LESSONS

5 Ways To Play Like

George Colligan has worked with
Cassandra Wilson, Buster Williams,
Don Byron, Ravi Coltrane, and many
others. Most recently, he joined drum-
mer Jack DeJohnette’s new quintet. His
latest release is Come Together on the
Sunnyside label. Colligan is Assistant

KENNY KIRKLAND Professor of Jazz Piano at the

University of Manitoba. Find out more
at georgecolligan.com. Jon Regen

Kenny Kirkland was a true keyboard phenomenon. From his unique harmonic and rhythmic vocabulary on Wynton Marsalis’
post-bop piano proddings with trumpeter Wynton Marsalis, to his seminal album Black Codes from the Underground was a revelation for
famed, genre-defying keyboard work with Sting and his own small me. His playing had historical and technical depth, but also a tremen-
groups, Kirkland’s singular sound changed the landscape of modern dous wellspring of invention and funkiness to it. Listen closely to
music. The collective keyboard community was shocked and sad- Kirkland in action and you’ll hear everything from Bud Powell to Bela
dened by his untimely passing in 1998 at the age of 44. Bartok to James Brown. Let’s look into the rhythmic and harmonic
Kenny Kirkland was truly one of my piano heroes. Hearing his hallmarks of Kenny Kirkland’s playing. George Colligan

24 KEYBOAR DMAG.COM 09.2010

1. Swing.
Kirkland, like most of my favorite jazz pianists, has a unique way of swinging his eighth-notes. My theory is that there’s always an
implied triplet feel in his playing, even when he plays only eighth- or quarter-notes. Also, some of the eighth-notes are almost ghost-
ed, i.e., more felt than heard. The best way to capture this kind of swing feel is to listen and try to internalize it. A tune like Kirkland’s
own “Steepian Faith” has passages similar to this example that illustrate his buoyant phrasing.

Ϊ
œ œ ¿ œ ¿ bœ b¿ œ ¿
B¨‹…‘7 G¨7(#11)
4
3

&4 Ó J œ b¿ œ œ bœ œ œ bœ œ bœ
œ œ
bbœœœ œœœ bb œœ œœ b œœ
Ϊ
? 44 Ó b
J ‰ nœ Œ ‰ œ Œ ‰ nœ Ó
J J J

2. Triplet Feel.
Kirkland might play something like Ex. 2a, where he plays two triplet eighth-notes in the right hand, and the chord on the third triplet
in the left. He might do this diatonically, pentatonially, or even more chromatically in nature to build tension. Ex. 2b is a Kirkland-esque
fourth pattern that resembles something you might normally hear a saxophonist or other horn soloist play.
Ex. 2a

œ œ ‰ bœ œ b œ œ
C‹…‘ 3

& ‰ ‰ œœ‰
3 œ œœ
œœ bb œœ 3 œ
3

? Œ J Œ œŒ œ Œ œœ
J J J
3 3 3 3
Ex. 2b

bœ bœ œ œ œ nœ nœ #œ bœ bœ nœ œ
3 3 3
#œ
& œ œ #œ #œ nœ nœ œ nœ nœ #œ #œ #œj ‰ Œ Ó
3 3 3 3 3

3. Harmony.
If you saw my “5 Ways To Play Like McCoy Tyner” lesson in the June ’10 issue, you’ll remember that voicings in fourths are a com-
mon sound in the modern jazz piano language. But Kirkland uses them in a surprising way—while Tyner might play a voicing with a
tritone and a perfect fourth (with the fourth on top), Kirkland will invert it and put the tritone on top (Ex. 3a). He also might keep the
top note constant and move the inner voices (Ex. 3b). Kirkland also might play polychords as in Ex. 3c, where the F#/E could be
played over an EMaj7#11 or an E7#11. The Edim7/Fdim7 could be used, believe it or not, over a G7 chord. This harmony is derived
from the G diminished scale: G, Ab, Bb, B, Db, D, E, and F.

