyboard talents, this is what you've been looking for.

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.

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.

For their first album they hired a studio musician, Chuck Leavell, to play piano and organ. There is a brief, 12-bar piano solo in the song where Harsh plays some terrific rocking, rhythmic licks.

The most important musical licks in the long recording were Kuiper's indispensable Hammond organ lines. The album mix is 6:13 long, but my transcription goes an additional nine bars, until the musicians stop playing.

Written by a Nashville-based country songwriter, Kenny O'Dell, who also wrote “Behind Closed Doors”, the song lends itself perfectly to the Bland's blues. The recording begins with a cool, bluesy piano 'flip', then goes through the first two verses before modulating up a half-step and playing another, slightly different flip.

“Green Onions” has been a favorite of mine since the age of 14, when my high school rock-and-roll band played it at every gig. The line-up was Booker T. Jones, keyboards (Hammond M3 organ), Steve Cropper on guitar, Lewis Steinberg on bass (“Duck” Dunn joined the band three years later), and Al Jackson, Jr. (now deceased) on drums.

At that point Al Jackson Jr. breaks into an uptempo drum fill and the song rhythmically kicks off with Booker T.'s organ playing the melody at over twice the tempo of the Intro. After two Choruses in G and four Verses in C, it goes into a long 31-bar Bridge with several additional modulations and lots of new chords never heard before in the song.

It includes Hammond organ draw bar/percussion registrations plus indications as to when the Leslie speaker speeds up or slows down. From its first entrance at 1:24 until 3:56 when it lays out near the end, Tom Schulz' B-3 is the main underpinning, ranging from Jimmy-Smith-goes-rock lightning-fast runs and “Phantom of the Opera”-type pipe organ chords to some of the most exuberant palm glissandi on record.

The title song is an uptempo track (145 BPM) with virtuoso guitar licks, and an equally impressive piano solo by Matt Rollings, himself one of Nashville's A-list session players. Rollings' jazzy-C&W piano solo in “Hot Wired” is so remarkable that another Nashville session great, Will Touches, took the time to learn it and post his own version onto YouTube.

This includes two note-for-note transcriptions: Matt Rollings original solo in “Hot Wired” and Will Touches' own version on YouTube. Certainly one of the most amazing piano solos ever recorded in Nashville, it's a virtuoso display of C&W-meets-jazz, with fast, 16th-note extended runs, great rhythms, and Left Hand chordal stabs propelling it forward.

Here is Brent Mason's “Hot Wired” on YouTube (Matt Rollings' solo begins around :58). In 1959 Jim Ed Brown and his sisters, Maxine and Bonnie, recorded “The Three Bells”, a song written in 1945 in France, with English lyrics added in 1948.

The track was recorded during a touring break in August 1974 and featured session pianist David Anxious on piano. Anxious left the E Street Band later in the same month that he recorded the track for “Born To Run”.

The title is drawn from a line in Alfred, Lord Tennyson's famous poem “Ulysses”: “For always roaming with a hungry heart”. The keyboards on the song are outstanding, both Roy Bitten's piano and Danny Federico's organ part.

After it's over but before Bruce Springsteen resumes singing, pianist Roy Bitten plays a solo piano Interlude. Although brief, it incorporates some nice pianist techniques to wind down from the preceding intense sax solo, setting the stage for the return of the lead vocal: octaves, cascading 16th-note arpeggiated runs, alternating 3/4 and 5/4 meter, plus rubato.

If you'd like to play this brief but important part of “Jungle land” exactly as Roy Bitten has performed it, this is just what you need. Here is this piano solo Interlude in Bruce Springsteen's “Jungle land” (Live at Nassau 12-29-1980) on YouTube.

Released in 2010, “Undo It” became Carrie Underwood's 7th biggest hit, selling 1.6 million copies in the U.S. alone. The recording starts with a repetitive 2-bar funky, rhythmic guitar/bass/electric piano riff that uses unusual chord voicing.

Tax Di Gregorio played and recorded with Charlie for 47 years, until his passing in 2011 (ironically, driving on his way to join the tour bus). Tax was born in 1944 in Massachusetts, where he taught himself to play by ear after being inspired by a Ray Charles concert.

“It Wasn't Me” is one of the very best, and has been aired in 2020 as the track on Amazon Prime's 2-hour grocery delivery service TV commercial. At first listen it sounds like Johnnie Johnson's high-register tinkling, but research indicates that it was Sonny Thompson, a very strong Chicago-based session player.

The entire recording is underpinned by a terrific boogie-woogie piano part that happens to be almost completely in thirds in the right hand, spanning the registers from below middle C to the highest octave. If you'd like to study how one of Chuck Berry's best piano tracks is constructed, and perhaps incorporate some licks into your own playing, this transcription is an excellent tutorial.

Full of tremolos, thirds, hammered 4ths, octaves, 3-against-2 triplets, and other pianist goodies, the entire track is underpinned by Johnson's wonderful boogie-woogie Left-hand part. Recorded in 2001 and released in 2002 on their “A Rush of Blood to the Head” album, “The Scientist” is perhaps Coldplay's most hauntingly-beautiful ballad.

The Left Hand in “The Scientist” does not play octaves but usually full chords and two-note intervals in voicing that can be a little tricky to pick out. If you'd like to play the haunting piano part on “The Scientist” just as Chris Martin recorded it, here is your chance to do so.

One of the greatest songs of the 20th century, 'Crazy' has been a hit for both pop and C&W artists since Willie Nelson wrote it in 1961. Artists as wide-ranging as Patsy Cline, Linda Ronstadt, Leann Rimes, Elvis Costello, Julio Iglesias and Don McLean have recorded it.

