How To Build Jazz Piano Voicings
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- Опубликовано: 17 окт 2024
- jazzpianoschool... to download the practice materials.
During my career I was always copying voicings. I spent so many years just mimicing voicings instead of learning a solid foundation that will allow me freedom to build voicings myself. This fundamental voicing building system will give you the opportunity to build voicings for youself for the rest of your life!
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Wow this is amazing. I can walk away from this video and use what's been taught.
Thank you!
Awesome, so glad to hear that!
Finally!! I'm so happy to have found this very clear video. I'm new to Jazz and have never found a clear explanation of how to construct voicings. This will help me to learn Jazz in a way that feels like I'm adding some of me into the standards I want to learn, instead of just copying how others play them. Thanks Brenden!
During many years of classical training and playing, I've had numerous false starts trying to build a jazz mindset. Finally, I'm feeling that thanks to you, I'm starting to move towards my goals. Love your work and many thanks from Sydney - Dave
Thanks for the amazing comment! Makes me so happy to hear this!
I’ve been trying to learn this for months and your video makes the most sense
Wow, so glad to hear that and thank you for the comment Julian!
This was extremely helpful. I wish I had done this many years ago. The structures are fundamental and have helped me enormously in my voicings and my improvisation. I am filling the whole keyboard with different harmonic structures thanks to this basic idea. And anyone reading this...I don't work for JazzPiano School!
We really appreciate the feedback, thanks Peter!
Who else was waiting for a huge Cmaj resolution
not me lol
Me
I have been wanting to learn 2 hand voicing for some time already, since until now I have played most of the time the melody on the right hand and chord changes on the left, and this was an excellent start. Thank you so much!
Thank you for the comment, glad this was helpful for you!
Very clear and useful. All new piano players should watch this and then take each of your shells and play them through all keys
Thanks for the comment, David!
Wow!!! This, is called Teaching! Thank you so much.
Thank you for the comment Ammi!
good advice about not copying voicings, but understanding and building vocabulary. thanks!
Can’t stress this enough, Toby! Thanks for the comment!
That's awesome. I started my practice of these voicings (I'm already familiar with triads including inversions and also root position 7th chords) and I have a question: do you recommend practicing two notes in the left hand (1-3 or 1-7) and the remaining note in the right hand or just 1 note in left hand and the shell in the right hand? It seems that two notes in the left hand makes the motor memory a little bit more helpful and two notes in the right kind of separates the notes too much and the analytical mind needs to be really sharp. Tks.
Both! It’s helpful to be able to play it both ways for different playing situations. Thanks for the comment!
Man thank you so much, I was so frustrated with this thing and now I feel I can finally move on. Really, thank you
Awesome, thanks Farid!
Very helpful! I wanted to learn jazz piano for so long, and you explained it very simple! Thanks!
This makes me so happy to hear! Thanks for the comment and I’m glad we could help, Victor!
Such a beautiful video! Thanks for bringing out the basics, now its all clear!
Basic but essential! Thanks for the comment!
Brendon, If you haven't already, can you teach us how to learn the scale degrees for all of the chords so that we can play the chords in real time. In other words...I need to learn the shell voicings first before I can incorporate foundation 1,2, or three.
You are able to play songs and demonstrate concepts e.g. the half step movements either up or down that you did with fundamental 2. that still have me in awe. I understand what you're saying as well as what you're doing but how did you become so facile in your playing?
When you rolled the 10th in your LH, you played your RH voice at same time as the 3rd (in the rolled 10th). E.g the A in F7
Do you ever hit the RH voice at the same time as the root (e.g. F) and then continue rolling to the 10th in LH. This means the A would be played after everything.
Sorry if confusing. I’m curious which way is more common, and why. Trying to learn how to time these root-10 rolls.
@canefan17: great point! Hitting the RH notes the same time as the rolled 10th is common practice. If done the other way the 3rd would just be an afterthought and needs to be with the crux of the chord. Hope this helps!
Love this tutorial, Thank you!
Thank you, @benthoven88!
Unbelievable, you brought me clarity
Awesome, so glad to hear that!
