Foreword

25 HOT Licks for ii - V - I Changes Volume I includes:

25 licks transcribed in all 12 keys

Licks from jazz greats Miles Davis, Charlie Parker, and Bill Evans
Free bonus material on every other page
Midi fifiles of all examples available for free download

Imitation is the starting point of all creativity and repetition is the mother of all learning. It is
with those two concepts in mind that I began writing this book.

In order to learn to improvise, it is necessary to practice over chord progressions, and the
ii - V - I chord progression is the most common progression in jazz music. It shows
up relentlessly in one tune after another, especially the standards.

If you are new to improvisation, or even if you're seasoned, it's always nice to come up
with new ways of thinking about the music. The licks are licks that I've used in my
playing over the years and as you learn them, feel free to tweak them, and make them
your own. That's the beauty of improvisation.

I also recommend that you practice them in two ways - fifirst, playing the 8th notes
straight, and secondly, playing the 8th notes with a swing rhythm. Go slow in the beginning
so you can focus on your fifingering and technique. I did not put fifinger numberings
because there is no one correct way to approach this. If you have studied classically, you
will fifind that you often need to adapt classical fifingerings to accomodate the jazz style.

Please note - to make the music easier to read, I used enharmonic note names to avoide
double sharps, double flflats, and accidentals like b#, fb, etc.

MARTIN GUREASKO grew up in Memphis,

where he began playing the piano at the age
of eight. His fifirst few years of lessons were
under the tutelage of a Pentecostal teacher
who taught him to play be ear as well as read
music. He holds a Bachelor of Music
Education from the University of Memphis and
a Master of Arts in Conducting from Middle
Tennessee State University. Throughout the
1980's and 1990's, Martin was a full time
keyboardist in the gospel music industry,
performing hundreds of live shows as well as
recording sessions. Currently, he resides in
Alabama with his wife Lisa and their two
children. He is a worship pastor, blogger
(www.nakedkeyboardist.com), infopreneur,
and soon-to-be fifitness guru.
 25 HOT Licks for ii - V - I Changes Vol. 1
Copyright: Martin Gureasko
Published: 8th May 2013
Publisher: Naked Keyboardist.com
The right of Martin Gureasko to be identified as author of this Work has been
asserted by him in accordance with sections 77 and 78 of the Copyright, Designs
and Patents Act 1988.
All rights reserved. No part of this publication may be reproduced, stored in
retrieval system, copied in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise transmitted without written permission from
the publisher. You must not circulate this book in any format.

Find out more about the author, upcoming books, and further piano instruction
materials at www.nakedkeyboardist.com

THIS IS NOT A FREE EBOOK.

This book, "25 HOT Licks for ii - V - I Changes", is
sold only through Amazon or NakedKeyboardist.com.
If you purchased or received it elsewhere, you should
be aware that you are in possession of stolen
property; it has been given away illegally and the
author has not received payment.

You are permitted to make a hard copy of this book

for your own use. However, you are not permitted
to distribute a copy of this book, whether hard
copy, electronic, or any other format, to any
person.
 Lick #1

4 b b
D m7 G7 C

&4

b A b7 b
n n b
bb b b
E m7 D

& b

## b n
E m7 A7 D

&

b b
n # b
bb
F m7 B 7 E

& b

#
n n
####
F m7 B7 E

&

G m7 C7 F

&b b b

A b m7 D b7 Gb

b n n b
& b bbbb

A m7 D7 G
# b n
&
 b B m7 E b7 A b
b bbb n # b
&
B m7 E7 A
### n n
&

b
b b
C m7 F7 B

bb
&
# F #7
n n
C m7 B
####
& #

Practice Tip

Not all practice is created equal.

Do you spend spend hours practicing what you already know?

the same scales, the same technical exercises, the same chops, the same chords, the same tunes...

Sure, a certain amount of that kind of practice is necessary to maintain your current level. but...that will not
take you to the next level. So here's a suggestion:

Spend part of your practice time improving - learning something new - trying something different.

Assignment: try transcribing a solo or learning a melody or chord progression by ear. transcribing solos will
have a major positive impact on your playing.

