![\"\"\/](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/cocktail%20lounge.jpg\")
<\/figure>\n\n\n\n\ud83c\udf78 Cocktail Piano Ingredients<\/h2>\n\n\n\n\n- A chord progression<\/a><\/li>\n\n\n\n
- A blues scale<\/a><\/li>\n\n\n\n
- Swing rhythm<\/a><\/li>\n\n\n\n
- An ending<\/a><\/li>\n\n\n\n
- Your personal touch!<\/a><\/li>\n<\/ul>\n\n\n\n<\/div>\n\n\n\n
\n\n\n\n<\/div>\n\n\n\n1. Chord Progression<\/strong><\/h2>\n\n\n\nFirst, let’s take a look at the chords we’ll use:<\/p>\n\n\n\n![\"Cocktail](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/Cocktail%20Chords.png\")
<\/figure>\n\n\n\nPlay these chords on their own a few times to get to know their shapes. <\/p>\n\n\n\n
The Turnaround<\/h3>\n\n\n\n
Once you’re familiar with these chord shapes, try playing them in this rhythm. Play the lowest note of each chord first and follow that up with the other notes. The lowest note will form something like a walking bass.<\/p>\n\n\n\n![\"Chords](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/Cocktail%20Piano%20Turnaround.png\")
<\/figure>\n\n\n\nMore About the Chords<\/h3>\n\n\n\n
If you like music theory, here’s a breakdown of each chord.<\/p>\n\n\n\n
C6 (I6)<\/strong><\/h4>\n\n\n\nC6 = C Major Triad + Major 6th<\/strong><\/p>\n\n\n\nWe’re in the key of C Major, and the C6 chord is built on the first note of the C Major scale. Therefore, we can also call it a I (“one”) chord.<\/p>\n\n\n\n
Adding a “6” to “C6” just means we take a standard C Major chord (C-E-G) and add a Major 6th on top. We add an A because the interval<\/a> between C and A is a Major 6th, creating the chord C-E-G-A.<\/p>\n\n\n\nAm7 (vi7<\/sup>)<\/strong><\/h4>\n\n\n\nAm7 = A Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\nThe Am7 chord is built on the sixth note of the C Major scale, so we can also call it vi7<\/sup>. We use lowercase letters to represent minor chords and uppercase letters to represent major chords.<\/p>\n\n\n\nTo create an Am7 chord, we take a standard A Minor triad (A-C-E) and add a Minor 7th on top. Since the interval between A and G is a Minor 7th, the chord we’ll build is A-C-E-G.<\/p>\n\n\n\n
Dm7 (ii7<\/sup>)<\/strong><\/h4>\n\n\n\nDm7 = D Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\nThe Dm7 chord is created by taking a standard Dm chord (D-F-A) and adding a Minor 7th (C). This gives us D-F-A-C. D is the second note of the C Major scale and is a minor chord, so the other name for it is ii7<\/sup>.<\/p>\n\n\n\nG7 (V7<\/sup>)<\/strong><\/h4>\n\n\n\nG7 = G Major Triad + Minor 7th<\/strong><\/p>\n\n\n\nBuild a G7 chord by taking a standard G Major chord (G-B-D) and adding a Minor 7th (F).<\/p>\n\n\n\n
<\/div>\n\n\n\n2. C Major Blues Scale<\/strong><\/h2>\n\n\n\nNow let’s add something to the right hand! We’ll be riffing off the blues scale, which is based on the C Major pentatonic scale:<\/p>\n\n\n\n
1-2-3-5-6
C-D-E-G-A<\/strong><\/p>\n\n\n\nWe’ll take this scale and flatten the third scale degree (E), and then un-flatten it. This creates the signature blues-y sound. The flat third is our “blue note.”<\/p>\n\n\n\n
1-2-b3-3-5-6
C-D-Eb-E-G-A<\/strong><\/p>\n\n\n\nIn standard notation, this is what we’ll be playing, up and down. Note: the numbers on the bottom are scale degrees, not fingering!<\/p>\n\n\n\n![\"C](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/Blues%20Scale%20Blue%20Note%20copy.png\")
<\/figure>\n\n\n\nAs for fingering, in the video, Brett uses 1-2-3-1-2-3-5 for C-D-Eb-E-G-A-C. Use whatever feels comfortable to you, and practice the scale up and down several times. <\/p>\n\n\n\n
Know this scale like the back of your hand! We’ll be riffing off it and mixing it up.<\/p>\n\n\n\n
