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Any Deadline - Any Subject. If you'd like to play "Smokin'" exactly as it was recorded, this is just what you're looking for. This score is a very clear way to study a great rock B-3 organ classic.

Here is Boston's "Smokin'" on YouTube. At the age of five Brent Mason taught himself to play guitar by ear, and went on to become one of Nashville's leading session guitarists.

In he released his first album, "Hot Wired", an album of instrumentals. The title song is an uptempo track BPM with virtuoso guitar licks, and an equally impressive piano solo by Matt Rollings , himself one of Nashville's A-list session players.

It also contains the brief piano riff that Rollings throws in later in the song. If you'd like to play the "Hot Wired" piano solo exactly as Matt Rollings and Wil Houchens play it - and it's an excellent study in how to expand out from pentatonic scales and embrace more sophisticated chromaticism - this is just what you need.

Telling the story about the three stages in Jimmy Brown's life, it is a warmly sung recording with an excellent 'feel' to the Choruses, due in large part to the piano, which was played by Floyd Cramer, as told to me by Jim Ed Brown himself. However, the piano part is hard to hear because of the accompanying instruments and vocals. This is a note-for-note transcription of Floyd Cramer's entire piano part on The Browns' now-classic recording, which reached No.

Springsteen was in the studio recording his "Darkness on the Edge of Town" album with producer Jimmy Iovine, and recorded a version of it. He wasn't happy with it, and Iovine, who was producing Smith's "Easter" album at the same time, gave a recording of it to Smith. She added some lyrics to it, and released it on "Easter", becoming the first single release from that album and rising to 13 on the Billboard Hot chart. Although Springsteen would perform the song live, and released it on his "Live " album, his studio version was never released until "The Promise" box set in November Classic Springsteen in his prime, "Because the Night" features Roy Bittan playing his classic rock piano style on the track.

Starting the song with a two-bar running 8th-note figure, almost classical in nature, the piano track contains Bittan's wonderful, powerful 4-note Right Hand chords, glissandi, a different two-bar classical-like running 8th-note figure in Verse 2, octave runs, a whole-step-up modulation three-quarters of the way through, and a strong Left Hand part , closely following Garry Tallent's bass guitar line.

If you want to study Bittan's style, and play his exact notes, you'll love this complete note-for-note transcription, which contains all 96 measures - the entire song. If you'd like to also have the bass guitar part, here is the piano score, just as described above, with the addition of Garry Tallent's bass guitar part:.

It became a classic rock anthem, launching his legendary career. Springsteen has said that although the beginning of the song was written on guitar around the opening riff, the song's writing was finished on piano. The track was recorded during a touring break in August and featured session pianist David Sancious on piano. This is the version that was the power-house radio hit for Springsteen.

Beginning in June Sancious began to tour regularly with the E Street Band; and legend has it that the band took its name from the street in Belmar, New Jersey, where Sancious' mother lived, as she had allowed the band to rehearse in her home.

This piano part has never been transcribed before, but here it is now, complete - all measures of David Sancious' piano part, note-for-note. If you want to play Springsteen's radio smash hit with complete accuracy, here is your chance. If you've ever been to a Springsteen concert since , you've seen and heard Roy Bittan performing "Born To Run", and Bittan's piano part is quite different from Sancious' radio-hit version , right from the beginning.

Bittan replaced Sancious' intro with his own part, which follows the famous electric guitar riff, and recurs every Chorus. For other parts of the song, Bittan sometimes references a Sancious part here and there, but always with his own spin on it, and often with his hands two octaves apart, which cut through better for live shows. When Clarence Clemons' sax solo begins, Bittan's part is quite different and during the Bridge is completely different from any of Sancious' parts - often using big fat classical-concerto chord voicings in both hands for a very dramatic effect.

At the end of the Bridge where the off-beat descending chromatic line occurs, an entire section is inserted that is not on the album version at all - a slow, out-of-time, ascending chromatic line, building the tension until the final Verse kicks in, leading to the strongly rocking Out Section. Bittan's wonderful, dramatic performance on it has been transcribed note-for-note - all measures.