Insider secret: i recommend using transcribe!, the world's leading software for helping musicians to work
out music from recordings. you can actually slow the speed down without affecting the pitch!! i don't pick
up new chords and melodies as quick as i once did, and transcribe is the perfect assistant when i'm in a hurry

download a free 30-day trial here:

 Lick #2
D m7 G7 C
4 b b n
&4
b E m7 A b7 D b
b bbb n n b
& b
E m7 A7 D
## b b n
&
b b
b n
F m7 B 7 E

b
& b n b

#
#### n n #
F m7 B7 E

&

b
G m7 C7 F

b n
&b

b b b
n n b
A m7 D 7 G

b
& b bbbb

b
# b n
A m7 D7 G

&
 b
B m7 b
E 7 A b
b bbb n
& n b
B m7 E7 A
###
& b n #



C m7 F7 Bb

b b
&b b n

#
C m7 #
F 7 B
#### n
& # n #

BLOCK VOCINGS FOR THE II - V - I (THESE CHORDS MAY BE ALTERED IF DESIRED)

PRACTICE SUGGESTION: #1 PLAY AS WRITTEN, #2 PLAY CHORDS IN BOTH HANDS, #3 PLAY CHORDS IN L.H. AND LICKS IN R.H.

GET A FREE PDF OF BLOCK VOICINGS IN ALL 12 KEYS AT: www.nakedkeyboardist.com

 Lick #3
d m7 G7 C
4 # b
& 4 # #

e b m7 A b7 Db

bbb n
b
& b n n b n

e m7 A7 D
## # b
& # #

b Eb

n n b
f m7 B 7

b b
b
& n #
#
n n
f m7 B7 E

####
& n # n

# b
g m7 C7 F

& b # #

b b Gb

a m7

D 7

bb b b b n n b
n
& b n

#
a m7 D7 G

# b
& # #
 b
b m7 b
E 7 A b
b bbb n
& n n b
n
b m7 E7 A
### # n
&
# n
c m7 F7 Bb

b n b
&b
n #
c # m7 F #7 B
#### n
& # n
n # n

Back to the basics. this is information you should already know in order to increase your potential - personally and professionally.

rhythm
rhtyhm is the organization of music with respect to time. this includes pulse, meter, tempo, and "the groove."
pulse = the steady beat; to play at a professional level you must learn to play "in the pocket" (*tip: practice with a metronome.
tempo = the speed of the steady beat
meter = how the beats are grouped (does the music move in 2s, 3s, 4s, etc.) examples: marches are in 2/4, waltzes are in 3/4
"the groove" = this is usually what we refer to when we talk about the rhythm of a tune; it's the patterns of short and long notes,
rests, and includes things like syncopation, straight 8th notes as opposed to shuffleed 8th notes, etc.

melody
melody is the succession of single notes (tones); the best melodies have movement, tension, and variety. examples of great melodies include:
i got it bad and that ain't good, somewhere over the rainbow, white christmas, when sunny gets blue (*note these are all classics)

harmony
harmony means the structure and function of chords and their relationship to each other. a chord is normally three or more notes sounded
simultaneously. (*technically, these notes may be sounded one at a time, but the ear hears them as one sonority)

orchestration
orchestration refers to the instruments that make up an ensemble. this could be anything from a piano/bass combo to a symphony orchestra.

form
form is the structure of the song. for example, many pop songs have the form A-B-A-B, or A-A-B-A. understanding the form of a song is
especially important when improvising jazz.
 Lick #4
D m7 G7 C
4 b
&4 b #

b A b7 Db

bb b b n b
E m7

& b nb n

## b
E m7 A7 D

& b n

b b
bb n b
F m7 B 7 E

& b n b #
# E

#### b b
F m7 B7

& n

b
G m7 C7 F

b n b
& #
b A m7 D b7 Gb

b
& b bbbb n n b
n n b n n
A m7 D7 G
# b
& b
#
 b B m7 E b7 Ab

b bbb n b
& nb
n
B m7 E7 A
### b
& b
n
C m7 F7 Bb

b b n b
& nb
#
C # m7 F #7 B
#### n
& # n
n

learning to play all chords in all inversions is essential. one practice technique i use is to practice all the chords from
any new piece i am learning in the following manner:

