5 Ways To Play Like Donald Fagen

BY BRIAN CHARETTE
March 21, 2013

For over 40 years, Donald Fagen has had a monumental impact on modern
music. His jazz-tinged songwriting and funky keyboard work helped define the
sound of a generation. Largely self-taught, Fagen regularly went to see players
like Charles Mingus, Thelonious Monk, and Miles Davis perform during his
formative musical years. Those experiences piqued an interest in jazz harmony
that continues to this day. Here are five ways to play like this modern keyboard
master.

1. Piano Chording

One hallmark of Fagen’s musical persona is his deft command of keyboard harmony, demonstrated in Ex. 1.
He often plays jazz-influenced chord voicings with an abundance of chord extensions in tightly spaced
positions. This example is reminiscent of his piano work on his new song “Good Stuff,” with intriguing inner
motion and chordal tension.

2. Wurlitzer and Rhodes Parts

Fagen is a lifelong fan of vintage keyboards like the Rhodes and Wurlitzer electric piano. Ex. 2 is similar to
his Wurly technique on tracks including the bluesy “Weather in My Head,” “Jack of Speed” from the Steely
Dan album Two Against Nature, and more. Bar 1 begins with a modern harmonic approach that includes
slash chords, which use a bass note other than the chord root and are a Fagen favorite. Bars 3 and 4
demonstrate the technique of alternating diatonic triads in the Dorian mode for comping over the B minor
chord.
3. Melodica Lines

The reedy tone of the melodica, a breath-powered keyboard (Hammond-Suzuki calls their models
melodions) appears often in Fagen’s work. Ex. 3 demonstrates his use of that instrument. In bar 1, we have a
simple melodic motif that returns in bar 3. Then bar 2 begins with a Charlie Parker-esque bebop phrase that
utilizes the notes of the E Mixolydian mode as well as the chromatic embellishing tone of A#. Later, bar 4
communicates a pentatonic-flavored idea.

4. Complex Harmony

Fagen will often move close-position jazz voicings in fourths and fifths to create interesting harmonic shifts,
as seen in Ex. 4. Following the initial Eb suspended chord, Fagen uses four different major seventh voicings
to take us towards our destination: a B minor 11th chord. Try this technique yourself by harmonizing a
melody with unusual chords that are notdiatonically related.

5. Rhythmic Clav Riffs

The venerable Hohner Clavinet is another sonic staple in Fagen’s music. Ex. 5 is inspired by new tracks like
“Miss Marlene” and classics such as “Black Cow” and “Kid Charlemagne” and demonstrates his penchant for
playing rhythmic riffs on the instrument. Notice how the left hand creates a strong counterpoint to the right
hand’s comping parts.

Link: http://www.keyboardmag.com/jazz/1303/5-ways-to-play-like-donald-
fagen/29124

[NB: audio file on url]