5 Ways To Play Like

New Orleans Piano

Legend Allen
Toussaint
Known equally for his masterful work as a pianist, composer, arranger,
and producer since the early 1960s, Allen Toussaints talents grew out
of the musical crucible of New Orleans. He quickly made a name as a
tasty pianist who could also arrange and produce songs that became hit
records. Along with his talent for crafting successful songs, Toussaint
has lent his keyboard skills to artists like Paul McCartney, Doctor John,
the Band, and countless others. Toussaints piano style can be broad, as
he pulls from a wide reservoir of genres and influences. Here are five
ways to play like Allen Toussaint.
1. Start from the Bottom

On many early 1960s New Orleans records by artists like Lee Dorsey,
Chris Kenner, and Ernie K-Doe, Toussaint would devise a basic riff often a simple root-fifth pattern on a vamped chord, as in Ex. 1. Then
hed add a small and clever turn to the phrase. Usually alongside a
sparse drumbeat, these elements would form a bed that allowed nearly
any melody or rhythm part to fit in without jumbling the mix.

2. Add Some Rhythm and Create a Hook

Ex. 2 demonstrates the basic bones for a Toussaint-style 60s New

Orleans pop arrangement, all on one piano. Check out how the right
hand chords answer the bass line in a rolling way. Notice the Gospel
flavor that the quick A minor chord provides on the fourth beat of the
pattern before landing back on the G7 chord. Spice up the right hand
pattern with a little chord syncopation and half-step toggling of
thethird (Bb to natural) and fifth (C# to D) in the G7 (bar 2, starting on
the third beat), and the groove is in place. Add a spritely horn-like riff
with octaves, and a hook has been created.

3. The Riff Goes On

Ex. 3 is a funky device that Allen used to great success: a crisp calland-response riff for two hands that can be a foundation for an entire
song. Its a two-bar riff of D, C, and G, with an E minor chord
occasionally substituting for the G at the end of the riff. The left hand
starts the first two notes of the riff with the root and fifth of each chord,
and the right hand ends the third note of the riff with a stabbed chord.
After repeating the riff three times, we change the chord sequence in
bar 7 to D, G, C and then land home to D. By altering the chord
sequences ever so slightly in different sections, the song retains its
tonal center and funk spirit, yet never sounds like a boring one-chord
jam.

4. The Professor Is In

One cant underestimate the influence of Professor Longhair on any

musician from New Orleans. His spirit is very much alive in the work of
Allen Toussaint, as seen inEx. 4. Try mastering these rolling chord
licks over the patient bass line. Take your time and make sure not to
rush. Also try experimenting with arpeggiated endings like the one
here.

5. Adding Richness with Instruments and Chord Choices

Toussaint achieves a full sound on his eclectic recordings with a

minimum of instrumentation. He uses soulful harmonic choices and
well-placed, vibey pads, like those played on Rhodes in Ex. 5 (note the
two clickable files), which is written in the style of Toussaints mid-70s
Southern Nights period. Compositionally, this example features some
intriguing impressionistic devices, including the opening chord change
from C to Gaug5, followed by the descending C7, Bb7, and

A7arpeggiated chords, which help create a dreamy atmosphere. Also

note Toussaints use of isolated bass figures with parallel harmony (bar
3, beat 3), and his penchant for Gospel chords (bars 5 and 6) with pedal
chords and minimal bass root movement.