etc.
 Lick #5
d m7 G7 C
4 b b b b
&4 b #
b
e m7 b A 7 D b
b bbb b n
n b n b n
& b
e m7 A7 D
## n b n b
& b #
f m7 b B 7 E b
b b b b
n b n b #
& b
#
f m7 B7 E
#### n b n n
b n
&

b b b b
g m7 C7 F

b #
&b

b D b7 b

bb b b b n # n n b # n
a m7 G

& b

# b b n b b
a m7 D7 G

& #
 b
b m7 b
E 7 A b
bbb
& b n b n b n b n

b m7 E7 A
###
& n b n n b

#
c m7 F7 Bb

b
& b b b b b

#
c # m7 F #7 B
####
& # n b n n n n

suggested listening - jazz piano artists

Bill Evans, Chick Corea, Herbie Hancock, Oscar Peterson, Lennie Tristano,
Mulgrew Miller, James Williams, Mary Lou Williams, Thelonius Monk, Hampton Hawes,
Roland Hanna, Al Haig, Art Tatum, Oscar Peterson, Joe Zawinul, Victor Feldman,
McCoy Tyner, Keith Jarrett, Paul Bley, Wynton Kelly, Red Garland, George Cables,
George Duke, Denny Zeitlin, Bud Powell, Phineas Newborn Jr., Ahmad Jamal, Kenny Drew,
Tommy Flanagan, Horace Silver, Kenny Barron, John Lewis, Michel Petrucciani,
Ronnie Mathews, Makoto Ozone, Michel Camilo, Cedar Walton, Hal Galper, Larry Goldings,
Benny Green, Lynne Arriale, Mike LeDonne, Dan Haerle, Mark Levine, Dave Brubeck,
Andy LaVerne, Harry Pickens, Kenny Werner, Erroll Garner, Hank Jones, Ray Bryant,
Bobby Timmons, Harold Mabern, Andrew Hill, Geri Allen, Joey Calderazzo, Danilo Perez,
Brad Meldhau, Jacky Terrasson, Gonzalo Rubalcaba, Geoff Keezer, Benny Green, Bruce Barth
 Lick #6

4 #
d m7 G7 C

&4 b
b A b7 Db

bb b b
e m7

n
& b n b

## #
e m7 A7 D

b
&

b b

bb
f m7 B 7 E

n
n b
& b

#

####
f m7 B7 E

# b
&

g m7 C7 F

& b #
n b
b
a m7 D b7 Gb

b
& b bbbb n
#
a m7 D7 G
#
& # b



 b
b m7 E b7 A b
b bbb n
& n b
b m7 E7 A
###
& # b



c m7 F7 Bb

bb n
& n b
# c m7 F #7 B
#### n
& # n

 Lick #7


d m7 G7 C

4 b n b
& 4 b b n b

b b b
e m7 A 7

D

b b
& b bbb n b n b n n

e m7 A7 D

##
b n # b n # n
&

f m7 B 7 b E b
b b
& b b n b
n b b n n
f # m7 B7 E
####
& n n # n
b n #
g m7 C7 F

&b b
n b b n b b n
a b m7 D b7 bG

b
& b bbbb n
n b n b n n
a m7 D7 G
#
b
& b b n #
b n
 b b b

b m7 E 7 A

b bbb n
& n b n b n b n


b m7 E7 A

### n
& b n n #
n #
b

c m7 F7 B

b
& b b b n b b n b

c # m7 F #7

B
#### n
& # n n # n n #

to slur with love

slurs and ties look similar but there's an important difference.