If you've ever wanted to study Roy Bittan's wonderful, rocking style, here it is, complete with his octave runs, punchy right-hand chords, and high tinkly voicings - everything precisely notated. Originally written by Springsteen for The Ramones, he decided to keep it for himself.

The title is drawn from a line in Alfred, Lord Tennyson's famous poem "Ulysses": "For always roaming with a hungry heart". The Turtles, later known as Flo and Eddie, sang back-up on the recording. The keyboards on the song are outstanding, both Roy Bitten's piano and Danny Federici's organ part.

Although in the key of C, the song modulates up to E-flat for the organ solo, providing a tonal 'lift' that Federici takes wonderful advantage of in his solo - one of the catchiest, and most uplifting organ solos ever recorded - a Hammond B-3 classic.

This is a note-for-note transcription of Danny Federici's B-3 organ solo on "Hungry Heart", and also includes a transcription of the bass guitar part during the 8-bar solo. If you'd like to play Federici's exact notes and really nail one of rock's greatest B-3 solos, this is just what you need. Here is "Hungry Heart" on YouTube. The organ solo begins at On "Jungleland" Clarence Clemons takes a great sax solo.

After it's over but before Bruce Springsteen resumes singing, pianist Roy Bittan plays a solo piano Interlude. In live performances this piano Interlude varies from the album version, and one of the better performances was "Live at the Nassau Coliseum" on December 29, This is a note-for-note transcription of Roy Bittan's second, bar solo piano Interlude as played Live on If you'd like to play this brief but important part of "Jungleland" exactly as Roy Bittan has performed it, this is just what you need.

Earl Van Dyke , the leader of the Funk Brothers, was probably the pianist. It is simply one of the most dance-able records ever, propelled by the amazing piano part. Even before the drums come in, the bass guitar and piano kick off the song, setting forth the syncopated, foot-tapping 'groove'. And even though the piano has already been a prominent part of the recording since the beginning, halfway through the song the piano is given a solo when the singer says, "Now give me a little bit of bass with those 88's".

And those ivories just continue to play a very important role in this classic recording. This is a note-for-note transcription of the complete piano part in "Cool Jerk" , complete with all the very cool riffs, tremolos, chord voicings that the Funk Brothers' pianist laid down.

And the riffs are not limited to just blues-scale notes. Carrie Underwood - Undo It - Elec. Released in , "Undo It" became Carrie Underwood's 7th biggest hit, selling 1. The riff is used not only during the Intro but also during the Verses. This is a transcription of that 2-bar, 4-chord pattern. It can be tricky to pick out, so this should prove very helpful if you'd like to play it just like the original record.

Although the song was not released as a single, it has received regular airplay ever since. Perhaps one reason is the very cool synthesizer solo played by Greg Hawkes. This is a note-for-note transcription of Hawkes' 8-bar synth solo , which can be tricky to pick out because of the digital delay FX applied to it.

This score will demystify the solo and let you play it exactly as it was recorded. Prior to the actual recording, Stevens heard Wakeman play something in the recording booth, a rough sketch of what would later become "Catherine Howard". Stevens told Wakeman that he liked it and wanted something similar. Wakeman told Stevens he could not as it was his piece destined for a solo album, but Stevens persuaded him to adapt his composition.

This is a note-for-note transcription of the piano part. Play it exactly as Rick Wakeman recorded it. Taz DiGregorio played and recorded with Charlie for 47 years, until his passing in ironically, driving on his way to join the tour bus.

Taz was born in in Massachusetts, where he taught himself to play by ear after being inspired by a Ray Charles concert. The Chorus contains the main piano part for the song, so this section is the key to being able to perform it accurately. Of special interest are the booming low Left Hand octaves DiGregorio uses he uses the very lowest note on the piano , while his Right Hand is playing a fast banjo-like, 16th-note figure.

Many of Chuck Berry's recordings are known for their terrific piano parts, often played by Johnnie Johnson. At first listen it sounds like Johnnie Johnson's high-register tinkling, but research indicates that it was Sonny Thompson, a very strong Chicago-based session player. The entire recording is underpinned by a terrific boogie-woogie piano part that happens to be almost completely in thirds in the right hand, spanning the registers from below middle C to the highest octave.

