• Teemu

    Hi Willie!

    Thanks for the awesome new website, it really skyrocketed my playing in short period of time, the site itself is really inspirational and packed of useful information.

    I have been working on pretty much with every lesson, but I’m mostly fascinated about the ten licks that you show, and especially those two where you play a tritone sub in your left hand for one or two beats and play outside for a moment and then resolve the whole and take it back.

    I was just wondering if you have any lessons here on the main website about that technique? I have been experimenting playing chord tones, chord tones with some halfnote approaches and the mixolydian scale of tritone. (to be clear, if we use the groove in the lesson as an example (Bbm -> Eb), so I have been playin E-mixolydian, E chordal tones as well as chord tones with a half note approach). Is there any guidelines or best practises? What I’ve understood from your lessons from the main site that you can play pretty much whatever as long as you have a target (note) and resolve it right, as well as there is solid fluidity in playing.

    In your examples (I talk about those two licks where you play outside and use tritone in left hand) you show mainly linear fluid phrases with steady stream of 16th notes, and then resolving by halfstep to a chordal tone of Eb. I was just wondering that what about using the tritone sub as a part of a more rhytmic phrase? I have experimented that and in my opinion it gets way more punch and effect and drags it the limits of how out you can play.


  • Teemu

    Oh yeah forgot to write my question about the groove number one in six funky grooves. Is there any theory behind it or is it just random chords after each other (whole steps down)? Would you consider it being in key of G?


  • willie

    Hey Teemu, thanks for your post. Glad you are getting a lot out of the site.

    On the main PianoWithWillie site, I’d take a look at:

    Quartals and Pentatonic Improvisation

    and

    Advanced Pentatonics and Quartals – Vol. 1 and Vol 2

    As far as theory behind those chords, I look at it as the key of G or C actually. I would think more G but it can also be thought of as C never resolving to the root.

    In G I think of it as I, bVII, to bVI maj (last 2 chords borrowed from minor)

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