a SLUR is a curved line that connects different notes. the notes under the slur are to be play smoothly

a TIE is a curved line that connects two or more notes of the same pitch. the first note of the tied notes is
played and held for the duration of the sum of the individual notes.
 Lick #8
D m7 G7 C
4 b b
&4 b
# b
E b m7 A b7 Db

b bbb b
& b n n b b
n b

E m7 A7 D
## n b
& n
# b
F m7 B b7 Eb

b b b b
& b n b b

F # m7 B7 E

#### n n
n
& n n


b b
G m7 C7 F

& b # b
b

bb b
n
A m7 D 7 G

bb b b b n b n
& b n n b

b b
A m7 D7 G

# b
& # b
 b
B m7 b
E 7 A b
b bbb b b
& b
n n b
B m7 E7 A
### n n
& n
# b
C m7 F7 B b
b b b
&b b

n n b
C # m7 F #7 B
#### n n
& #
# n n

voicing

voicing refers to the way the notes of the chord are arranged. voicing doesn't change the quality of the
chord but it affects the sound and texture. closed voicing occurs when the notes of a chord are as closely
stacked as possible. open voicing rearranges the pitches of the chord so they are further apart. study this
the example below.
 Lick #9
d m7 G7 C
4
&4

e b m7 A b7 D b
b bbb
& b

e m7 A7 D
##
&

f m7 b
B 7 E b
b
b
& b

f # m7 B7 E
####


&



g m7 C7 F

&b

bb b

a m7 D 7 G

bb b b b
& b

a m7 D7 G

#
&
 b b b


b m7 E 7 A

bbb
& b

b m7 E7 A

###
&

b


c m7 F7 B

b
&b

# #

c m7 F 7 B
####
& #

shell voicings

a shell voicing is a chord which contains only the root, third, and seventh. players will often only use two notes, the root
and third, or the root and seventh. the fifth of a chord is not significant in differentiating minor or major chord, so it is
omitted in a shell voicing chord. the third and seventh determine what type of chord is being played and those are called the
guide tones.

shell voicings are great for laying down simple and basic harmonic information in your left hand while your right hand plays
the faster and more complex harmony. here is a common II V I progression in the key of C:
 Lick #10
d m7 G7 C
4
& 4 # j
3

e b m7 A b7 Db

bb b b j
& b n
3

e m7 A7 D
## j 3
& #

f m7 b
B 7 E b
b j

3

& b b n

#
f m7 B7 E
#### j
3

& #

g m7 C7 F

b j
& #
b b b
3

a m7 D 7 G

b bbb b j
& b n
3

a m7 D7 G
# j
& #
3
 b b Ab

bb b b n j
b m7 E 7

&
3

### j
b m7 E7 A

& #

b
3

bb n
c m7 F7 B

& J 3
c # m7 # B

F 7
####
& # # J
3

chord alterations

here are a some suggestions for spicing up the ii and v chords. spend time exploring other alterations. there are many
more possibilities.
 Lick #11
d m7 G7 C
4 b b b
&4 #
b A b7 b
bb b b n b n n b
e m7 D

& b n


## b b n
e m7 A7 D

& #

b b
bb n b
f m7 B 7 E

n b b
& b #
#
#### b n n
f m7 B7 E

n
&

n b
g m7 C7 F

b b
&b #

b
a m7 b
D 7 G b
b
& b bbbb n b n n b
n
a m7 D7 G
# b
& b n
#
 b
b m7 b
E 7 A b
b bbb n b
& n b b
n
b m7 E7 A
### b
& n n
n
c m7 F7 Bb

b b n b b b
&
#
# c m7 F #7 B
#### n
& # n n
n

for more instruction in music theory please visit my website at: www.nakedkeyboardist.com
 Lick #12
d m7 G7 C
4
& 4 # b b

e b m7 A b7 Db

b
& b bbb n n b n b

e m7 A7 D
## b n
& #
f m7 B b7 Eb

b b
b
& n n b b

f # m7 B7 E

#### b
& n # n
b
bb n n b b
c m7 F7 B

&

b
a m7 b D 7 Gb

bbb b n n n b
b
& b n

a m7 D7 G
# b b
& #
 b b Ab

bb b b n
b m7 E 7
n b
& b

b m7 E7 A

### b n

& #

b
bb n b b
c m7 F7 B

&

# # B
#### n # n
c m7 F 7

& # n

dynamics give music feeling, color, and dramatic tension. many players tend to play everything at the
same dynamic level, which is equivalent to listening to a speaker who is monotone. it is very tiresome
on the ear. practice varying the dynamics of the songs you play.
 Lick #13
d m7 G7 C
4
& 4 b


