Chords for Piano lesson how to play 'You Never Can Tell' Graspr com

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the International Music Products _ Association, _ _ _ and by Sharp Electronics Corporation. _ _ _ _ _
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_ Now what's the tune we're going to do today?
[G] We're going to do You Never Can Tell.
[C] It's also been subbed.
It's a Chuck Berry tune, right?
Right, Chuck Berry tune.
It was featured in the movie Pulp Fiction most recently.
_ It's also been called C'est La Vie _ by, I think Bob Seger had a recording of it.
And it focuses on boogie woogie piano style and also a style that could be classified as New Orleans.
Okay.
Now by that you mean just kind of a signature bass line.
When I think New Orleans, I'm thinking kind _ of a feel that comes from like a rhythmic feel that you've got in the bass line.
Sure, it has a rhythmic feel.
I mean some of the New Orleans _ players I can think of, Dr.
John, Professor Longhair, and Eddie Bow,
and some of those people, they play like_ _ _ _
_ _ _ _ _ There's some classic songs that came out of New Orleans with that groove on it.
Sure. _ _ _ _ _ _ _
_ And you've got a [G] little boogie woogie piano licks in the right hand too. _ _ _
_ _ _ Right.
You know?
Sure.
_ _ _ _ Now how does that apply to this tune then?
Well here's a little bit of how the tune sounds.
Okay.
[C] _ _ _ _ [G] _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [G] _ _ _ [C] _
_ [G] _ _ _ [C] _ _ _ _
_ [G] _ _ _ _ _ _
So I'm really hearing this bouncing back and forth between the what, [D] root and fifth?
Bouncing back [G] and forth between the root and the fifth in the bass line.
Okay.
And by root and fifth all we mean is if you start at whatever the, if it's [D] a G chord,
[G] to G you count up five notes in scale, [D] so one, two, three, four, five, it would be a D in that case.
_ _ Okay.
And then _ adding a rhythm in the [G] right hand, _ _ _ so_ _ _ _ _
[D] _ _ [G] Okay.
_ [C] _ _ _
_ _ _ _ _ _ _ [G]
This song is a simple three chord [A#] song.
Okay.
It starts out [C] in the key of C, I'm playing it in.
Okay.
And then_
So we have a C and an F and a G now.
Yeah.
Okay.
[G] _ _ _
Now play, let's very slowly just do that groove again.
Actually this is a two chord song.
Is it? _
Yeah, it only goes from C to G.
Okay. _
33% easier Dave, you realize that now.
Yeah, I do.
I definitely do.
Let's do that, just what you did, just very slowly, so make sure if somebody is really watching this
and wants to run to the piano they can try [C] to cop this groove.
_ _ _ _ _ _ _ _
_ _ _ [G] _ [C] Now you're playing the root as an octave, but the idea is _ basically_
I can break it down.
To just be playing the, yeah, _ [G] _ _ [C] _ _ _ _
root, _ _ [G] _ [C] there's a fifth, but you're playing it below in that case, yeah.
[G] _ _ [C]
Okay.
[G] Then, _ _ _ _ [D] _
[G] when I'm in the five chord_ G7, okay.
Playing [C] G7, there's the F right there in the [G] seven.
Right.
_ _ And I'm playing it as a first inversion, which means you take this note off, you put it at the top. Okay.
_ Okay, so it's G7 inverted. _ _
Yeah.
_ _ _ That's a pretty easy groove.
It's a pretty easy groove.
When it needs to go back, it goes back.
[C] Yep.
It's funny, sometimes [G] we'll have, we do some ear training classes and things like that, and people say,
well, you know, when should I change?
I say, when you hear it.
You know?
And that's the beauty of a two chord_
That's about the only way you can do it is by [N] listening to it.
But the beauty of a two chord tune, that's why I brought that up, is that you only have one other choice.
I always say three chord tunes, _ half the time you're going to guess right even if you can't hear it.
But yeah, you can really, I think people don't give [C#] themselves enough credit sometimes for that, where you [F#] say,
hey, come on, you know, [E] you can tell me right [C] now if I start humming some familiar melody,
you can tell when _ _ something's getting ready to happen, particularly in two or three chord tunes or blues tunes.
Sure.
Yeah, I think that's, _ sometimes I think people scare themselves away thinking they have to see it all.
So this song takes its roots from Boogie Woogie.
Okay.
Because Boogie Woogie passes in it, and then there's stuff, I mean, I could just classify that as New Orleans.
Okay.
Every time I hear [A] rock music from New Orleans.
Okay.
And the _ _ piano in that record has an octave pattern. _ _ _ _ _ _
_ _ [E] _ _ [C] _ _ [E] _ _
_ _ So you're just doing it to kind of sustain it a little bit, [A] just doing that.
To further pronounce the melody.
Okay.
_ _ _ [F#] _ _ _ [F] _
_ All right.
_ Well, I'll tell you what, let's hear you play this one.
[C] Sounds good.
So let's just go, yeah, we'll pay attention to this kind of, this New Orleans groove, if you will. _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
_ [C] _ _ _ _ _ _
Look what my left hand is doing, bass and accompaniment.
Okay.
_ [Em] _ _ _ [C] So that I can play the [G] melody in the right hand.
_ _ You just combined the two into one hand.
Yeah. _ _ _ _ _
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_ _ _ _ _ [C] right. _
_ [Gm] _ _ _ Horn [G] line. _
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That [G] was a horn line.
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_ [C] _ _ _ _ _ Okay.
_ _ _ _ _ _ _ _
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_ _ So let's hear you play that one.
So let's hear you play that one.
[G] _ _ _ _ _ _ _
_ Okay.
So let's hear _ _ you play that one.
_ _ [Dm] _ _ _ [G] _ _
_ _ _ _ _ _ [F] Okay.
So [G] let's hear you play that [F] one.
[G] Okay.
So let's hear you [C] play that one.
So let's hear you play that one.
_ _ [G#] Woo!
_ [C#] _
_ [Gm] _ _ [C] _ _ [Gm] _ _ _
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_ [C] _ _ _ _ _ [C#] _ _
You never can tell.
All right.
Sounds good.
Thanks.
Pleasure.
I appreciate it, Dave.
My pleasure, Scott.
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