Category Archives: Chord Progressions

Piano Chord Voicings Explored

ProProach Piano Chord Voicings Program: What Makes It So Effective?

Popular Chord Voicings ProgramChord voicings is the name of the game with ProProach. Now, in this message, I would like to acknowledge  a question received a number of times regarding how this popular piano chord program is presented. Here it is:

“Can I receive all the lessons in ProProach at one time?”

The perceived “benefit” of having all the lessons at one’s fingertips from the perspective of the person asking the question is understandable. It’s human nature to want to “browse” and “pick and choose” certain favorite chord voicings to play with and experience instantly.

Is there anything wrong with that? Of course not. However, it ought to be pointed out that much of the true effectiveness of ProProach can be credited to the gradual implementation of new voicings as they are learned. Actually, the very same individuals who ask the question above are the folks who, upon exposing themselves to the program, are kind enough to write me and let me know that it is this very approach to learning which is responsible for the gained confidence they enjoy as growing piano stylists.

That said, the truth is that you actually do get to have the entire collection of lessons and video demonstrations at your fingertips once you’ve taken yourself through the program. Time and time again, members have notified me that this has become especially invaluable to the even more so because they followed the program as suggested.  The reason? Well, once ProProach has been enjoyed the way it’s been intended, going through the program offers a different perspective each time. Truly, this is a piano chord voicings program that you can grow with.

Even the very first lesson of the program (which is currently being offered for free on the main site) can be taken to many different levels. My video session in Cocktail Piano Secrets #1 helps one do just that. If you’d like to get a handle on a nice way to create some tasteful harmonic piano fills, that program is one I hope you will consider.

I am always happy to communicate with people who have taken the leap and taken advantage of this program, as the fun I had in creating it is matched only by the satisfaction I personally get when a ProProach member emails me with a message similar to the many testimonials you will find on the site. I am inspired by your progress!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Piano Improvisation Tips: Building A Vocabulary

Piano-Improvisation-TipsOne of the most valuable piano improvisation tips one can learn to implement is that of overusing a concept to the point of it becoming part of one’s nature. Perhaps we can more easily understand this if we equate this to the language that we speak, since music is a language in itself. When we learned to say a certain word like, “Wow!” we found many places within our conversations to implement it to the point of it becoming natural to do.

When learning a new improvisation idea, make it a habit to incorporate that idea into many areas of a song wherever possible. Yes, it might sound a bit monotonous to begin with but practicing and performing can be thought of as two separate activities. Incorporating a musical idea into a song over and over leads to confidence in using it on command. Do this with several improvisational ideas and your confidence with improvisation, in general, will definitely soar.

For example, let’s say that you are playing with a small improvisation pattern like this:

Piano-Improvisation-Tips

The notes in this particular pattern can be played with many chord situations. Look for areas in your song that might have a chord progression that goes something like this:

Cmaj7  Dmin7  /  Cmaj7  Dmin7  /

or

Cmaj7  Dmin7  /  Cmaj7  Dmin7  /

or

Amin7  Bdim7(b5)  /  Cmaj7  Dmin7  /

Even if you can find a succession of chords in which the pattern does not sound absolutely great to you, consider modifying the pattern a tiny bit so that it fits well, like changing a couple of notes in the pattern. Also, consider using a portion of the pattern like one measure of it or half a measure’s worth. One of the best piano improvisation tips you can learn to put into practice is adapting an idea to a given situation as we are mentioning here.

The more you apply yourself in this regard, the more equipped you will be when it comes to improvising. Use the new idea that you are learning in a number of different songs as well. Overusing an improvisation technique, strategy, or concept is a bit like swinging a bat with a weight on it several times. Then, when performance time comes, you feel “lighter” and more confident when it comes to actually implementing the ideas you have learned and repeatedly put to practice. In short your confidence when it comes to improvising increases tremendously.

Suggestion: Pick one idea today, like a piano fill that you would like to get better at using in your songs whenever you become inspired to. Find as many possible places that you can use it in a favorite song of yours. Yes, even modify it a bit to adapt to certain situations.

As you become more and more inspired to play creatively, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Jazz Piano Chords: II-V-I Progression

Jazz-Piano-ChordsDuring our last lesson that focused on jazz piano chords, we took a look at a very popular way to voice that II-V chord progression among the pros. It’s interesting to note that this II-V chord progression is the most common chord progression in all of jazz and pop harmony. Well, let’s take a look at an extension of this progression…

The II-V chord progression often resolves to the I chord of the key. Actually, you might even say that these three chords played in succession define the key that you are in. Let’s explore the diatonic 7th chords in the key of C Major:

The II chord is Dmin7

The V chord is G7

The I chord is Cmaj7

This is how we voiced the II-V chord progression in our last lesson:

Jazz-Piano-Chords

Before we resolve this progression to the Imaj7 chord, let’s take a look at the spelling of the Cmaj7 chord in its basic form:

C  E  G  B

In relation to the corresponding C Major scale, these chord tones represent the 1, 3, 5, and 7, respectively.