b
b
e m7 A b7 D b
b
& b bbb n n b

e m7 A7 D
##
& #


b

f m7 B b7 E b
b b n b
& b n

f # m7 B7 E

#### n
& n

g m7 C7 F

& b b


b

b
a m7 b
D 7 G b
bbb b n b
b
& b n

a m7 D7 G
#
b b
&
 b b b
bb b b n b
b m7 E 7 A

&

b m7 E7 A

### b n
&

b

c m7 F7 B

bb n


b
&
# #
n
c m7 F 7 B
#### n
& #

for more instruction in music theory please visit my website: www.nakedkeyboardist.com

 Lick #14
d m7 G7 C
4
&4

b e m7 A b7 Db

bbb
b
& b

e m7 A7 D

&
##

b Eb

f m7 B 7

b b
& b
# E

f m7 B7

####
&


g m7 C7 F

b
&

b
a m7 b
D 7 G b
b
& b bbbb

a m7 D7 G
#
&

 b
b m7 b
E 7 A b
b bbb
&

b m7 E7 A
###
&

c m7 F7 Bb

b
&b

c # m7 F #7 B
####
& #

a snapshot of jazz history - jazz is a uniquely american art form - the birthplace of jazz? new orleans? kansas city? chicago?
 Lick #15
d m7 G7 C
4
& 4 #

e b m7 A b7 Db
3

b
& b bbb n
3

e m7 A7 D
## #
&
3

f m7 b B 7 Eb

b b n
& b
3

#
f m7 B7 E
#### #
&
3

g m7 C7 F

b #
&
3

b b Gb
n
a m7 D 7

b bbb b
& b
3

#
a m7 D7 G

#
&
3
 b b Ab

bb b b n
b m7 E 7

&
3

#
b m7 E7 A

###
&
3

b

bb n
c m7 F7 B

&
3

# # B
#
c m7 F 7
####

& #
3

The Circle of Fifths diagram is below. flat keys are inside the circle in order of ascending fifths
 Lick #16
d m7 G7 C
4 b #

3

&4 #

e b m7 A b7 Db

bbb n b n
b
& b n

3

e m7 A7 D

## n #
&
#

b b
3

f m7 B 7 E

b b b n

& b n
#
3

f m7 B7 E

#### n n

& #
3

b #
g m7 C7 F

& b n

b D b7 Gb
3

bb b b b n n b n
a m7

& b
3

# # b #
a m7 D7 G

&
3
 b
b m7 b
E 7 A b
bb b b
n n b n
3

&

b m7 E7 A
### n #

3

& #

c m7 F7 Bb

bb
n b n
3

&

c # m7 F #7 B
####
& # n n n
3

for more music theory instruction visit my website at: www.nakedkeyboardist.com

 Lick #17
(a charlie parker lick)

4 b
d m7 G7 C

&4
b b b
bb b b n b
e m7 A 7 D

& b

## b
e m7 A7 D

&
b Eb

bb n b
f m7 B 7

& b
#
n
####
f m7 B7 E

&

g m7 C7 F

& b b

a b m7 D b7 Gb

b
& b bbbb n b

a m7 D7 G
# b
&


 b
b m7 b
E 7 A b
bbb b
& b

b m7 E7 A
### n
&

c m7 F7 Bb

bb b
&

c # m7 F #7 B
#### n
& #

Here's a FREEBIE:

Here's an ii - V - 1 intro for a song. Play around with various tempos. also, try using straight 8ths and again as
swinging 8ths. Each variation gives it a slightly different character.
 Lick #18
(a bill evans lick)

b b w
d m7 G7 C

4 . # j #
&4 #
3 3

b b b
3

n b w
e m7 A 7 D

b bbb . n j
n
& b
3 3
3

# n b w
e m7 A7 D

## . # j
#
&
3 3

b b
3

n b N w
f m7 B 7 E

b . n
b
& b n
J 3 3 3

#
n n
# w
f m7 B7 E

#### . # #
& J 3 3 3

# b b Fw
.
g m7 C7
# #
&b
J 3

3 3

b
a m7 D 7 b b G

b j n n b w
& b bbbb . n
3

n 3 3

a m7 D7 G
# j # n b w
& . #
3

# 3 3
 b
b m7 E 7 b b A

bbb . b b w
n j n
3

& b n
3 3

b m7 E7 A
### . n
# j # n w
3

& #
3 3

b
b b w
c m7 F7 B

b . #
&b n j
#
3 3

# #
3

n # n n w
c m7 F 7 B
#### .
& # n # n j #
3 3
3

the best selling jazz album of all time? kind of blue (miles davis)