<\/div>\n\n\n\n3. Swing Rhythm<\/strong><\/h2>\n\n\n\nNow, let’s add a little character to our blues scale. The rhythm I use in the video is called a swing rhythm<\/a>. A swing rhythm is when you play music in a rhythm that is slightly “off.” While it can be notated with our tempo marking here, the best way to get a feel for swing is to listen to it and to try playing it yourself.<\/p>\n\n\n\n![\"\"\/](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/blues%20scale%20swing%20rhythm.png\")
<\/figure>\n\n\n\nAnother way to swing is to use a triplets. Again, rewind the video a few times to get a feel for the beat.<\/p>\n\n\n\n![\"\"\/](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/blues%20scale%20triplets.png\")
<\/figure>\n\n\n\n<\/div>\n\n\n\n4. Ending Your Cocktail Piano Mix<\/strong><\/h2>\n\n\n\nNow we need an ending to round off your cocktail piece. The ending Brett uses is called the Basie ending and it was named after William James “Count” Basie, an influential jazz pianist. It’s the most popular cocktail piano ending so it’s a handy tool to keep in your back pocket.<\/p>\n\n\n\n
\n\n![\"\"\/](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/count%20basie.jpg\")
William James “Count” Basie in 1955.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n![\"\"\/](\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2021\/Cocktail%20Piano\/basie%20ending.png\")
<\/figure>\n<\/div>\n<\/div>\n\n\n\nYou may notice that these chords are built on the C6 chord we began with. It also uses our flat 3 bass note.<\/p>\n\n\n\n
For extra flair, Brett adds an extra bass note at the end to round off the song.<\/p>\n\n\n\n
<\/div>\n\n\n\n5. Make Your Cocktail Piano Mix Unique!<\/strong><\/h2>\n\n\n\nNow that you have your cocktail ingredients, go find a piano lounge and create your own mix! Break up the blues scale so it’s not just going up and down. Vary the rhythm, add swing, and experiment with repeats. If you want to dig deeper into beginner improvisation<\/a>, check out our Riffs and Fills<\/a> resource.<\/p>\n\n\n\nOne easy way to start improvising is to just play around with all the notes that sit under your hand. You don’t need a lot of notes to start mixing and matching riffs.<\/p>\n\n\n\n
Explore this recipe on your own, and when you’re ready, take it to the cocktail lounge!<\/p>\n\n\n\n
<\/div>\n\n\n\n
\n\n\n\n
1. Chord Progression<\/strong><\/h2>\n\n\n\nFirst, let’s take a look at the chords we’ll use:<\/p>\n\n\n\n<\/figure>\n\n\n\nPlay these chords on their own a few times to get to know their shapes. <\/p>\n\n\n\n
The Turnaround<\/h3>\n\n\n\n
Once you’re familiar with these chord shapes, try playing them in this rhythm. Play the lowest note of each chord first and follow that up with the other notes. The lowest note will form something like a walking bass.<\/p>\n\n\n\n<\/figure>\n\n\n\nMore About the Chords<\/h3>\n\n\n\n
If you like music theory, here’s a breakdown of each chord.<\/p>\n\n\n\n
C6 (I6)<\/strong><\/h4>\n\n\n\nC6 = C Major Triad + Major 6th<\/strong><\/p>\n\n\n\nWe’re in the key of C Major, and the C6 chord is built on the first note of the C Major scale. Therefore, we can also call it a I (“one”) chord.<\/p>\n\n\n\n
Adding a “6” to “C6” just means we take a standard C Major chord (C-E-G) and add a Major 6th on top. We add an A because the interval<\/a> between C and A is a Major 6th, creating the chord C-E-G-A.<\/p>\n\n\n\nAm7 (vi7<\/sup>)<\/strong><\/h4>\n\n\n\nAm7 = A Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\nThe Am7 chord is built on the sixth note of the C Major scale, so we can also call it vi7<\/sup>. We use lowercase letters to represent minor chords and uppercase letters to represent major chords.<\/p>\n\n\n\nTo create an Am7 chord, we take a standard A Minor triad (A-C-E) and add a Minor 7th on top. Since the interval between A and G is a Minor 7th, the chord we’ll build is A-C-E-G.<\/p>\n\n\n\n