Nelson's favorite recorded version was that of Patsy Cline, who, ironically, absolutely hated the song upon first hearing it. A pianist named zzipizape has recorded and posted onto YouTube his own solo piano arrangement of 'Crazy'.

By pure coincidence seven years later they ran into each other at a convenience store in their hometown, which they were both visiting for the Christmas holidays. Five years later, in 1981, she heard the song on the radio that he'd written about their encounter, and although she had since divorced, kept quiet about it until after his death, concerned that it would disrupt Rosenberg's marriage.

On the recording Rosenberg played all the instruments except drums (Russ Tunnel) and soprano sax (Michael Becker). The piano intro starts out almost like a music box, then drops to the mid-register for the first verse, where it stays for most of the remainder.

This is a note-for-note transcription of that rocking 20-bar solo, complete with flips, crushed notes, 'yodeling' sixths and other pianist goodies. If you'd like to perform this piano solo just as recorded, this will show you exactly how to play it.

Recorded during late-night jams while touring, the band comprised rock's finest musicians: Leon Russell on piano, Jim Keller on drums, and bassist Carl Cradle. After kicking the song off with an atmospheric piano Intro, Leon conjures up a smokey, swampy accompaniment straight out of Southern churches, building from soft passages to aggressive gospel.

But somewhere along the line Leon Russell envisioned it in a 'white gospel' style, very different from either Wills or Cline's' versions. During the piece Leon uses lots more octaves, plus a few two-handed runs, very sweet 6ths, and some lovely chord changes.

He chose to use Kevin McKenzie on piano, a Nashville session player who has at times been Clinton's bandleader. Although rich and famous as The Beach Boys' drummer, Dennis never felt that his real musical 'voice' had been realized.

Starting with the forceful, attention-getting opening statement by the solo piano, continuing through the many sections with their wonderful octaves and that special 'Layla' chord, all the way to the very end when the last thing you hear is Duane Allan's high-pitched 'bird call'. If you've ever wanted to play one of rock's most amazing piano instrumentals just as it was recorded, this is your chance.

A talented pianist with a good flair for gospel/rock, Winding eventually became one of Los Angeles' most successful real estate agents. In 1986 Henley's set list included the 1961 Star Records R&B classic by William Bell, “You Don't Miss You Water”.

Winding made good use of tremolos in 3rds and 6ths, octaves, and other gospel-piano techniques, including a solo halfway through. This is a transcription of JAI Winding's entire piano part for Don Henley's live performance of “You Don't Miss Your Water”, as performed at the Bridge School Benefit on October 13, 1986, at the Shoreline Amphitheater in Mountain View, California.

However, very early in his career, in 1928 at the age of 29, Ellington wrote and recorded one of his very best compositions, “Black Beauty”, a piano solo written as a memorial to Florence Mills, one of the era's leading young entertainers who had passed away unexpectedly. “Black Beauty” is classic stride piano, showing Duke Ellington at his pianist best : broken Left-hand tenths, sparkling Right-hand voicing, great rhythms.

This is a transcription of the entire piano part, as played by Glenn Frey, including the gospel-influenced Left-hand octaves. If you'd like to play one of rock and R&B's greatest Christmas songs exactly as the Eagles recorded it, here is your chance.

A native of Massachusetts, Eli 'Paperboy' Reed moved to Clarksville, Mississippi after graduating from high school to immerse himself into the June joint culture of the Deep South. This is a note-for-note transcription of Reed's entire bluesy Wurlitzer electric piano part on “Come Back Baby”, exactly as in the video on YouTube.

Elton's piano is based around a particularly melodic riff that repeats throughout the song with many small variations. Starting with just solo piano, the production builds with the rhythm section entering, then strings and choir.

In 2016 Elton John released a new album, Wonderful Crazy Night, whose title song was written for Disneyland's 60th Anniversary. Elton uses great syncopated rhythms, excellent Right-Hand riffs thrown in between phrases, a change of keys for the Choruses (from C to E-flat), lots of fat, powerful 4-note Right-Hand chords, plus a wonderful honky-tonk-influenced solo in the middle.

The pianist on the June 21, 1977 live version in Rapid City, South Dakota is Tony Brown, the son of a preacher who frowned on pop music. If you'd like to play “I Really Don't Want To Know” with Floyd's unique slip-note style in the Intro and then with Brown's more gospel-flavored piano, you'll love learning this transcription.

This note-for-note transcription includes not only Emerson's entire piano part, but also the Synthase solo plus the Tubular Bells in the Out section. If you'd like to play Lay Down Your Guns” exactly as Keith Emerson recorded it, this is just what you need.

Starting the solo with an atmospheric two-handed double-trill in fourths, he progresses into Aeolian-mode arpeggiations, which evolve into a brief machine-gun-articulate ascending/descending minor pentatonic run, ending the section with a hands-two-octaves-apart Latin break. The third and final section begins at the lowest part of the keyboard in an ascending, alternating-hand chromatic run all the way up to the top of the keyboard (and no, it's not a straight chromatic run, but does have a definite, repetitive pattern) and ending the entire solo with an extended two-hand trill.

Stainton throws in plenty of great rock piano tricks, including 'walking sixths', hammered-on fourths, creative use of thirds, and even an ascending chromatic scale. This is a note-for-note transcription of Chris Stainton's 40-second piano solo on Lay Down Sally”, as performed live in concert in Heroin, Denmark on June 11, 2011.