Ex. 3a Ex. 3b Ex. 3c

C‹…‘ F©/E Edim7/ F‡…‹7

& bw & œœ œœ bœœ œœ b w & # #w bbw

w
w
bww œ œb œ œ b w w #ww w
? ∑ ? ∑ ∑ ? #w w
w bwww
w

09.2010 KEYBOAR DMAG.COM 25

LESSONS
4. Comping.
Again, whether he was comping for Wynton Marsalis, Michael Brecker, or Sting, Kirkland had an outstanding rhythmic feel. Ex. 4a is
typical of Kirkland’s comping with someone like saxophonist Branford Marsalis. Often times, he alternates between two fourth voic-
ings on the same chord. Ex. 4b shows how he might play those voicings polyrhythmically to create tension—a Kirkland trademark.

Ex. 4a
D7(“4)

˙ ˙˙
& ˙˙ ˙
? #˙˙ ˙˙

Ex. 4b

œœ ™™ œœj
D7(“4) DŒ„Š7
œ œœ œœ œœ Œ œœ
Ϫ
& œœ Œ Ó œ œœ
œ œ œ œ œ ##œœ œ
? #œœ œœ œœ œœ
Œ Œ #œœ œœ™™ œœ
Ó œœ œœ
J
5. Signature Phrases.
Every musician has their own signature phrases which makes their sound identifiable, and Kirkland is no exception. Ex. 5a is a typical
Kirkland phrase with a bebop shape to it. Ex. 5b has a mixture of pentatonics, bebop, and chromaticism. Ex. 5c uses that diminished
scale again. This is a good one to work through all keys, and to sequence in minor thirds.
Ex. 5a

œ bœ
C‹…‘

‰ #œ œ œ œ œ œ œ nœ œ
& J bœ n œ Œ
Ex. 5b

œ œ
C‹…‘

& Ó Œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ bœ œ bœ œ Ó
œ
Ex. 5c

#œ
C7(#9)
bœ œ nœ #œ œ bœ
& œ

More Online Get these links and more at keyboardmag.com/sept2010

Kenny tearing it up George Colligan plays

Kenny Kirkland playing with Sting on “Been audio examples of
“Steepian Faith.” Down So Long.” this lesson.

26 KEYBOAR DMAG.COM 09.2010

LESSONS

JOHN ABBOTT
Instrumentalist and arranger Gil Goldstein started accor-
dion at age five, and entered jazz as a pianist in the 1970s,
performing with Pat Martino, Billy Cobham, and Jim Hall.
In the early ’80s, Goldstein began working with legendary
bandleader Gil Evans, and his interests turned to arranging.
Most recently, Goldstein’s arrangements have been fea-
tured on recordings by David Sanborn, Michael Brecker, and
Chris Botti, as well as upcoming projects by Esperanza
Spalding and Bobby McFerrin. Jon Regen

THE WORLD
ACCORDION TO GIL
The often-misunderstood accordion is now taking its rightful their live and recorded efforts. It has also been featured prominently
place in the halls of modern music. The consummate world travel- in jazz, blues, and cinematic music. It’s a nimble beast, able to leap
er, the accordion is basic to the music of Europe, South America, tall musical passages with its singular, sinewy sound. So for those
and beyond. In the United States, esteemed pop artists like Paul who’ve been curious, here’s a quick-start guide to this truly univer-
Simon, Bruce Springsteen, and Bruce Hornsby have all featured it in sal instrument. Gil Goldstein

1. Bellows Workout.
One thing that makes the accordion unique is its system called the bellows, which moves air throughout the instrument by pumping
it over the casings of metal reeds. Because of this moving air, when you depress a key or button, a particular note sounds. Often times,
you start playing with the bellows closed. When you begin a musical phrase, you use your left hand (which is strapped to the bass
mechanism housing) to open the bellows. One secret is not to pull too hard, but instead, to let the weight of the instrument help. I gen-
erally like to sit when I play, resting the instrument on my left thigh. That way, I can maximize the gravitational effect. To close the bel-
lows, you tilt the instrument to the right with the body and both arms, letting the bellows fall closed, applying only slight pressure with
the inner part of the wrist and forearm.
Here’s a five-note, right-hand phrase to help you practice the bellows. Play this at a medium tempo, and stay on the last note until
you come close to the end of the open or closed position of the bellows, then change directions. I recommend you finger each phrase
with an open hand and use no crossing of the thumb—try 2-3-4-5-4 or 1-2-3-4-3. Use this fingering even on the phrases that start with
black keys—just put your thumb up there! We’re not taught this in piano lessons, but it’s quite comfortable once you get used to it.
This is a lot like the way that guitarists and bassists can play a similar shape at any point on their instruments’ necks.