Dm7 (ii7<\/sup>)<\/strong><\/h4>\n\n\n\nDm7 = D Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\nThe Dm7 chord is created by taking a standard Dm chord (D-F-A) and adding a Minor 7th (C). This gives us D-F-A-C. D is the second note of the C Major scale and is a minor chord, so the other name for it is ii7<\/sup>.<\/p>\n\n\n\nG7 (V7<\/sup>)<\/strong><\/h4>\n\n\n\nG7 = G Major Triad + Minor 7th<\/strong><\/p>\n\n\n\nBuild a G7 chord by taking a standard G Major chord (G-B-D) and adding a Minor 7th (F).<\/p>\n\n\n\n
<\/div>\n\n\n\n2. C Major Blues Scale<\/strong><\/h2>\n\n\n\nNow let’s add something to the right hand! We’ll be riffing off the blues scale, which is based on the C Major pentatonic scale:<\/p>\n\n\n\n
1-2-3-5-6
C-D-E-G-A<\/strong><\/p>\n\n\n\nWe’ll take this scale and flatten the third scale degree (E), and then un-flatten it. This creates the signature blues-y sound. The flat third is our “blue note.”<\/p>\n\n\n\n
1-2-b3-3-5-6
C-D-Eb-E-G-A<\/strong><\/p>\n\n\n\nIn standard notation, this is what we’ll be playing, up and down. Note: the numbers on the bottom are scale degrees, not fingering!<\/p>\n\n\n\n<\/figure>\n\n\n\nAs for fingering, in the video, Brett uses 1-2-3-1-2-3-5 for C-D-Eb-E-G-A-C. Use whatever feels comfortable to you, and practice the scale up and down several times. <\/p>\n\n\n\n
Know this scale like the back of your hand! We’ll be riffing off it and mixing it up.<\/p>\n\n\n\n
<\/div>\n\n\n\n3. Swing Rhythm<\/strong><\/h2>\n\n\n\nNow, let’s add a little character to our blues scale. The rhythm I use in the video is called a swing rhythm<\/a>. A swing rhythm is when you play music in a rhythm that is slightly “off.” While it can be notated with our tempo marking here, the best way to get a feel for swing is to listen to it and to try playing it yourself.<\/p>\n\n\n\n<\/figure>\n\n\n\nAnother way to swing is to use a triplets. Again, rewind the video a few times to get a feel for the beat.<\/p>\n\n\n\n<\/figure>\n\n\n\n<\/div>\n\n\n\n4. Ending Your Cocktail Piano Mix<\/strong><\/h2>\n\n\n\nNow we need an ending to round off your cocktail piece. The ending Brett uses is called the Basie ending and it was named after William James “Count” Basie, an influential jazz pianist. It’s the most popular cocktail piano ending so it’s a handy tool to keep in your back pocket.<\/p>\n\n\n\n
\n\nWilliam James “Count” Basie in 1955.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n<\/figure>\n<\/div>\n<\/div>\n\n\n\nYou may notice that these chords are built on the C6 chord we began with. It also uses our flat 3 bass note.<\/p>\n\n\n\n
For extra flair, Brett adds an extra bass note at the end to round off the song.<\/p>\n\n\n\n
<\/div>\n\n\n\n5. Make Your Cocktail Piano Mix Unique!<\/strong><\/h2>\n\n\n\nNow that you have your cocktail ingredients, go find a piano lounge and create your own mix! Break up the blues scale so it’s not just going up and down. Vary the rhythm, add swing, and experiment with repeats. If you want to dig deeper into beginner improvisation<\/a>, check out our Riffs and Fills<\/a> resource.<\/p>\n\n\n\nOne easy way to start improvising is to just play around with all the notes that sit under your hand. You don’t need a lot of notes to start mixing and matching riffs.<\/p>\n\n\n\n
Explore this recipe on your own, and when you’re ready, take it to the cocktail lounge!<\/p>\n\n\n\n
<\/div>\n\n\n\n
<\/figure>\n\n\n\nPlay these chords on their own a few times to get to know their shapes. <\/p>\n\n\n\n
The Turnaround<\/h3>\n\n\n\n
Once you’re familiar with these chord shapes, try playing them in this rhythm. Play the lowest note of each chord first and follow that up with the other notes. The lowest note will form something like a walking bass.<\/p>\n\n\n\n If you like music theory, here’s a breakdown of each chord.<\/p>\n\n\n\n C6 = C Major Triad + Major 6th<\/strong><\/p>\n\n\n\n We’re in the key of C Major, and the C6 chord is built on the first note of the C Major scale. Therefore, we can also call it a I (“one”) chord.<\/p>\n\n\n\n Adding a “6” to “C6” just means we take a standard C Major chord (C-E-G) and add a Major 6th on top. We add an A because the interval<\/a> between C and A is a Major 6th, creating the chord C-E-G-A.