This is so good!! I just have a question. When there is no 7th in the chords, You can add it, or you should use the root twice? I Don't know how to make something interesting when the chords are simple
Hey Ena, thank you for your support! As far as your question, it depends on the melody and the context of the particular tune. Sometimes the 7th can take away from the vibe of a pop song or a rock tune, but a 6th or 9th can add nice color for example! Or sometimes, a triad is really the best way to go - playing a different bass note or spreading out the voicing of a triad (for example E C G spread out as a 10th for a Cmajor triad) could sound great! Hope this is helpful!
Really helpful!! thank you so much
Yeah. If you are an advanced comper it is entirely possible to play lower octave notes with a bassist. Use your ears. If they go thumb position you can pepper in some sort of broken line particalized bass notes to support them. Use a touch with a lot of lightness and levity it should be mostly percussive arpeggiated lines. I've known various bass players appreciate this if done correctly, just consult with them prior to determine how much texture they want while traversing to higher octaves. Some do some don't. Some in smaller combos even want some root support during solos, just ask. Bit, definitely avoid sustaining roots especially in ballads. Balls to the wall modal stuff a là McCoy Tyner, root note slams add huge energy to the texture and free up the bassist to go wild on things other than the root.
Great stuff, thanks for the comment Alexander!
that exactly what i was looking for to give a soul to my song ,thanks 🙏
Glad you enjoyed it, Veen!
Are these structures appropriate for chord melody playing? I want to take a Real Book or Fake Book lead sheet and make it sound more interesting and enjoyable by enhancing the chord voicing and playing melody at the same time?
@dry509: yes, these chord structures can be applied to chord melody playing as well!
JazzPianoSchool.com - Learning Freedom (Online Jazz Piano Courses) Thanks. Can you advise how to go about this? Does one just add the melody note on top of the right hand? Would also like to see a video on block chord structure method of chord melody.
Are there rules for adding extensions in minor or major 7 chords? I know that you have more options on dominant chords but if you practice a tune, it has to be in context with that tune so options become limited or not?
Richard: thanks for the question! As to extensions - 9, 11, 13 - for major and minor 7 chords: generally for major7 chords, 9 and 13 are your best options, the 11 should be used sparingly and if so only as a #11 (for ex: F# in the key of C). For minor7 chords, 9 and 11 are your best options, the 13 should be used sparingly and if so most likely as a natural13 (for ex: A natural in the key of Cmin). Hope this helps!
Yes, Thank's a lot! You doing a great job man! :)
Plastic Love chords
Great video! I have a question about the extensions. Say you are playing in E aeolian and you are playing the root chord and add the 13th in. Would you make it a flat 13 since it is aeolian or would it be better to play a normal 13 to avoid a flat nine sound in case a soloist plays the fifth?
Hey @Landon, thanks for the question! Short answer: for minor chords, the 13th would typically be a natural13. Long answer: As you point out, it might vary depending on the context of the tune and what mode you are in. For example: in the key of C, a Dmin13 would be a natural13 (because it's a dorian minor) whereas an Amin13 in the key of C would be a flat13 (because it's an Aeolian minor). Hope this helps!
This was really helpful for me, thanks a lot
Glad to hear that, Oscar! Thanks for watching!
HI, from Argentina! At minute 9:26 there is a chord with natural 13; #9 and #11. ¿Does this chord exist, and how do you name it?
Yep - that would be a G7#9b5!
this is great stuff!
Thanks for the comment, Wayne!
loving these videos
Thanks, Daniel!
Question: For improv, is there a shortcut to knowing how to voice lead well, or is it all just practice to see which notes certain chords share.
Frijolex: thanks for the question! No shortcuts but definitely practicing voice leading the chords themselves to see where they connect is important before you start practicing voice leading the lines.
Thx for the great lesson😊
You're very welcome, thanks for watching!
GOAT! Thank you maestro!
You bet!
Great stuff effectively taught - subscribed, sir.
Glad to hear! :) Thanks for checking out the video Douglas!
Great lesson!! Thanks for sharing!
Wow... Just wow... Thank you...
Thank you for the comment Deric!
Many thanks for this! Helped me a lot :)
Glad to hear that, @Cmyth!
Great teaching.
Thanks for the comment!
so helpful!!
Glad to hear this, LPG!
Glad to hear this, LPG!
Man i start loving you 😂😂
:)
Great lesson, thank you!