“Popeye Joe” was one of the most danceable of Ernie K-Doe's hits, written by K-Doe to take advantage of a current dance craze with the same name. If you love Toussaint's piano style and want to play exactly his notes, this is your chance.

He quickly became Nashville's #1 session pianist, recording with everyone from Elvis to Roy Orbison to The Every Brothers. “Could I Have This Dance”, while not as famous as “Last Date”, illustrates his wonderful slip-note style, showing in detail exactly how every embellishment was played on the recording.

“Victory in Jesus” is a popular Protestant hymn written in 1939 by Eugene Bartlett in Tennessee. My goal in this arrangement, slightly over 4 minutes long, was to recreate the Southern “white gospel” piano sound that I grew up with in Mississippi.

This is my recreation of that early Baptist piano sound still in my head, while still keeping some elements of the Gathers' pianist, who was more bluesy than my portly Musical Director. If you enjoy gospel piano, which has so many overlapping elements of rock/pop/C&W, this arrangement should help you better understand how to play it.

Even faster than Jerry Lee's version (177 vs 161 BPM), McLean takes a high-energy 12-bar piano solo (13 including the pick-up) complete with octaves, hammered 4ths, two-handed triplets, and classic boogie riffs. If you're not sure how to create your own accompaniment to the guitar riff, a 4-bar piano part is also included that can be used as a starting point.

If you want to play “Sweet Child of Mine” in a band, or to accompany a singer, this is what you need. The exact guitar notes that open the song, all the way up to when the vocal enters, are included in the Right-hand Part.

In 1983 Hank Williams Jr. recorded it on his “Strong Stuff” album, complete with a more-rock-than country piano solo. The Nashville session pianist threw in lots of rocking goodies: hammered tritone-based power chords, octaves, thirds, very-rapid-note Billy Powell-style repeated riffs.

“Señor Blues” is a composition by Horace Silver, American jazz (hard bop) pianist, composer, and arranger. It is a 12/8 Latin piece with a dark, exotic flavor that recalls no other jazz composer as much as Duke Ellington.

The first two chords are E-flat minor and B7, resembling (whether consciously intended or not) one of Ellington's favorite harmonic gestures. Someone asked me to transcribe this short phrase from a 1959 Horace Silver video, so I thought it might be of help to others.

This is a wonderful chance to study Browne's piano style and play his exact notes. Not a flashy pianist, he plays an understated style that is usually in the warm mid-register of the keyboard, and gets a lot of music out of relatively few notes.

The track is unusual in that there is no guitar, only a top-notch three-piece rhythm section: Russ Tunnel, drum; Leland Solar, bass; and Craig George on piano. If you like the piano style on Jackson Browne's recordings, you'll enjoy learning the terrific, fun licks on this rock classic.

Because Oliver really is talented and his version of “Whole Gotta Shaken' has made so many ripples, from YouTube to American Idol to Las Vegas, I've transcribed his entire Hardware Store performance. Here is Jacob Oliver (“Crazy Random Guy”) performing “Whole Gotta Shaken' Going' On” on YouTube.

Nicky Hopkins was rock's greatest session piano player, recording with The Beatles, the Who, the Kinks, Jeff Beck, Jerry Garcia, Cat Stevens, Jefferson Airplane, Joe Cocker and many others. Classically trained, Nicky always brought an elegance to his rock playing, nowhere embodied more beautifully than his own original composition, “Girl from Mill Valley”, recorded with the Jeff Beck Group in 1969.

Middleton's fluency in jazz chords forced the blues-rock guitar virtuoso to extend himself and his music in new and unexpected directions. “Going Down”, released in 1972, contains one of rock piano's most recognizable descending-octave riffs, underpinned by a driving Left-hand boogie pattern.

The piano Intro starts immediately with serious right-hand tremolos and sets the stage for classic Jerry Lee comping and soloing throughout the song. The 19-bar solo starts with a series of tremolos that lead into a virtuosic ascending/descending scale/arpeggio run ending with an ascending/descending glissando.

Listen to the YouTube link below and notice that the tremolos for the most part aren't the plain & simple variety but are more elaborate and 'fancied'. This version had a different arrangement than the previous two (1958 & 1961), and was released on his “Sings the Country Music Hall of Fame Hits, Vol.

Before the year was over, young Jerry Lee had his very first single released on Sun Records, his own version of Ray Price's song, “Crazy Arms”. This is a note-for-note transcription of the entire 1956 piano/vocal recording of “Crazy Arms”, complete with Jerry Lee's terrific 16-bar honky-tonk rocking' piano solo in the middle.

By late 1957, Jerry Lee Lewis had already released two singles, “Crazy Arms”, and “Whole Gotta Shaken' Going' On”. And when Jerry Lee played it live, his hands were a blur, setting a new standard for piano technique in rock music.

He had shown pianist talent at age five, and had practiced diligently when his parents bought him his own piano. This is a note-for-note transcription of the entire piano part in the original 1957 recording of “Great Balls of Fire”, including the 16-bar piano solo, complete with rolling riffs in thirds, tremolos in 6ths, boogie-woogie-type chord voicing, and lots of glissandi and repeated, pounding high 6th's.

In 1957, one year after Jerry Lee Lewis burst onto the music scene, he released his biggest hit, “Whole Gotta Shaken' Going' On”. The odd thing is that when Jerry Lee's first album was released a year later in 1958, it contained a completely different, less exciting version of “It'll Be Me”, slowed down a bit, with a less-virtuosic piano part.

