Tag Archives: 9th chords

ProProach: Exploring Piano Chord Voicings

Jazz Piano Chord Voicings & More

A Message Of Gratitude

Jazz Piano Chord VoicingsI would like to express my heartfelt thanks to the many recent positive comments I have been receiving from participants of this popular piano chord voicings program. I often reflect on the moments of creation of ProProach and, whenever I do, I experience great feelings, as the energy that went into it was a manifestation of a desire to convey to others a simple, step-by-step procedure for others to enjoy many of the “tricks of the trade” in a fashion that was not only easy to understand but easy to implement. I’m so happy to continue to be able to report that people worldwide are enjoying its benefits.

Another thing I would like to express gratitude for is the devotion to those who have subscribed to the concept of learning and digesting one lesson at a time. Yes, I do completely understand the initial inclination to want to have all the lessons at once. But, time and time again, people who take advantage of this chord voicings program and use it in the manner in which it was originally intended are realizing the true value of following along this way. To those who have yet to enroll in ProProach, please know that, upon completion of the 25 lessons, you will indeed have access to all the lessons from one place because it is my desire that you continuously put into practice these lessons again and again. Individuals who take themselves through the 25 lessons more than once always experience benefits well beyond those gained from just one time. This continues to be confirmed by actual members who do so.

To those considering enrolling in the program, I would like to offer the suggestion that you use Lesson #1 and Lesson #2 in conjunction with each other, as they are very much related. Spend at least a week with these lessons and apply them to the various keys (Cmaj9, Fmaj9, Bbmaj9, Dmin9, Gmin9, Amin9, etc). The satisfaction gained by doing so is huge, not to mention the confidence that you’ll begin to enjoy.

In addition, I would encourage you to enjoy these lessons with an attitude of curiosity. Have fun with them as a child might have fun with a set of finger paints. The many “colors” that you are capable of creating are unlimited and, as you continue to experience one lesson after another, you’ll see this for yourself. Furthermore, if you decide to enroll in Pro Piano Chord Bytes (also a 24-week program) at the same time, you’ll experience something rather unique, as the two programs are extremely compatible with each other. ProProach does include a complimentary video with each lesson; for reasons aligned with taking personal creative initiative, Pro Piano Chord Bytes does not. In short, enroll and implement the strategies of both programs with enthusiasm and curiosity, and your results will be nothing short of astounding.

Jazz Piano Chords: Upper Structure Triads

Jazz-Piano-ChordsOur journey with jazz piano chords continues as we take a look at upper structure triads. There are several of these and, here, will take a look at one.

First, what is an upper structure triad? Well, as the name implies, a triad is certainly involved. “Upper” refers to where we play the triad in a given chord structure – yes, at the top. When we think in terms of upper structures, we are more easily able to visualize jazz piano chords of certain qualities. Lets see why…

The chord we will be using is a dominant 7th chord that has a b9 and 13 added for color. A basic C7 chord is spelled as follows:

C  E  G  Bb

The two most important notes of this chord (outside of the root, which is sometimes played by the bass player) are the 3 and 7 of the chord, so let’s begin with those:

Jazz-Piano-ChordsWe mentioned that the b9 and 13 will be added. Although we can identify the b9 as the Db and the 13 as the A with some thought, playing this chord becomes “easy as pie” when we think in terms of a triad. Think “A major” and play it over that 3 and 7, which looks like this:


Play this chord voicing and listen. Notice that the A Major triad, which is our “upper structure” (at the top) includes the A, which is the 13, and the C# (or Db), which is the b9, of C7.

So, if we are playing a dominant 7th chord, we can play the major triad whose root starts on the 6th in relation to the chord we are playing. In other words, we wanted a C7(b9)(13) chord, so we started with the 3 and 7 at the bottom and played the triad whose root is A (6 away from C).

You’ll notice that the A Major triad also contains the E, which is the 3 of the chord. You could, of course, eliminate it if you choose.

After you have played this chord voicing as illustrated above, have some fun playing that upper structure (the triad) in its different positions. We used the root position already. Play it with the 1st inversion of A Major and then with the 2nd inversion of A Major. Listen and compare.

Question: What inversion of A Major would you want to harmonize a melody note of E? Of C#? Of A? Since each inversion of the upper structure triad results in a different note at the top, we can change its position to accommodate that melody, which we usually want to be at the top.

Transpose this chord voicing to other keys to boost your confidence. You’re going to learn to love upper structure voicings!







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!