Occasionally the thirds are flipped and sixths are used, but it could well be titled "boogie-woogie in thirds". One of this track's defining characteristics is the detached, bouncy touch.

Although never a sharp staccato, the right hand part is always detached, never legato, and very 'bouncy'. Its feel is one of the best of Chuck Berry's recordings, and that's saying something. This note-for-note transcription contains the entire recording - all 98 measures - not just the 30 seconds used in the Amazon commercial. If you'd like to study how one of Chuck Berry's best piano tracks is constructed, and perhaps incorporate some of the licks into your own playing, this transcription is an excellent tutorial.

The day that Chuck Berry meet Johnnie Johnson was a good day for rock-and-roll - that was December 31, to be precise. And between Berry's lyrics and Johnnie's fabulous piano-playing, some of rock's seminal songs were written and recordings were made. They began recording for Chess Records in Chicago in and continued a string of amazing records for ten years. In their recording of "You Never Can Tell" had as much rock-and-roll energy and pure joie de vivre as any piano-based rock recording, before or since - a study in bouncy, uplifting, foot-tapping piano boogie-meets-rock.

Full of tremolos, thirds, hammered 4ths, octaves, 3-against-2 triplets , and other pianistic goodies, the entire track is underpinned by Johnson's wonderful boogie-woogie Left Hand part. And every note is precisely written out, even the tremolos - no detail is left out. Released in , "Clocks" is one of Coldplay's biggest hits. The entire song is piano-driven, and starts off with Chris Martin's famous piano riff that recurs throughout the song.

Later in the song a different arpeggiated piano riff is introduced that leads into the Bridge. Immediately after the Bridge, the first piano riff is heard again, followed by the second piano riff, which begins the Out Section, eventually fading out. This is a transcription of the entire song - all measures. If you'd like to play "Clocks" from beginning to end, this is exactly what you need.

Here is "Clocks" on YouTube. Recorded in and released in on their "A Rush of Blood to the Head" album, "The Scientist" is perhaps Coldplay's most hauntingly-beautiful ballad. Piano-based, it begins with eight bars of only Chris Martin's piano, playing its signature 4-bar phrase twice. The Left Hand in "The Scientist" does not play octaves but usually full chords and two-note intervals in voicings that can be a little tricky to pick out.

They have never been accurately transcribed before. The Right Hand part also uses some chord voicings that are not commonly found, including some Brian Wilson-influenced inner voicings using Major 9th chords and Major 6th chords. This is a note-for-note transcription of the entire album-length version - all 91 measures. If you'd like to play the haunting piano part on "The Scientist" just as Chris Martin recorded it, here is your chance to do so. Here is a video of "The Scientist" on YouTube.

Nelson's favorite recorded version was that of Patsy Cline, who, ironically, absolutely hated the song upon first hearing it. It became her biggest hit. A pianist named zzipizape has recorded and posted onto YouTube his own solo piano arrangement of 'Crazy'. Here is a video of zzipizape performing his arrangement of 'Crazy' on YouTube.

After graduating in he and his high school sweetheart had gone to different colleges, and then moved to different states, losing touch with each other. By pure coincidence seven years later they ran into each other at a convenience store in their home town, which they were both visiting for the Christmas holidays.

They bought a six-pack of beer and talked in her car for two hours, and although the spark was still there, she had married. Five years later, in , she heard the song on the radio that he'd written about their encounter, and although she had since divorced, kept quiet about it until after his death, concerned that it would disrupt Fogelberg's marriage.

Fogelberg himself refused to reveal her identity. On the recording Fogelberg played all the instruments except drums Russ Kunkel and soprano sax Michael Brecker. His piano part is a true classic. The piano intro starts out almost like a music box, then drops down to the mid-register for the first verse, where it stays for most of the remainder.

It is a long song, almost 5 and a half minutes, comprising measures: an Introduction, ten Verses, three Choruses, and an Out section. The piano part sounds simpler than it is, ingeniously divided between two hands , although much of it sounds like one hand - reflecting his wonderful talent as a multi-instrumentalist.

If you'd like to learn one of pop's most beautiful love songs exactly as it was recorded and at the same time increase your knowledge of how a pop piano part can be excellently constructed and performed, "Same Old Lang Syne" is a textbook example.