Rock writer Joe Bonobo calls “Mean Woman Blues”, the opening number on the album, as “nothing short of a concert in itself”. If you've ever wondered how Jerry Lee achieves that great sound of his, from the Left-hand voicing to the Right-hand solos, this is just what you need to play “Mean Woman Blues” exactly as Jerry Lee played it Live at the Star Club in 1964.

This version contains a classic, rocking Jerry Lee piano solo, brimming over with The Killer's extraordinary pianist energy. Part of the solo sounds at first like he's just hitting rhythmic clusters of notes, but upon close listening, they can be notated.

“What's Made Milwaukee Famous” was recorded by Jerry Lee Lewis in 1969, and by Rod Stewart in 1972. His Right Hand uses almost every honky-tonk technique imaginable, from tremolos to glissandi to 'strums' to 4-note chords during the Piano Solo.

Originally recorded in 1955 by Big Maybelle (produced by Quincy Jones), Lewis's version was based on a propulsive boogie-woogie piano pattern. His second release (after “Crazy Arms”), it became an immediate hit, catapulting Jerry Lee to rock-and-roll stardom.

Jerry Lee Lewis recorded “You Win Again” in 1957 when he was 22, and released it as the B-side of “Great Balls of Fire”. At the peak of his pianist powers, he performed an excellent 16-bar piano solo that was a dialogue between his hands.

In this live TV performance Jerry Lee is in top form and shows why he was nicknamed The Killer. If you'd like to play “You Win Again” exactly as Jerry performed it, or study his amazing piano technique, this is what you need.

Born and raised in Alabama, Jimmy Hall is the lead singer, sax and harmonica player for Wet Willie. His 1996 album, Rendezvous with the Blues, included “Too Tall To Mambo”, a New Orleans-influenced uptempo track featuring Clayton Ivey on piano.

Although written by Dave Mason of Traffic, Joe Cocker's 1969 recording is the definitive version. Another octave run, this time an ascending chromatic scale, builds the solo into the piano breakdown.

An extremely talented and creative musician, Stainton at first played bass and later piano for Cocker. This is a note-for-note transcription of Chris Stainton's piano solo in “That's Your Business”, including, of course, all the fun tremolos, octaves, and grace notes.

Also included is the Bass Guitar part, played by Alan Spencer, during the piano solo. “The Letter” is one of Joe Cocker's biggest hits, and many musicians are aware that the extraordinary piano part was played by The Master of Time & Space himself, Leon Russell.

The recording is essentially just Cocker's vocal, Nicky's piano, and Webb's string section. And Nicky, who'd recorded the piano track without Cocker even present, consistently picked “You Are So Beautiful” as one of his own all-time favorite performances.

In 1984 “On the Dark Side” was propelled to the #1 spot on U.S. charts by its appearance in the movie “Eddie and The Cruisers”. Bobby Scotia, the band's pianist, suddenly found his opening riff being learned, or at least attempted, by almost every aspiring young keyboardist.

John Lennon thought that “Imagine” was as good as any song he ever wrote with The Beatles. The result is that the piano part is a bit murky, and it's difficult to hear every note with precision.

Larry Bechtel, the pianist who had won a Grammy for the piano part in “Bridge over Troubled Water”, nailed it on the first take, and gave the world one of rock's most rocking' tracks. From the New Orleans-style piano 'flips' to the honky-tonk tremolos (voiced with a Triton), to the descending thirds in the fade-out, this transcription is just what you need if you've always wanted to play “Rocking' Pneumonia” like the great Larry Bechtel, or if you just want to study how outstanding piano solos are constructed.

His band, Jon Clara & the Absolute Monster Gentlemen, won the Grammy Award in 2016 for Best Regional Roots Music Album, “Go Juice”. In “Po' Boy Blues”, released in 2016 on his “Live at Chicken Wah” album, Clara throws in a remarkable highly chromatic, ascending run, where his Left Hand reaches over his Right Hand, leading the way up the keyboard.

One of the greatest popular pianists of the 1930s and '40's was Eddy Du chin, known for his elegant style and velvet touch. As his own homage to Eddy Du chin, English pianist Jon England has recorded “I'll Take Manhattan”, which incorporates a number of Du chin's pianist techniques: rippling two-hand arpeggios, 2-octave-apart melody line, lush five-note block chords, sparkling grace notes, and others.

If you'd like to study the pop piano style of high society in the 30s and 40s generally, or Eddy Du chin in particular, this should prove very helpful. This is a note-for-note transcription of Label' wonderful 8-bar piano solo, which combines rock licks with a fluid, jazz-influenced sense of rhythm.

If you'd like to play “Rotten Row Revisited” exactly as Tools Holland recorded it, or just study a spirited 1985 version of classic boogie-woogie, this is what you need. “Feeling That Way” was originally composed by keyboardist Gregg Role as an instrumental but was shelved, rewritten a couple of times, and finally released in 1978 on Journey's Infinity album. After a 2-bar piano Intro, Role sings the first Verse, and then Steve Perry comes in for the Pre-Chorus.

Kid Rock's “Cowboy”, released in 1999 on his Devil Without a Cause album, contains a honky-tonk/saloon-style piano solo, played by Jimmie Bones, a regular band member of Twisted Brown Trucker, Kid Rock's regular backing band. Complete with tremolos and twangy fills, the piano solo is perfect for those that like sawdust on their bar-room floor.

In 1963 a Portland, Oregon band paid $50, split among themselves, to record the song, which contained a couple of errors: the singer came in early after the guitar solo, and the drummer yelled an obscenity (at :53) when he dropped a stick. There are a couple of places in the 3-chord riff that are never played exactly right, one being the rhythm in the last half of the Verse pattern.