b4 œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙
&b 4
2 3 4 5 4 1 2 3 4 3

5
b
&b œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙

28 KEYBOAR DMAG.COM 09.2010

2. Button Up!
The buttons on the accordion can play everything from single-note bass lines to full chordal accompaniment. The most popular accor-
dion button layout in America is called the Stradella system, which features two rows of single-note buttons arranged in fifths, known,
respectively, as the bass and counter-bass. The bass row is the second row down, with its central C usually marked by a rhinestone.
The neighboring Ab and E buttons are also marked. The counter-bass is the top row, and is a major third away from the bass row.
Below the bass row’s C are chords in the following order: major (C, E, G), minor (C, Eb, G), dominant seventh (C, E, Bb, no G), and
diminished (C, Eb, A, no F#). Relative to each neighboring bass button, these chord shapes repeat in each key.

Try playing this repeating shape in the left hand, starting on the Bb, two notes down from the C. First, locate the C with your mid-
dle finger, then place your hand over the buttons so that finger 4 hits the F and finger 5 hits the Bb. Next, play Bb, F, G, F by using
the fingering 5-4-2-4. Next, let your pinky find the Eb (again, two notes down from the last note you played: F), and play the same
shape starting on Eb. Like the previous right hand exercise, start with the bellows closed and play each note, this time, the whole
length of the in or out motion, then change directions and switch to the next note. Let your left hand guide the instrument so that you
have freedom and mobility in the fingers to play the notes.

all notes played on the second line down (the primary bass)

? b 44 w
5
w
4
w2
w
4

w
5 4 2

w
4

b w w

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Videos: Gil Goldstein

Audio examples recorded with Bobby McFerrin Gil’s Choice: Victoria
by the author. and Pat Metheny. Accordions

09.2010 KEYBOAR DMAG.COM 29

 LESSONS

3 . A ll To g e th e r N o w !

{
Once you have practiced both hands independently on their own, try putting them together. Play this slowly, taking time to get the
feeling of the bellows and how it affects the accordion’s sound.

b4 œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙
b
& 4 œ œ œ œ ˙
? b 44 w w w w
b

{
5
b
&b œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙
?b w w
b w w

30 KEYBOAR DMAG.COM 09.2010

LESSONS
Session Sensei columnist Scott Healy
is a gifted multitasker of a musician
known for his burning work on TV with
Conan O’Brien since 1993. Visit him at
bluedogmusic.com. Jon Regen

SAMURAI KEYS
Multi-Keyboard Multitasking
Often, our jobs involve playing multiple keyboard parts at once. As a long way towardsminimizing tension—and maximizing playing power.
important asthemusic itself is, it’salso vital to makesurethat your multi- Here are four two-fisted techniques to get you up and running. Make
key rig worksergonomically with both your body and playing style. Keep- sure to check out storied players like Benmont Tench and Chuck Leavell
ing your body relaxed even when your keyboard parts are on fire can go to see the Samurai Keyboard Code in action! Scott Healy

Ex 1. Right hand organ lines, left hand Wurly comps.

Here’s the always funky marriage of Wurlitzer EP and Hammond organ. I put the volume pedal for my organ under my right foot, like
on a real B-3, so I can really ride the level. The organ’s expression pedal is a huge part of its human sound, so be sure to make it part
of yours. Single lines work great on the organ, especially if you’re laying them down hard with the left hand on the electric piano. I like
to control Leslie speed with a switch by my left foot; traditional B-3 cats prefer the “half-moon” switch near the left hand.

