![]() The organ never overtakes the song, but its presence and use creates a mood that works beautifully. My personal favorite (and thank you for asking) is the forceful “Have Mercy On Me,” which features this haunting, swirling organ throughout that plays underneath Aurebach’s crooning voice and guitar and Carney’s drums. The album’s lead track, “Keep Your Hands Off Her” is a perfect mood-setter, giving the listener every emotional tool they’ll need to blow right through the album’s 30 minutes of blues majesty. Aurebach’s soulful croon is almost too perfect a match for Kimbrough’s material, as evidenced on tracks like “Nobody But You,” “Work Me,” and “Have Mercy On Me.” The Keys’ take on Kimbrough is an honest portrayal of the man’s tone, temperament, and feel kept straight without too much creative license, they don’t try to ‘rawk it up’ for the sake of being different. Released in 2006, between 2004’s Rubber Factory and 2006’s Magic Potion LPs, Chulahoma features six Kimbrough tracks, most of which can be accessed on Spotify or iTunes if you feel so inclined to give them a listen. No radio play, no awards, no critical acclaim it deserves all three of those things, but its absence almost makes it purer without it. The resulting project, Chulahoma (named in honor of Chulahoma, Mississippi, where Kimbrough’s juke joint was located), is a hidden masterpiece that flexed the band’s blues muscle and was a total labor of love. It was during these lean years that the band embarked on one of their more adventurous projects – an all-cover EP in honor of the late delta bluesman, Junior Kimbrough. Listening back to their older records today can induce a dizzying amount of déjà vu songs that sound so familiar with parts that you could swear you’ve heard somewhere before.īut those formative years were tough, and the band was desperate to get their music out any way they could. ![]() The band’s music can be found in a wealth of commercials, TV and film scores, and commercial spots. The cruelest part about their struggle is the fact that we, the general listening public, have known the band’s music long before we knew them. After the Grammy-winning success they’ve experienced with their last two releases – 2009’s Brothers and 2011’s El Camino – the duo of singer/guitarist Dan Aurebach and drummer Patrick Carney are now reaping the benefits of a decade of struggle and soul-crushing irrelevance despite the gems they were crafting year after year, album after album. Now let's get back to our keyboards and play some great music □īy the way, click here if you want some fresh ideas about practicing scales.It’s hard to imagine The Black Keys as complete unknowns and nobodies in the rock circuit. Whew - I'm glad we cleared that up! We can happily let our thumbs land on the black keys in most music situations except when they involve scales. Your thumb is fine on the Bb and, in fact, feels good in that position. This is because you don't need to pivot anywhere. You may need to slide your 3rd finger up to the middle of the D, but it should feel natural. Try this: play a Bb chord with your RH: Bb, D, and F, all at once using 1,3 and 5. This method fits the shape of our hands better.īut what about all the times when you're not playing scalar passages? Now let's look at those situations. ![]() This is why different scales use different fingering to keep our thumbs on the white keys (which are physically lower). Much easier, right? Your thumb now functions as a "pivot" on the white note. Now play the F major scale again, this time using the proper fingering of 1234123. Do you feel how awkward this is? By placing your thumb on the Bb and then continuing with the scalar passage, you've forced your hand to practically turn a somersault. Now play it again, using the same fingering. In other words, you're using the familiar C major scale fingering (1231234) on F major, which contains the Bb as its 4th note. Continue with your 2nd finger on C, 3rd on D, etc. Then, reach your thumb underneath your hand and stretch it to play the next note in the scale, the Bb. Start with your thumb on F, and play F, G, and A. Let's make an experiment: Go to your piano or keyboard and play an F major scale with your right hand. The issue only occurs when you play a scale. Yes, you can use your thumbs on the black notes! In fact, pianists do it all the time. Well I'm here to tell you that it's easier than you think. A new student will tell me they've heard that "you should keep your thumbs off the black keys." But in order to follow this "rule" they end up turning their whole hand in and awkward manner all to avoid playing a black key with their thumb.
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