If you'd like to play the String Orchestra parts exactly as recorded, plus the Synthase Solo, this is just what you need. 1) All synth parts from the studio recording (Strings and Synthase Solo) Here is Led Zeppelin's “All My Love” on YouTube.

2) All synth parts from the studio recording plus Strings from Live Performance and some Bass Guitar lines. My second score contains those studio synth parts plus the live-concert Synthesizing lines from the 1980 tour and key parts of Jones' very melodic Bass Guitar track (studio version), essential to recreating the song effectively in a cover band.

Before passing at age 47 he had recorded with not only The Rolling Stones but also the Yardbirds, Pete Townshend, Howling' Wolf, Led Zeppelin, and others. The opposite of flamboyant, he didn't like the spotlight and preferred being part of the rhythm section to being the star.

However, when Stu, as his band mates called him, was engineering a recording session with Led Zeppelin in 1971, he started to jam on an old, dilapidated, out-of-tune piano that “was totally unplayable,” according to Jimmy Page. Liking what he heard, Page tuned his mandolin to the piano and the band recorded an almost-4-minute jam, which was a 12-bar blues pattern repeated nine times.

This is a note-for-note transcription of a 43-second section from that recording which contains some of Lee Michael's' signature organ licks. This transcription, which includes the bass pedals, will help you to better understand this organ virtuoso's style and 'sound'.

If you'd like to play the amazing piano part in “Roll Away the Stone” exactly as Leon Russell recorded it in 1970, this is just what you need. One of the greatest rock piano players of all time, Leon Russell grew up in Oklahoma, in the heart of the Bible Belt.

Starting with the simple two-handed pecking that every school child knows, Liberace's “Chopsticks” proceeds through classical references to Franz Liszt's Hungarian Rhapsody No. 2, to Rachmaninoff's Prelude in C-sharp minor, to other Liszt, then a re-statement of the original simple Chopsticks theme before ending with a dramatic, piano concerto-like descending double-octave arpeggio.

This is a note-for-note transcription of Bill Payne's piano solo in Little Feat's “Willing” from their 1972 album “Sailing' Shoes”. In 1985 after seven years of only performing gospel music, Little Richard returned to rock and accepted a role in the movie Down and Out in Beverly Hills.

This is a note-for-note transcription of Little Richard's piano part for the entire song, as performed live on the Joan Rivers TV Show. If you've ever wanted to study Little Richard's dynamic, high-energy piano style, this is a good place to start.

By electronic processing even the normally inaudible piano part during the Sax and Guitar Solos was able to be brought out and notated. If you'd like to learn how to play the piano part in “Your Mother Don't Dance” exactly as it is on the recording, this is just what you need.

However, on the sides produced by Rod Stewart, Baldly's regular pianist, the amazing Ian Ar mitt, was used. Actually two songs in one, with no break in-between, “Don't Try To Lay No Boogie-Woogie” is preceded by “Conditional Discharge”, a very relaxed boogie-woogie solo piano accompanying Baldly telling a humorous story.

If you'd like to learn 'Long John' Baldly's “Don't Try To Lay No Boogie-Woogie on the King of Rock & Roll”, this is exactly what you need. Here is 'Long John' Baldly performing both “Conditional Discharge” and “Don't Try To Lay No Boogie-Woogie on the King of Rock & Roll” (without a break) on YouTube.

Also included in this precise note-for-note transcription is the bass guitar line that supports the wonderful, flashy piano solo. At the very end Powell plays a wonderful run just to add a cherry on top of this fun, musical sundae.

The “Call Me the Breeze” solo and end run have never been transcribed before, so take advantage of this opportunity to study exactly how it was played by one of rock's greatest pianists. In addition to their studio recording of “Call Me the Breeze,” Lanyard Skyward also released a 'Live' version on their 1976 album, “One More from the Road”.

“Free Bird” is considered Lanyard Skyward's signature song, often used in concert as their finale. The studio version does not contain a piano solo, but the 1976 live version on their “One More from the Road” album does indeed contain a terrific, classic 32-bar Billy Powell solo, full of his trademark 6th's, rippling triplets, and arpeggiated chords.

If you're a guitarist or a bass player, this transcription can help you, too, by showing you the exact notes played on the original recording. If you're a keyboard player, you'll be pleasantly surprised at how wonderful this Lanyard Skyward classic can sound on your piano or organ.

And although the solo feels wonderful, Powell sometimes plays a bit loose with the timing, not always being astronomically precise, thus making it challenging to exactly notate all the rhythmic subtleties. So this transcription does not “fade out”, but is Billy Powell's complete “Sweet Home Alabama” from the beginning to the very end.

After Billy Powell passed away, Lanyard Skyward selected Peter Keys as his successor. Key plays the piano solo in “Sweet Home Alabama” similarly to Powell's version, but with some differences.

This is a note-for-note transcription of the 16-bar piano solo that ends “Sweet Home Alabama”, as played by Peter Keys. Even if you already know or are learning Billy Powell's original solo, you'll find this version of his successor's to be interesting and helpful.

Here is Lanyard Skyward's “Sweet Home Alabama” (live) with Peter Keys on YouTube. “Tuesday's Gone” was recorded in 1973 and released on Lanyard Skyward's first album, “(pronounced 'led-'nerd 'skin-'nerd)”, produced by Al Kuiper.

Billy Powell, their classically-trained pianist who had majored in college in Music Theory, composed and played a wonderful 39-second solo that then evolves into a string-and-piano dialogue that lasts for an additional 37 seconds. Powell's solo incorporates some classical elements: a flowing, arpeggiated Left-hand part in the style of the Romantic era, and Right-hand scale runs and broken chords reminiscent of Mozart's Classical era style, along with Beethoven-style octaves in the String Section part.