˙
F9 E7[åÁ] A‹…‘9
bœfij ˙
ORGAN & w ˙ ˙ ˙ ˙

œœœ ™™™ nœœ œœ œœ‰ œœœ≈ œœ ™™ œ œ œ ‰

j j j j
œœœ≈ œœœ ™™™ œœœ œœœ œœœ‰ œœœ œœœ ™™™
œœœ ‰ œœ ≈ j j j≈ j
œ ™ # œœ œœ œœ œ œœ ™™ œœœ œœœ œœœ
& bœœ œœœ
œœ œ. œœ. œ œ ™ œ œ œ œ œ ™
WURLY
œ

Ex 2. Right hand string line, left hand piano.

Piano and strings is one of the most called-for multi-key combinations, so you need to be able to execute it smoothly. Again, volume
and blend are paramount. Strings can overwhelm the mix if you don’t use them sparingly. Some players like to control their string lev-
els with a volume pedal at left, freeing up the right foot for the piano sustain pedal. I like a string sound with a good amount of veloc-
ity sensitivity—that way I can control the level by touch.

˙
F7
˙ œ œ
E7
œ œ
A‹…‘7
w ˙ œœ œœ œœ
& Ó œœ
bœ œ œ œ œ œ œ œ
? œœ ™ œ œ œœ œ œ œ n#œœ™ œ œ œœ œ œ œ nœœœ œœœ œœœ
œ œ œ œ œ œœœœ œœœœ œœœœ
œœœ œ œœœ
J J J J J J

32 KEYBOAR DMAG.COM 09.2010

LESSONS
Ex 3. Right hand organ chords, left hand piano comping.
Organ and piano—perfect together! Less is more when it comes to voicing organ chords over piano. Use voice-leading and link
the upper notes of the organ chords for a legato effect. Again, don’t forget to ride that volume pedal. Think of what two individ-
ual players would do, and be both of them yourself. You’re creating a musical dialogue between your two hands, so keep things
simple but effective.

& #œfij ˙˙ ™™
F7
bœœ ˙˙
E7
nœ œ
A‹…‘7

œ #œfi
j
n˙˙˙ ˙
#˙˙ ˙˙ ˙˙
˙
b œœ ™™™ œœ œœ n ˙˙ ™™ œœ œœœ ™™™ œœœ œœœ œœ ™™™ œœ œœ
˙
? œœ ™œœ ‰ œœ n#˙˙ ™™ œœ nœ ™œ ‰ œ œœ ™œœ ‰ œœ
˙ ˙ ˙˙
˙˙˙ ˙˙˙ ˙˙
J J J

Ex 4. Right hand synth line, left hand Rhodes.

Synth and Rhodes can be a symphony unto themselves. Maybe you’ve got a difficult prog tune with multiple parts, or you’re soloing
on synth with your right hand while comping with your left. Balancing sound levels between your multiple keyboards is a huge secret
to their success. Solo lines should be loud and proud. Experience will give you a feel for grabbing wheels and sliders to control pitch-
bend, modulation, filters, and so on, all while keeping your chording constant.

™ œ œ b œ n œ œ b œ b œ b œ bœ œ n œ nœ # œfij œ™ œ œ n œ œ œ œ œbœ
F13 G¨7(„ˆˆ13) F13 E7[åÁ]

4 œ #œ œ#œ œ nœ œœœ
&4 œ
bœœœ ™™ œœ ™™ n œœ
≈ b œJ ™™ ≈ œœJ ™™
œœ bb n œ
?4 Œ
4 Œ bœœ Œ #œ Ó

3 A‹…‘7
b œ œ œ œ œ œ™ œ œ n œ œ œ œ ™ œ œ œ
F‹…‘7 A‹…‘7 # œfij

& œ nœ œ œ œ œ œ œ bœ œ œ
˙˙˙ bb ˙˙ w
w
w
? n ˙ ˙ w

More Online Get these links and more at keyboardmag.com/sept2010

Videos: Legendary
Scott Healy plays multi- multi-key samurai
keyboard audio examples. Benmont Tench.

34 KEYBOAR DMAG.COM 09.2010