Some say it is THE best jazz album of all time. Did you know the musicians didn't even rehearse for the recording
session? Miles just showed up to the Columbia Records session with some melodies and chords and proceeded to record
each song in one take... that's how Miles liked to do it... he wanted everything to be spontaneous which is a cornerstone
of jazz. He had the best musicians in the game so everyone played brilliantly. There was so much talent and feeling that
there was just no need for more takes. The songs consist of simple melodies and there is so much space yet also deep
emotion. It is a pleasure to listen to and feel the raw excitement of this album.

Get it on Amazon.
 Lick #20
(cry me a river lick)
d m7

G7 C

3 b
&4 .

b b b

e m7

A 7 D

b bbb n b
& b .


e m7

A7 D
## b
& .
b b

f m7

B 7 E

b b
b
& b .
#

f m7

####
B7 E
n
& .


g m7

C7 F

b
&b .

b
a m7 b
D 7 G b
b
& b bbbb n b
.
a m7 D7 G
#
& b
.
 b
b m7 b
E 7 A b
b bbb b
& .

b m7
###
E7 A

n
&
.
c m7 F7 Bb

b
&b
b .

# c m7 #
####
F 7 B

& # n .

chord alteration suggestion: instead of a V7, use a V7b9 instead. this works especially well since the second measure of the
lick contains a b9 in the melody.

try this:
 Lick #21
d m7 G7 C
4 b b b
&4 b
b
e m7 A 7 b Db

b b n n b
& b bbb b

e m7 A7 D
## n b n
& n

f m7 b B 7 E b
b b b b
& b b b

#
f m7 B7 E
#### n n n
& n

g m7 C7 F
b b b b
& b

b D b7 b
bbb b n n n b n
a m7 G

b
& b

n
a m7 D7 G

# b n b
&
 b E b7 b
b
b m7 A

bb b b n b b b
&

### n n n n
b m7 E7 A

&

b
b b b
c m7 F7 B

bb b
&
# F #7
#### n n n n
c m7 B

& #

A lead sheet is basically a condensed score of a piece of music with all of the basic information
necessary for a band to play that tune.

A good lead sheet will include:

The form of the song
The melody
The chord changes

Sometimes you may be given a chord chart, with only the form and chord changes (no melody).

It is important that you understand chord symbols and how to form them in all of their inversions.
next, you need to make sure you know the symbols relating to the form of a song. this includes repeat signs
and other nomenclature.

whether you're playing solo or with a band, your approach to a song will usually be:
1. state the melody the first time through
2. improvise over the changes (the chord progression)
3. restate the melody
 Lick #22


d m7 G7 C

4 b b n
&4 . J

b
e m7 b
A 7 D b
b
& b b b b b . b jn

e m7 A7 D
## j
& n n #
.
f m7 B b7 Eb

b b j
& b b . b n
f # m7 B7 E

#### j
& n . n #

g m7 C7 F

b j
& b b n
.
b
a m7 D 7 b G b
b bbb b n b j
& b . n

a m7 D7 G
# b b n

& . J
 b b b
bb b b n b n
b m7 E 7 A

& . J

### n
b m7 E7 A

n #
& . J

b
bb b . b n
c m7 F7 B

& J

# #

c m7 F 7 B
#### n n #
& # . J

form

form refers to the way the piece is laid out. for example verse-chorus-verse-chorus.

you need to know the following symbols and words, which you will likely encounter on a lead
sheet or chord chart.

repeat signs = play that section again

D.C. = go back to the beginning (or top)

D.C. al CODA = go back to the top, and take the coda the next time you see it.