Treat yourself to the only precisely accurate transcription available anywhere of Dan Fogelberg's "Same Old Lang Syne" - all measures! It was recorded in during The River sessions, but it was not released on the album.

The song was covered by Dave Edmunds in , and his version of the song peaked at position 28 on the Billboard Rock Chart. Edmunds' recording contained a terrific boogie-woogie piano solo by Geraint Watkins. This is a note-for-note transcription of that rocking bar solo, complete with flips, crushed notes, 'yodeling' sixths and other pianistic goodies.

If you'd like to perform this piano solo just as recorded, this will show you exactly how to play it. Last year, when everyone was having to "socially distance", Mason got some of his friends together to re-record a brand-new version - a video using split-screen technology - and WOW! This note-for-note transcription contains the first minute plus the piano Solo and the Piano breakdown, played by Michael McDonald.

Recorded during late-night jams while touring, the band was comprised of rock's finest musicians: Leon Russell on piano , Jim Keltner on drums, and bassist Carl Radle. After kicking the song off with an atmospheric piano Intro, Leon conjures up a smokey, swampy accompaniment straight out of Southern churches , building from soft passages to aggressive gospel.

This is a note-for-note transcription of the piano part for the entire recording - almost 4 minutes long. Later Patsy Cline had a hit with it in But somewhere along the line Leon Russell envisioned it in a 'white gospel' style, very different from either Wills or Clines' versions.

During the piece Leon uses lots more octaves, plus a few two-handed runs, very sweet 6ths, and some lovely chord changes. Recorded in when he was in his prime, this is full of Leon's slow-gospel stylistic licks. This is a note-for-note transcription of Leon Russell's entire piano part - all of it. If you want to learn how Leon played, this is a good piece to play and to study. Delbert McClinton plays and writes roadhouse-style rock. He's been nominated for eight and won four Grammy Awards. In he recorded Bobby Osborn's "Going Back to Louisiana" and has included it into his live sets ever since.

One of his best performances was on opening night of the Sandy Beaches Cruise. If you'd like to include this excellent piano solo into your own performances of "Going Back to Louisiana", or would just like to study how a well-done blues solo is constructed , this is what you need. One of rock's greatest tragedies is Dennis Wilson, one of the founding members of The Beach Boys - a tragedy not only because of a man's life cut short in his prime, but also because of a talent not fully appreciated during his lifetime.

Although rich and famous as The Beach Boys' drummer, Dennis never felt that his real musical 'voice' had been realized. He heard music in his head that did not sound like that of his brothers, Brian and Carl. Similar to Brian, he had musical visions larger and more epic than just short pop ditties.

An introspective three-minute piano solo loosely referencing another of his songs, "Piano Variations" starts with gentle arpeggios, evolves through a classically-influenced Bridge, and ends ethereally with an ever-softening decrescendo to quadruple-piano pppp in the piano's higher registers. This is a note-for-note transcription of the entire song - all 54 measures - to the very last note which is almost impossible to hear on the recording.

To see a customer's comment, click here. One of rock piano's most classic recordings. An amazing piece of music, and an amazing behind-the-scenes tale. Apparently written by Rita Coolidge when she was dating drummer Jim Gordon, it was overheard by Eric Clapton when he came upon Gordon playing it in the studio during the Derek and the Dominos sessions.

This is a note-for-note transcription of the entire last half of "Layla" - the piano half - all of it, measures in all. Starting with the forceful, attention-getting opening statement by the solo piano, continuing through the many sections with their wonderful octaves and that special 'Layla' chord, all the way to the very end when the last thing you hear is Duane Allman's high-pitched 'bird call'. If you've ever wanted to play one of rock's most amazing piano instrumentals just as it was recorded, this is your chance.

Here is "Layla" on YouTube. The piano part starts at This is a lead sheet transcribed note-for-note from the TV show. It contains only the melody line of the lead vocal and the chord symbols of the entire TV performance - all 65 measures. A gentle, nostalgic solo piano introduction - with classic Floyd Cramer slip-note 'licks' - sets the mood for the song. Don Henley, the co-founder of the Eagles in , was their drummer until they broke up in , whereupon Henley started a solo career.

