This song is a combination of a few different rock/blues ideas that I’ve had in my head lately. I put in a “call and response” section at measure 37. I imagine the backup singers echoing the lead singer here. Keep the tempo upbeat throughout this song and pay attention to the articulations to really lock in the groove.
I was going to make this song a “vocal” piece, with a main right hand melody, but then I got a few more ideas and it quickly turned into an “instrumental” piece. Hopefully your left hand is pretty strong so you can really hammer the keys at the measure 9 section, which is repeated throughout. The section starting at measure 23 is probably the hardest part. I recommend practicing the right hand first and then add the left hand at a slow tempo.
Since the left hand just has block chords in measure 9-23, you can focus on the right hand rhythm. Measure 24-27 should start softly and then get louder and louder. You want these measures to build up to the chorus. Your left hand needs to be really solid for measures 28-35. Since the bass line is repetitive, I recommend taking measure 28 and playing it over and over with just the left hand.
I wrote this song a few years ago when I was in college. I’ve added a few changes since then to make it more interesting. The song starts in C-major and and then changes to D-major at measure 69. The left hand starts in treble clef for the fast introduction section. The left hand changes to bass clef for the verse at measure 11. The chorus begins at measure 27 with the melody in octaves and a left hand accompaniment pattern that is played over different chords. The last section, which begins at measure 85, is the instrumental outro. Pay attention to the accent marks to play this section with the right emphasis.
I actually wrote this song a few years ago when I was a student in college. I’ve made a few changes since then to try and improve the song. For the intro, the left hand has a syncopated rhythm against the fast right hand notes. The left hand gets a bit more complicated at measure 17 as the right hand continues with the same melody. Measure 25-30 alternates loud instrumental fills with a melody played in octaves. I’ve never used this idea before so I thought I’d try it out.