Thank you for the comment!
very good. Thank you
Thanks for the comment, @isak!
yes
Thank u, teacher
Thanks for watching Robert!
I had no idea where this video would
be added to my regular music study program
which I'm very selective and picky
The beginning of the video your background
made me think that it was not going to be a good video
I however I noticed Your keyboard was high end
May I suggest you do something about your introduction video
maybe a blue screen or shoot it a close-up or something positive constructive criticism
Thanks for watching, @piano MOXLEY!
I get mixed up sometimes with lower extensions placed over higher ones. I like to call a 5th over an 8th a 12th. Does that make sense?
Thanks for the comment. Sure, whatever floats your boat! If that makes it easier for you to think about it there’s nothing wrong about calling a 5th a 12th. Most of the time in jazz lingo though you’ll just hear the 5th referred to as the 5th, even if it is above other extensions.
That third voicing type is gonna take some work for me to pull off.
But well worth it! Thanks for checking out the lesson! ;)
Thanks ❤️🎹🎶😊🍹
You’re welcome!
You've a great Content !!
Thanks, Mena!
Playing the bass notes with a bass player? Never heard of it. Took lessons with Jamey Aeborsold, Bill Dobbins, etc.. Leave it to the bass player to play bass notes, unless the bassist is soloing. You must get into a lot of trouble with bass players I suppose.
My perspective as bassist is that, if the piano is occupying the low register it frees the bass to play higher notes and play more decoratively, but if your bassist wants to play solidly at the bottom of the instrument then yes probably you should get out of their way. Important thing is to listen and adapt while you are playing.
@@alextgordon makes sense to me. AFAIK and i could be mistaken it was Bill Evans who brought rootless voicings to the light. I suppose there was early jazz prior to that which pianists still played roots some or most of the time. I think there are times its appropriate, but it may not be considered the hippest sound
Walking with a bass or trying to create melodic bass lines yeah. But, disregarding the supportive effect of well placed percussive bass notes we'd have to pretend McCoy and Thelonius never existed..
Alexander, there are of course many ways of placing bass notes (let’s call them root notes) as an effect. But in this video I am referring to, the voicings include the root note as part of the voicing. That’s not what McCoy was doing. He puts ostinate (pedal points) in the bass. That’s different.
how old r u?
I’m 46
🔥🔥🔥🙌🏾😎💫
wtf is that intro tune 🤯🤯
Why u end up such a small subscribers though u start long ago
It's G-F-B-C#-E-Bb
Yes, this would be a G7alt (more specifically G13#9b5)
@@jazzpianoschool Yes, of course. My distraction. Thanks for the answer.
Hands too small to play a 10th in one hand fml
:(... try playing your 10ths broken!
Okay, thanks for the video man!
@W 9797 height doesn't necessarily have to do with how large your hands are. I'm 6' and my hands are as large as my 6'2" friend hands. Also, even if you have relatively small hands, you can practice to reach the 10th note (I can do it very easily with my left hand, but barely can do it with my right hand, for example).
Good lesson! But... You keep saying that you "try things" on your gig.... maybe we all do.... but Dr. John famously said, "Don't use the audience as a guinea pig ... ". I'm sure you mean you're trying things that you're pretty sure of already... ? Having practiced them a lot ?
Thanks for watching, @CN S! You make a good point, it's a tough thing. I think it's different for everyone... there are varying extremes, some only try new things on their gigs, some may only incorporate a few new things, some may not incorporate any and only play what they know and have refined. But the catch is, the only way you can truly have something refined is by working them in on the bandstand. You can only take a concept so far in the practice room. So it's a tricky subject. But I definitely agree to Dr. John's point of respecting your audience and not using them as a sole means of experimentation. So I would say, maybe try incorporating just 1 new thing every gig. That way you're respecting your audience, while still trying something new.
click* noice
Thank you, Julian!
Jesus Christ. Great lesson and all but dude, please please please work on the lip smacking and swallowing. It’s really distracting from an otherwise great lesson
You say “I can change the 13” but you don’t say why, you just give information, but you fail to give us a reasoning behind what your doing, so your lesson is of a very poor quality.
Nah, its an awesome lesson. Watch the other parts of his course if you want to understand the complex parts
Talk to mach
you are talking too much
No he's not, he's just being thorough.