<\/p>\n\n\n\n Am7 = A Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\n The Am7 chord is built on the sixth note of the C Major scale, so we can also call it vi7<\/sup>. We use lowercase letters to represent minor chords and uppercase letters to represent major chords.<\/p>\n\n\n\n To create an Am7 chord, we take a standard A Minor triad (A-C-E) and add a Minor 7th on top. Since the interval between A and G is a Minor 7th, the chord we’ll build is A-C-E-G.<\/p>\n\n\n\n Dm7 = D Minor Triad + Minor 7th<\/strong><\/p>\n\n\n\n The Dm7 chord is created by taking a standard Dm chord (D-F-A) and adding a Minor 7th (C). This gives us D-F-A-C. D is the second note of the C Major scale and is a minor chord, so the other name for it is ii7<\/sup>.<\/p>\n\n\n\n G7 = G Major Triad + Minor 7th<\/strong><\/p>\n\n\n\n Build a G7 chord by taking a standard G Major chord (G-B-D) and adding a Minor 7th (F).<\/p>\n\n\n\n Now let’s add something to the right hand! We’ll be riffing off the blues scale, which is based on the C Major pentatonic scale:<\/p>\n\n\n\n 1-2-3-5-6 We’ll take this scale and flatten the third scale degree (E), and then un-flatten it. This creates the signature blues-y sound. The flat third is our “blue note.”<\/p>\n\n\n\n 1-2-b3-3-5-6 In standard notation, this is what we’ll be playing, up and down. Note: the numbers on the bottom are scale degrees, not fingering!<\/p>\n\n\n\n As for fingering, in the video, Brett uses 1-2-3-1-2-3-5 for C-D-Eb-E-G-A-C. Use whatever feels comfortable to you, and practice the scale up and down several times. <\/p>\n\n\n\n Know this scale like the back of your hand! We’ll be riffing off it and mixing it up.<\/p>\n\n\n\n Now, let’s add a little character to our blues scale. The rhythm I use in the video is called a swing rhythm<\/a>. A swing rhythm is when you play music in a rhythm that is slightly “off.” While it can be notated with our tempo marking here, the best way to get a feel for swing is to listen to it and to try playing it yourself.<\/p>\n\n\n\n Another way to swing is to use a triplets. Again, rewind the video a few times to get a feel for the beat.<\/p>\n\n\n\n Now we need an ending to round off your cocktail piece. The ending Brett uses is called the Basie ending and it was named after William James “Count” Basie, an influential jazz pianist. It’s the most popular cocktail piano ending so it’s a handy tool to keep in your back pocket.<\/p>\n\n\n\n You may notice that these chords are built on the C6 chord we began with. It also uses our flat 3 bass note.<\/p>\n\n\n\n For extra flair, Brett adds an extra bass note at the end to round off the song.<\/p>\n\n\n\n Now that you have your cocktail ingredients, go find a piano lounge and create your own mix! Break up the blues scale so it’s not just going up and down. Vary the rhythm, add swing, and experiment with repeats. If you want to dig deeper into beginner improvisation<\/a>, check out our Riffs and Fills<\/a> resource.<\/p>\n\n\n\n One easy way to start improvising is to just play around with all the notes that sit under your hand. You don’t need a lot of notes to start mixing and matching riffs.<\/p>\n\n\n\n Explore this recipe on your own, and when you’re ready, take it to the cocktail lounge!<\/p>\n\n\n\n<\/figure>\n\n\n\nMore About the Chords<\/h3>\n\n\n\n
C6 (I6)<\/strong><\/h4>\n\n\n\n
Am7 (vi7<\/sup>)<\/strong><\/h4>\n\n\n\n
Dm7 (ii7<\/sup>)<\/strong><\/h4>\n\n\n\n
G7 (V7<\/sup>)<\/strong><\/h4>\n\n\n\n
2. C Major Blues Scale<\/strong><\/h2>\n\n\n\n
C-D-E-G-A<\/strong><\/p>\n\n\n\n
C-D-Eb-E-G-A<\/strong><\/p>\n\n\n\n<\/figure>\n\n\n\n3. Swing Rhythm<\/strong><\/h2>\n\n\n\n
<\/figure>\n\n\n\n<\/figure>\n\n\n\n4. Ending Your Cocktail Piano Mix<\/strong><\/h2>\n\n\n\n
<\/figure>\n<\/div>\n<\/div>\n\n\n\n5. Make Your Cocktail Piano Mix Unique!<\/strong><\/h2>\n\n\n\n