Because of the flowing, supportive Left-hand part, this solo sounds great even when played alone, without a rhythm section. If you enjoy Billy Powell's piano style, you'll love learning his classic solo from “Tuesday's Gone” exactly as he played it.

“Working'” (also known as “Working' Man”) is the first track on Lanyard Skyward's tenth studio album, “Edge of Forever”, recorded in 1999. A driving, classic Southern boogie/rock song sung by Johnny Van Want, “Working'” is primarily driven by the guitars, with Powell's organ part remaining in the background, and consisting of only chords and occasional palm glissandi.

It was included on their 1976 album, “Roaring Silence”, and featured Manfred Mann playing keyboards and Colin Attended on bass guitar. The opening organ lick is a classic, although few players get the exact chord voicing correct.

Played by Jon Carroll, the solo uses octaves, country clichés, cross-bar phrasing, and “Rocking' Pneumonia”-style flips to end the song with quite a flourish. If you'd like to study a terrific, challenging Country/Pop solo and learn a couple of new pianist tricks, this is what you need.

He purposefully kept the melody simple, in a way that many cultures around the world could relate to and sing. A solo piano begins “Earth Song”, and is soon covered by other instruments and Andre Crouch's Choir.

The organ part in “Looking for a Stranger” is a wonderful, rhythmic, bouncy track that uses several classic rock/pop organ techniques: full-palm glissandi (that Billy Preston pioneered twenty years earlier), rhythmic hand 'slaps' (effectively used by Jon Lord on Deep Purple's “Hush”), a classic Hammond percussion setting during the Verses, and clever pop chord substitutions (A minor over C and B minor over D, in the key of G). If you'd like to study how one of rock's best organists has constructed and recorded an outstanding keyboard part, and learn how to play it yourself, this transcription is exactly what you need.

He has worked with Reba McEntire, Neil Diamond, Keith Urban, Johnny Cash, Dave Matthews, Debbie Gibson, and Martina McBride. This is a note-for-note transcription of Rose's blazingly-hot piano solo in “The Highway Patrol”, full of honky-tonk octaves, ninth-chord riffs, and chromatic passages.

Here's your chance to learn exactly how a terrific studio pianist creates a hot, exciting, up-tempo piano solo. Later, in 1977, his band, “Wings”, released a single of a live performance of the song from the band's 1976 tour of America, which became a top-ten hit in the United States.

“I Love You” was the big 1968 hit for the one-hit wonder band from San Jose, California, People! It has a Rod Argent-influenced (The Zombies) Hammond organ solo that has been doubled by a piano playing precisely the same notes (until the last bar, when they diverge).

“Baby, I Love Your Way” was first recorded in 1975 in the studio with Peter Brampton playing electric piano. Although it includes a 32nd-note run and a chord built in 4ths, its highlight is Mayo's excellent use of thirds, adding a lot of color.

This is a note-for-note transcription of the electric piano solo in “Baby, I Love Your Way (Live)”, exactly as played by Bob Mayo. However, that changed in 1976 with his huge hit, “Do You Feel Like We Do”, recorded live in 1975 at SUN Pittsburgh's Memorial Hall.

In 1975 Bob Mayo joined Brampton's band as keyboardist and guitarist, and within months recorded the now-legendary electric piano solo in the live version of “Do You Feel Like We Do”. He began studying music at age five, focusing on classical piano, and developed formidable jazz skills along the way.

Joe Gloss op, whose natural piano style is influenced by Ray Charles (& Leon Russell), lays down a beautifully understated gospel/blues piano part on this old classic, using many of the gospel techniques that Ray Charles himself used: grace-notes deep in the Left Hand, tremolos, octave fills, Left-Hand 10ths, a 3rd-up modulation, and others. If you enjoy the gospel-blues piano styles of Ray & Leon, you'll love learning and playing this outstanding version of “That Lucky Old Sun”.

Gifted with perfect pitch, Ray Charles was a spectacular improviser, as comfortable in jazz as in R&B. Based upon a bouncy, propulsive left-hand boogie pattern, “Boogie Boogie”'s right hand includes lots of great piano tricks: from exquisitely dissonant quarter-note triplets to bluesy sixths to hugely fat 6-note chords.

Gifted with perfect pitch, Ray Charles was a spectacular improviser, as comfortable in jazz as in R&B. During those seven verses Ray plays in a gospel-infused R&B style with some jazz-influenced chords and runs thrown into the bluesy mix.

“Main' Whoopee” is one of Ray Charles' terrific pieces that sounds a little easier than it is, containing some tricky chords to pick out. If you'd like to play “Main' Whoopee” but can't quite figure out all the chords, this chart is what you need.

The 12-bar intro is relatively easy to pick out, but after that no one ever gets the Wurlitzer electric piano part exactly right. Restless Heart's “Hummingbird” was released in 1986 on their Wheels album, and contains a terrific running-16th-note synth solo.

In this beautiful performance Waksman uses a rainbow of his pianist effects: rippling arpeggios similar to (but not the same as) those in Cat Stevens' version, high-register ethereal 'tinkling', warm mid-register arpeggiations, and sensitive dynamics (notated in the transcription). If you've ever wanted to play “Morning Has Broken”, this most recent recording of Waksman's is the definitive version.

Here is Rick Waksman's version of “Morning Has Broken” from his 2017 “Piano Portraits” CD on YouTube. “Hello Mary Lou” was Ricky Nelson's 13th record to hit the Top 10 during the first four years of his singing career.

