This is the most important instruction guide to blues style piano playing in print. It covers all styles of playing from 1900 to the present day and includes transcriptions of the recordings of twenty-two of the greatest exponents of barrelhouse and boogie piano. Among these are such greats as Memphis Slim, Alex Moore, Kid Stormy Weather, Cow Cow Davenport, Jelly Roll Morton, to mention just a few. All the transcriptions are accompanied by historical notes. This book also shows you how to develop blues techniques, how to improvise and includes coordination and fingering exercises, besides much else of importance to the blues pianist. It also contains a discography of albums by the twenty-two artists whose work appears in the book.

100 Different Ways to play the same song. Piano students learn 100 fun left hand patterns to take any music and change it up 100 different ways. Also included in the book is the FUN FAKEBOOK which includes 100 piano pieces in facebook format where the melody (Right Hand - treble clef) and the given chords for each measure are shown. The students can then fake or make up a left hand pattern to go along with the melody.

Eric Kriss. Clear step-by-step format, simple enough for the beginner, teaches major styles and essential techniques. Chord structure, bass lines, slides and syncopation etc. are all explained.

(Schott). Volume 1 introduces the intermediate pianist to the basic chord-types used in jazz, from major and minor triads to seventh and ninth chords. Other topics include: Chord/scale relationships, modes, broken chord and scale patterns, pentatonic and blues scales, walking bass lines, Latin rhythms and bass lines, the diatonic cycle, secondary dominants, II-V-I sequences, horizontal and vertical improvisation, tritone substitution, two-handed voicings, rootless voicings, technical exercises and fingering, accompaniment styles, ear-training, discography (suggested listening). 28 pieces by the author appear alongside special arrangements of well-known jazz standards, including: Autumn Leaves * Fly Me to the Moon * In a Sentimental Mood * Mannenberg * On Green Dolphin St (Part 1) * Ornithology * Song for My Father * Straight No Chaser * Take the A Train. Also included are transcribed solos by Thelonious Monk and Horace Silver, an invaluable source of authentic jazz techniques. Also includes audio files for download, containing erformances of all pieces, played by Tim alone or with his trio of Dominic Howles (bass) and Matt Home (drums). Play-along tracks are also included, in which the piano is panned to one speaker, providing rhythm section accompaniment if desired by turning the amplifier's balance control. Copious examples of improvisation are accompanied by numerous assignments, with guidance to hand on every page. Audio is accessed online.

The Story of Boogie-Woogie: A Left Hand Like God examines the socio-historical background of the boogie-woogie piano style, from its early appearances in the barrelhouses of lumber, turpentine, and railroad camps in the southern United States, to its emergence at rent parties in Chicago and St. Louis, to its rise as a popular form of music in the nightclubs of New York, to its status as an international craze during World War II. In this enhanced revision of A Left Hand Like God, Peter J. Silvester presents a comprehensive history of boogie-woogie, describing the style's appearance and development, its offshoots, and the pianists who made it famous, and studying its impact on rhythm and blues, urban blues, and big band swing, leading to the eventual revival of 'classical' boogie-woogie in concerts and festivals. Silvester discusses significant European and American pianists of boogie-woogie throughout history, providing biographical information about their life styles and musical influences and offering an analysis of their important recordings. The book also includes a new chapter on the contribution of national and independent record companies to the recording of boogie-woogie music. A thorough bibliography and a final appendix providing many of the bass patterns common in boogie-woogie make this a valuable reference.