CODA = will usually have a sign in the music and another near the end. you typcially jump from one sign to
the other as instructed in the music.

D.S. al CODA = jump to the section marked with the del segno sign
and tehn take the coda when it appears
 Lick #23

b
d m7 G7 C

4 b n
&4

b A b7 Db

b
bb b b n b
e m7

& b

n
## b n
e m7 A7 D

&

f m7 B 7 b Eb

b b b
& b n b

f # m7 B7 E

#### b n n
&

g m7 C7 F
b
& b n b

a b m7 D b7 Gb

b bbb b n n b
& b

a m7 D7 G
# b n n
&

 b E b7 Ab

bb b b n b b
b m7

&

### b n n
b m7 E7 A

&

Bb

bb n b b
c m7 F7

&

c # m7 F #7 B
#### n # n
& #

chord substitution

instead of playing the I chord, or tonic chord, you could choose to play a vi chord instead whichwould lead you back into
a tag (repeating the ii - V - I and ending on the I for the final cadence)

landing on a vi chord instead of a I chord is called a deceptive cadence. your ear thinks you are
going "home," but instead you prolong the final cadence.

the reason this works is because the I chord and the vi chord have two common pitches between
them.

in a subseqent book, i will cover chord subsitutions in much greater detail for all the scale tone chords.
 Lick #24


d m7 G7 C

4 # b b
&4 b b

3

b A b7 b

n n b b b n
e m7 D

bb b b
& b
3

e m7 A7
b n
D

## n b
&
n
B b7 b
3

f m7
n b b b
E

bb n
& b
#
3
#
f m7
b n n n
B7 E

####
& n

3

g m7 C7
b b
F

b b b
& #
3
a b m7 D b7 b
n b n G

bbb b b n
b
& b n
3


a m7 D7
b b G

# n b
& n
3
 b E b7 b

bb b b
b m7 A

n b b
& # b n
3


###
b m7 E7 A

b n
& n n

3

Bb

bb
c m7 F7

& # n b b b b

3

# F #7
####
c m7 B

n n
& # n n n

3

it's not very sexy, but practicing your scales is still a fantastic way to improve your musicianship.

why?
it helps you learn key signatures
it helps you learn basic fingering combinations
it is great a s a warmup before playing
the notes of the scale are your basic building blocks for improvisation.
in addition to major scales, you should also review the minor scales. here they are in a minor.
 Lick #25


d m7 G7 C

4 J b
3

&4 b b
3

3
e b m7 A b7 Db

bb b b b
3 3

n b
3

& b J

e m7 A7 D

## n b
3

& J n
B b7 Eb
f m7
b b b
3

b
3

& b J b

f #m7
3

B7 E
#### n n
3

& J n
3

g m7 C7 F

# b b
&b J
3

b b b
3
3

a m7 D 7 G

b b b b b J
& b n n
3 3

3
n
a m7 D7 G
# J
& n b
3 3

3
b
 b b b
bb b b J
b m7 E 7 A

& b n
3 3

n
3

# # # J
b m7 E7 A

& n n
3 3

n

Bb
3

bb J 3 b
c m7 F7

& b b
3

3
c # m7 F #7 B
####
& # J n n
3 3

n
3

less is better.

it is important to know what to play and when to play it. equally important, actually i think it is
more important, is to know when not to play.

good musicianship requires that you listen to the others around you.

playing on top of someone can be catastophic to your career. i don't know of any gigs that pay
by the note. when it's your turn to solo, the sky's the limit. when it's someone else's turn, you
want to provide a solid accompaniment for them.

if you are accompanying a siger, you can play at the ends of phrases or places where the singer is
taking a breath. it isn't necessary to play every lick you know at every gig. leave them wanting
more.

a few well placed licks makes you look like a pro. overplaying makes you look desperate.

you are a pro!!!! thank you for purchasing this book and i wish you continued success in music.
future titles to be released by naked keyboardist:

25 HOT Blues Licks

Play That Funky Music

How Great Thou Art - How to Play Gospel Piano

Country Roads - How to Play That Nashville Style

plus much more....

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