Released in 1961 on his sixth album, Rick Is 21, “Hello Mary Lou” was written by Gene Patna, and starts off with a distinctive cowbell Intro played by legendary arranger/producer Jimmie Haskell. When Ricky Nelson asked me to join his Stone Canyon Band, I listened to his recordings and picked out the original piano parts.

At our first rehearsal I proudly told Ricky that I'd picked out the piano part in “Hello Mary Lou”. We proceeded to try my banjo-piano part, and it worked like a charm, bringing a feel to the song that it had lacked for years in live performances.

This is a note-for-note transcription of my piano part based upon Ozzie Nelson's rhythmic banjo track, exactly as Ricky and I played it in every concert and on Saturday Night Live. When Ricky Nelson asked me to join his Stone Canyon Band, I listened to his recordings and picked out the original piano parts.

Played by the songwriter himself, Mike D'Ago, the piano part is a true classic of late 1960s rock. ), not only played the piano part on Rod Stewart's recording, but he also wrote the lovely oboe/French horn/string section arrangement.

A remarkably talented musician, Nietzsche wrote pop songs, “Needles and Pins”, “Up Where We Belong” (for which he won an Academy Award for Best Song), arranged a number of pop/rock hits, including “River Deep and Mountain High” by Ike & Tina Turner and the choral arrangement for The Rolling Stones' “You Can't Always Get What You Want”, and also composed movie scores, including those for “The Exorcist” and “One Flew over the Cuckoo's Nest”. There is even a strong reference to Jerry Lee Lewis's style in the first two measures of the Second Verse before resuming an exotic ragtime flavor.

The Rolling Stones used a number of pianists over the years, including Ian Stewart and Nicky Hopkins, but few of their recordings display such a wonderful, eclectic piano part as does “Cool, Calm and Collected”. This is a note-for-note transcription of the Intro and first two verses of this early Rolling Stones classic (there is no piano part in the Choruses).

When the Rolling Stones were recording Exile on Main St. at Sunset Sound Recorders in Los Angeles in 1972, Billy Preston immersed Mick Jagger into gospel music by taking Jagger to the AME (African Methodist Episcopal) Church in South L.A. and exposing the Englishman to some of Preston's own gospel roots. Then when it came to recording the piano part for “Shine a Light” Billy brought a wonderful R&B/Gospel feel to the track.

This is a note-for-note transcription of Billy Preston's entire piano part in “Shine a Light”, complete with all his fat 4-note chords, syncopated R&B/Gospel rhythms, octaves, etc. If you're studying Preston's style, this should help you to better understand his amazing bag of keyboard tricks.

“Black Magic Woman”, one of Santana's biggest hits, was sung by Gregg Role, who co-founded the band and also played keyboards. Early in the song Role takes an 8-bar Fender Rhodes electric piano solo that sets the minor-key mood perfectly.

Few organists have as good a command of their instrument as Role, who builds the solo from a simple tremolo to a climax of full chords moving in Latin rhythms over a tension-building sustained pedal tone. If you'd like to play the “One Como Va” solo exactly as recorded, here is your chance to learn it.

One of Santana's biggest hits, “Smooth” had a scorching-hot rhythm track, with Chester Thompson's wonderful piano part a vital element. If you'd like to play the piano part for “Smooth” exactly as it is on the original studio recording, this is perfect for you.

The composer of the songs in “Mary Poppins” was Richard Sherman, who is still alive and well and living in Beverly Hills. In the new (2013) movie “Saving Mr. Banks,” actor/musician Jason Schwartzman plays the part of composer Richard Sherman.

To authentically recreate the role of Sherman, Jason Schwartzman was given the original demo recordings from 1959 and 1960 from the Disney vaults to study. These are my note-for-note transcriptions of Richard Sherman playing his own wonderful, now-classic songs from the 1961 Disney classic, “Mary Poppins”.

Smiley Lewis, a New Orleans R&B singer/guitarist, was the first to record “I Hear You Knocking”, later to become a hit for Fat Domino. In 1955 Dave Bartholomew wrote it and produced Lewis' version at J&M Studios in New Orleans, using Huey 'Piano' Smith on piano.

In 1955 Smith, who two years later would write/record “Rocking' Pneumonia and the Boogie-woogie Flu”, was a busy 21-year-old session pianist in New Orleans, becoming the piano player with Little Richard's first band in sessions for Specialty Records, plus recording with Lloyd Price, Earl King and Smiley Lewis. “I Hear You Knocking”, Lewis big hit, starts out with Smith's rollicking, tremolo-laden piano Intro, heavily influenced by Fats Domino's style.

If you'd like kick off “I Hear You Knocking” with the exact Intro on the record, or learn how New Orleans tremolos can be played, this is what you need. Sopwith Camel, remembered as part of the San Francisco psychedelic rock music scene of the late 1960s, was the second San Francisco-based band to be signed by a major record company, right after Jefferson Airplane and just before the Grateful Dead.

The intro was a loose translation of a song McNeil had learned on guitar, Chest Atkins' “Trombone”. The boom-chuck Left-hand part was influenced by McNeil's mother's piano style, herself an excellent pianist from an earlier era.

“Magic Carpet Ride”, a true rock classic, was Steppenwolf's second-biggest hit (behind “Born To Be Wild “), released in 1968 on their album “The Second”. However, Steppenwolf's later live performances do begin the song with a flashy, Gothic B-3 Hammond organ solo by Michael Will, using free-timing, palm glissandi, and some fun runs using the Dorian mode.