C  D  E  F  G  A  B  C  D  etc…
1  2   3   4  5  6  7   8   9   etc…

Above, we can see that, if we extend the scale beyond an octave and continue building in thirds, we arrive at the 9 (which is the same letter name as the 2):

C  E  G  B  D

Now, remaining consistent with our progression of rootless voicings, we can create a Cmaj9 chord voicing by playing the upper four tones, which are E, G, B, and D. Looking at our illustration below, we can see (and hear) how nicely this progression resolves with smooth voice leading using this voicing:
Jazz-Piano-Chords
Within this II-V-I chord progression, we have three of the most commonly played jazz piano chords or voicings played among the pros. If you make it a point to eventually learn these voicings in all the keys, imagine the confidence you will have gained with three of the most important chord qualities in music!

It would be a good time to browse through some of those favorite standard songs of yours and see how often you see both the II-V and II-V-I chord progressions occur. The very doing of this will increase your awareness of songs are put together since, again, it is the most often used progression that exists, especially in jazz standards.

You are on your way to really enhancing your understanding of music. In addition, as you actually commit to playing these examples in different keys, your cocktail piano playing confidence will soar like it never did before!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

 

 

Jazz Piano Chords: II-V Progression

Jazz-Piano-ChordsAs our fun with jazz piano chords continues, here we will make reference to a previous lesson that focused on turning a minor 7th chord into a minor 9th chord. Specifically, we will use the same Dmin9 chord voicing for our purpose. You will see that lesson here.

From that position, we can easily progress to a V chord, using a very tasteful voicing… and it’s “easy as pie” to achieve this!

Simply play that Dmin9 voicing and then take that 7 of the chord (in this case, the C) and lower it one half step. The resulting voicing combination looks like this:

Jazz-Piano-ChordsThese are two of the most popularly played jazz piano chords of all time. Again, it’s that one little “switch” that turns the Dmin9 into a G13 chord.

Let’s just back up a little and look at a basic G7 chord here:

G  B  D  F

If we relate this chord to its corresponding Mixolydian scale, we see that it consists of the 1, 3, 5, and 7 of this scale:

G  A  B  C  D  E  F  G  A  B  C  D  E
1   2  3   4  5   6  7  8   9……………. 13

Extending the scale beyond an octave shows that the 13 is the same as the 6. When we play dominant 7th chords, we refer to that 6 as the 13. Hence, our symbol for this chord is G13.

What we are playing is a II-V chord progression. This works great as a left hand chord voicing combination when playing with a bass player since he or she will be playing the root of the chord. However, if you are playing cocktail piano, you are performing as a soloist. Often, you will want to compliment these chord voicings by either preceding them or following them with their corresponding roots ( in other words, Root > Voicing > Root > Voicing or Voicing > Root > Voicing Root)

Is it necessary to always accompany these voicings with their corresponding roots? Not really. Actually, often is the case when a jazz pianist, even when playing solo, will simply play the voicings with the left hand while playing the melody or improvising with the right hand. It’s interesting because this actually sounds good when you do so. You see, it’s the nature of that 3 and 7 of each chord that really defines each of them. Adding the roots certainly adds significant “bottom” or substance to these chords.

By all means, explore these two popular jazz piano voicings in other keys. You’re on your way toward chord mastery!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

 

 

 

Jazz Piano Chords: A Popular Ending

Jazz-Piano-ChordsLet’s take a look at a couple of jazz piano chords that, when played one after the other, make for one of the most popular endings of all time. We will relate this to the key of C Major for our illustration. Of course, as always, you are highly encouraged to transpose what you learn to other keys.

The two chords that will be playing are basically Db7 and Cmaj6. In their most basic forms, they are spelled out like this:

Db7 = Db  F  Ab  Cb

Cmaj6 = C  E  G  A

We will be voicing these two chords in a fashion that sounds full as well as tasty. First, we will be adding some color to each of these chords…

To the Db7, we will add the 9, which is Eb. To the Cmaj6, will add the 9 as well, which is D. Spelled out in order, we have:

Db  F  Ab  Cb  Eb  for Db7, which is now Db9.

C  E  G  A  D  for Cmaj6, which is now Cmaj6/9.

Played in that order, we can hear that these chords sound more “juicy” than the original ones above. However, when we voice the chords as we are doing below, we have something quite appealing.

We are going to voice them as follows:

1 – 5 – 3 – 7 – 9  for Db9

1 – 5 – 3 – 6 – 9 for Cmaj6/9 (sometimes called C6/9)

Once you are comfortable playing each of these chord voicings, play the Db9 and follow it with the C6/9 and you just might recognize that popular song ending we were mentioning. This works especially well when we are playing in a swing style.

Let’s take a look at what these jazz piano chords look like on the staff:

Jazz-Piano-ChordsMost of the time, the Db9 is played on the 2nd beat following a rest and leads into the C6/9 a half beat later as illustrated above.

This chord progression could be analyzed as bII9 – I6/9 for the purpose of transposing to other keys.

These chord voicings sound quite rich and really lend themselves to creating an ending that ends with authority. The perfect 5th intervals at the bottom of the voicings together with the perfect 4th intervals at the top of the voicing really contribute to the flair that this mini chord progression creates.

Again, transposing this chord progression to other keys will increase your confidence because, whenever you are playing a swing tune and want to achieve this effect, you’ll have it available on command. Have lots of fun with this one!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com