Winding made good use of tremolos in 3rds and 6ths, octaves, and other gospel-piano techniques, including a solo halfway through. This song has never been included on a Don Henley album, but sometimes appears on YouTube.

To listen, click here to hear just the piano solo in "You Don't Miss Your Water" the transcription is of the entire song, including the solo. Performed by the 1 session pianist in New York City, Paul Griffin, the track is as creative as it is long - - going from majestic opening chords to highly-rhythmic calypso-influenced sections with tremendous 'bounce'.

Because of its length this transcription is a little more expensive than others, but on a per-measure basis, it's actually one of my least expensive. This "American Pie" transcription is the most important transcription I've done. In , McLean's original recording was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant". If you've wondered what the brilliant pianist on "American Pie" is really playing, this is your chance to learn and play it exactly as it was recorded.

The song is largely based upon McDonald's distinctive-sounding piano 4-bar piano pattern, which starts the song. This is a note-for-note transcription of the 8-bar Intro, which contains the main piano part for the song. Also included are the first four bars of Verse 1 , to show that the main piano riff continues during the Verse.

If you'd like to learn "What a Fool Believes", this will show you the exact voicings to get that great Michael McDonald piano sound. This transcription covers the first 25 seconds. John is simply one of the best piano players of all time, a true master of the New Orleans-boogie style. In he videotaped a video tutorial called "Dr. This is a note-for-note transcription of the entire piece - all 70 measures. In a minute and fifty seconds Mac Rebennack Dr.

John's real name shows off many of his trademark tricks: octaves, double-fisted chord tremolos, tremolos in sixths, 'flips', and swirling rhythms, all grounded by a low, growly, rhythmic bass line in the Left Hand - so low that it often goes down to the next-to-the-lowest note on a piano , low B-flat. If you've ever wanted to see exactly what Dr.

John is doing to create his 'sound' , this transcription is just what you've been looking for. To listen, just click: Dr.

John - Pine Top Boogie. During the summer of Dr. John had his biggest hit ever, "Right Place, Wrong Time". That evolves into very rhythmic chords that drive the entire rhythm track. This is a note-for-note transcription of the main electric keyboard part , exactly as it was played by Allen Toussaint yes, Toussaint played that part, not Dr. If you'd like to play this Dr.

John classic exactly as it was recorded, with all the wonderful New Orleans 'voodoo' rhythms, this is exactly what you need.

Here is Dr. John to record the most famous song associated with the game - "Take Me Out to the Ballgame". In true Dr. John fashion, he knocked it out of the ballpark. This is a note-for-note transcription of the bar 54 seconds Hammond B-3 organ solo, full of Dr. John's organ techniques, from single-note lines to fat chords, from staccato notes with percussion to sustained notes. Also included are suggested drawbar and percussion settings.

If you'd like to study Mac Rebennack's Dr. John's real name organ style and play the solo in baseball's most famous song exactly as the good New Orleans doctor recorded it, here is your chance. John's recording of "Take Me Out to the Ballgame". His organ solo begins at Unfortunately the Duke never made many piano solo recordings; most were orchestral. However, very early in his career, in at the age of 29, Ellington wrote and recorded one of his very best compositions, "Black Beauty", a piano solo written as a memorial to Florence Mills , one of the era's leading young entertainers who had passed away unexpectedly.

Compositionally it draws from many influences, including Debussy and Ravel who was still alive and in his prime - Impressionist whole-tone scales - and George Gershwin - chord voicings, grace-noted flat-7th's 'Rhapsody in Blue' was only four years old - and even Scott Joplin. The song's structure was also more complex than any song of its time, even though it is all packed into a wonderfully concise three minutes.

If you'd like to study the Duke's piano style, and play this timeless piano classic exactly as the Duke himself played it , treat yourself to a very special experience and download "Black Beauty" now. One of the Eagles' most famous songs, "Desperado" was released in on their album of the same name. The piano plays the very first notes heard - a solo piano Intro that has itself become a classic, immediately identifying the song to most listeners. After the Intro, the piano continues its solo accompaniment of the voice throughout several sections.