Originally on Styx's seventh studio album in 1977, The Grand Illusion, “Fooling Yourself” was released in 1978 as a single and reached #29 on the Billboard Hot 100 chart. Also, it includes the ending exactly as performed in live concerts (the hit record fades out).

Originally on Styx's seventh studio album in 1977, The Grand Illusion, “Fooling Yourself” was released in 1978 as a single and reached #29 on the Billboard Hot 100 chart. It contained two outstanding synthesizer solos by Dennis Young, performed on an Overhaul Four Voice synth.

The brain- child of keyboardist Jerry Corbett, “Green-Eyed Lady” uses the B-3 to create atmosphere and color in ways never before heard, including pitch-bends in the Out section. It's a terrific study in fairly advanced rock musical theory, as well as how to get a great deal of color and atmosphere out of a B-3.

“School” is the first track on Super tramp's third album, “Crime of the Century” (1974), and remains one of the band's great classics. This should also prove very helpful to bands that are working up “School” and want it to sound exactly right.

The song begins with eight bars of a harmonically-rich (fat chords) Hammond B-3 organ part that either uses both hands on two manuals or was double-tracked. Released as a B-side, it went on to be Van Morrison's first hit record, and to become a garage-band classic, covered by The Doors, AC/DC, Patti Smith, Rick Springfield, Jimi Hendrix, and Grateful Dead.

The producer of the recording session felt that the keyboard player for Them was too inexperienced, so he hired an older, professional pianist/arranger, Arthur Greens lade, to play on the date. Although most organists play “Gloria” using only three basic Major triads, Greens lade used a few creative chord voicing during the Choruses.

This is a chord chart for the entire song, and also includes some of the more important instrumental lines, such as strings, chimes, guitar and piano. This chord chart is perfect if you're in a cover band and would like to accurately perform the song.

The recording uses only piano and upright string bass to create a perfectly smoky nightclub sound. To reinforce that intimate nightclub-trio sound, he also chooses voicing closer to jazz than rock or pop, often by leaving out the root of the chord completely and having the upright bass to play it instead.

Another of Waits' songs on the same “Small Change” album is “Tom Flaubert's Blues”, which I arranged and conducted almost every night on Rod Stewart's “Unplugged” concert tours. David Piece, co-founder of Toto, had seen a moving TV documentary about the suffering of the people in Africa, and tried to imagine how he would feel if he were there and what he'd do.

The Out section of Toto's “Rosanna” is essentially a 36-bar acoustic piano solo played by David Piece. This new, updated transcription includes the terrific piano part that comprises the Out section, all the way down to the very last note of the fade-out.

Warren Devon released “Lawyers, Guns and Money” in 1978 on his Excitable Boy album. This is a note-for-note transcription of the first twelve bars, which allows one to learn not only the main two-bar pattern but also to understand the Left-hand variations.

If you'd like to play the piano part in”Werewolves of London” just as Warren Devon recorded it, this is all you need. The Georgia-based jam band Widespread Panic first released “Disco” in their first live album, “Light Fuse, Get Away”.

Willie Nelson performed this Waylon Jennings song live on Austin City Limits in 1990. His sister, Bobbie Nelson, who has been his pianist since the mid-1970's, played a high, tinkly, 8-bar piano solo that incorporates several country and country-swing techniques.

There's a terrific piano solo version of “The Woody Woodpecker Theme” posted onto YouTube by “BrasilianMusician” in a wonderful, honky-tonk style. Apparently BrasilianMusician's real name is Fabricio Paulo (or Fabricio Vinheteiro), a talented South American professional pianist who has his own website where he plays a wide variety of styles and pieces, from other TV show themes to Chopin.

In 1969 “Soulful Strut” was released and became one of the most successful instrumentals ever, reaching #3 on the charts in the U.S. and #1 in Canada. The track was first recorded in 1968 for Barbara Jacklin's “Am I the Same Girl”, using session musicians identified only as the Brunswick Studio Band.

However, before it was released, producer Carl Davis removed Jacklin's voice and hired a studio musician, Floyd Morris, to record the instrumental piano lead. Young-Holt Unlimited was drummer “Red” Holt and bassist Elder Young, formerly members of Ramsey Lewis' jazz trio.

In 1998 Rod Argent was interviewed in his home studio for a Dutch documentary about his classic song, “She's Not There”. If you're a keyboard player in a cover band, this gives you the opportunity to include not one but two genuine Rod Argent solos in your performances.

Or perhaps you'd just like to study how Argent continues to creatively utilize the Dorian mode in his improvisations 34 years later. Some pianists aren't clear as to what the left hand is supposed to do during this riff, so it is notated precisely in this accurate piano transcription.

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2 www.imdb.com - https://www.imdb.com/title/tt0539479/
3 charmed.fandom.com - https://charmed.fandom.com/wiki/Witch_Wars_(episode)
4 dejavu.tntdrama.com - https://dejavu.tntdrama.com/shows/charmed/watch-now
5 www.peacocktv.com - https://www.peacocktv.com/watch-online/tv/charmed/6319188864539161112
6 en.wikipedia.org - https://en.wikipedia.org/wiki/Witch_Wars_%28Charmed_episode%29
7 www.youtube.com - https://www.youtube.com/watch
8 forevercharmed.yolasite.com - http://forevercharmed.yolasite.com/episode-guide.php
9 www.ebay.com - https://www.ebay.com/itm/CHARMED-1998-2006-Seasons-1-8-COMPLETE-ORIGINAL-TV-Series-Rg2-DVD-not-US/382271744481