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Hi. I am a pretty advanced player. I am still struggling with left hand right hand coordination with blues. I can impro all day long in the right hand and in the left too but together is the issue. If I put a basic pattern in the left, then I can free the right to do creative lines, if I put something basic in the right- like block chords, I can improvise freely in the left, but I can't seem to gel the two hands well if I want freedom in both at the same time. I have hundreds of lines for right and hundreds for the left
I think you're asking a lot of yourself. Improvising freely with both hands (if that's what you mean) at the same time is very very difficult indeed, especially if you want the result to sound coherent. Most of the great Jazz and blues pianists I've listened to never really did that. Sure some used walking bass lines, and to a degree they were improvised, but the function was never to play a solo, it was to accompany the RH.
Even a great player like Oscar Peterson, whose technique was brilliant in both hands, didn't really do what you appear to be describing. He'd sometimes play unison right and left hand lines, but improvising freely in both; no.
If you're just talking about improvising over blues then, my recommendation would be to practise the left hand blues or boogie-woogie part separately until its fluent and you don't have to think about it. Then try adding in the RH. And if you really want improvise in the LH, then reverse the hands and learn the other way around.
Unless you are very advanced, improvising in both hands at the same time is just likely to sound awful. I wonder if anyone has written a blues fugue?!
Other better musicians than me on this forum may be able help you. Perhaps if you could clarify in a bit more detail exactly what you want to achieve, you get a few helpful replies.
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I can't do it neither, but I suppose that the first step on that way would be to learn to 'pass on the baton' from one hand to another, so you could change the hand that leads improvisation smoothly without any interruption.
Occasionally when I try to use some left hand melodic material in improvising, I do what Iaroslav suggests; I go back and forth between the hands, playing either nothing in the other hand or just simple chords. To have both hands improving melodies a la Fred Hersch or Brad Mehldau is way beyond me!
I've been buying up blues piano books and CDs lately, and I'm not seeing / hearing a lot of what the OP is describing so far. Maybe Otis Spann? But that guy was freakin' nuts! Mostly, the left hand plays various bass lines and/or chord patterns, and the right hand does the soloing.
Been think about this a lot. So, I am going to tryi to asnwer my own question. I think it's a question of thinking of both hands in one go, as one unit, not as seperate entities. This is what I am practsing. a] Take a pattern - an arpeggiated pattern, lets say something like this. L: Root, fifth, octave, follwed immediately by third, fifth, Octave, Left fifth, rh root, tthird fifth. Or some other pattern, not too plain, which features both hands.
b] practise this until its in the muscle memory, in one key over one set of chords. c] Transpose this through 12 keys
d] Use the same pattern over different forms, I VI V: I VI IV V: II V, I: etc
e] Using the same muscular pattern of finger movements, start using 9ths and 6ths, different voicings etc
Once that is bedded in, which can take a month or more, take a different muscular pattern (both hands again) through the same paces
Add in fills
After a time thinking like this bnoth hands should come together.