Tag Archives: jazz voicings

Cocktail Piano Chords: 9th Voicing

Cocktail-Piano-ChordsDuring one of lessons that focused on cocktail piano chords, we introduced the 1-7-3-5 chord voicing. We arrived at this voicing by simply starting out with a 7th chord in its basic root position like this:

Cmaj7 = C  E  G  B

and then taking the two middle chord tones (the 3 and 5) and moving them an octave higher, resulting in this voicing:

Cocktail-Piano-ChordsThis is one of those cocktail piano chords that sounds great when climbing up the diatonic scale, as it sounds great over all the chord qualities, including but not limited to minor 7ths, dominant 7ths, diminished 7ths, and half-diminished chords.

Now, let’s take this jazz piano chord voicing a step further by adding the 9 at the top. Here is what this looks like when we apply it to the same chord (the Cmaj7):Cocktail-Piano-ChordsAs the chord symbol states, we are now playing a 9th chord, specifically Cmaj9.

If you are playing a song that calls for a Cmaj7 chord and the melody happens to be the 9, how appropriate! However, take notice of the space between the 5 and 9 of this chord voicing. There are three notes being skipped (the 6, 7, and 1). When using this chord voicing, you have a nice compliment to any melody note that happens to be one of these tones as well.

Consider this: we have only applied this 1-7-3-5-9 chord voicing to a Major 7th chord. In addition to playing this voicing for the eleven other Major 7th chords, you will find great pleasure and satisfaction in applying this voicing formula to other chord qualities.

This chord voicing works great when you are accompanying a singer or instrumentalist, too, so you’ll want to keep this one at the top of that “piano playing toolbox” of yours for sure.

It’s interesting, too, that simply playing this voicing over a few chords really projects nicely when you are wanting to compliment a quiet ambience. Consider “rolling” them as well (playing the voicing one note at a time from bottom to top and/or top to bottom).

We acknowledge this chord voicing in ProProach as a beginning to a journey that’s full of musical goodies. We explore lots of interesting chord structures in that popular chord voicing program that is being enjoyed worldwide. A great feature of that program is that, once you get a handle on a particular chord voicing, you are shown how to actually apply it in your favorite tunes, which is really conducive to confidence!

Remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

 

 

Cocktail Piano Chords: Parallel Chord Voicings

Cocktail-Piano-ChordsThe cocktail piano chords being presented here, when used sparingly and in the right places, really serve as a tasteful addition to your “piano playing toolbox” if you haven’t been using them already.

Specifically, we are referring to the concept of parallelism. Let’s take a look at the beginning of a well known melody for our purpose. Bart Howard’s Fly Me To The Moon is a great example to illustrate this cocktail piano technique. In the key of C, the first measure of this melody (into the second measure) proceeds down five notes of the C Major scale. When a melody moves in a stepwise fashion like this, it’s a terrific opportunity to utilize this strategy, though it is not limited to such scenarios.

We are maintaining the melody notes as the top notes of the chord voicings we are playing. For now, look at the first melody note C. You’ll notice that the note being played below that C is an Ab, which is a Major 3rd below that melody note. Building downwards, we have and Eb, which is a perfect 4th below that… then a Bb, which is another perfect 4th below that… and we do that one more time with an F, which is a perfect 4th below that.

Cocktail-Piano-ChordsOkay, as we proceed with the melody, notice that we utilize the same exact construction below each melody note. So, again, from top to bottom, it’s:

Major 3rd

Perfect 4th

Perfect 4th

Perfect 4th

Listen to the result here!

One common way to play these voicings is to use the right hand for the top three voices and the left hand for the bottom two.

We are leaving the harmony normally used for this segment of the song. Normally, an Amin7 is played. However, using concept of parallelism is a nice way to put a “twist” on a tune. When used briefly and then followed by proceeding with the standard chord progression, the contrast achieved is nothing less than amazing!

Parallelism can be used with many different chord structures than what we see here. The fourths really are especially effective when played in this manner.

You are highly encourage to choose segments of your favorite songs and incorporate parallelism into your playing. When preceded and followed by your usual way of playing through the tune, this technique really creates a nice element of “surprise” in your music.

The more you apply parallelism, the more you are likely to fall in love with it. As you explore your potential with this one, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Jazz Piano Chords: The Drop 2 Voicing

Jazz-Piano-ChordsYour investigation of jazz piano chords would be well served by gaining a familiarity of drop 2 voicings. It’s one effective way to take what you already know to more creative levels for sure.  As a cocktail piano player, you’ll absolutely learn to love this approach to voicing chords on the piano. Simply playing a couple of drop 2 voicings in succession results in your sounding like you know what you are doing at those keys.

So what are they? The concept is simple to grasp. Now, although this is true, the implementation of these jazz piano chords can be taken to many levels with regular practice of them in various musical contexts. Okay, we call them “drop 2” because: 1) The focus is on the second chord from the top of a given chord structure (second from the right on the piano keyboard) 2) That note is simply dropped to become the lowest member of the chord voicing. Let’s see how this looks when we apply it to a basic chord that you are already likely to be familiar with, the Major 7th chord…

Specifically, we have the Amaj7 chord here in its basic root position:

A  C#  E  G#

Play this chord formation with the right hand beginning with the A above middle C. Okay, next, see that E, which is the second chord tone from the top? Instead of playing it there, play it one octave lower with the left hand. Therefore, the order of our chord tones is as follows:

E  A  C#  G#

Play this chord voicing and listen!

Now, play the original Amaj7 above… then play this drop 2 voicing again. Go back and forth. It won’t take long for you to appreciate the difference!

When it comes to your adding more and more jazz piano chords to your “piano playing toolbox,” the drop 2 voicing approach will open all kinds of doors for you, as you can apply this to any chord structure!

Let’s do one more here before you go on your own to explore the endless possibilities:

Here is a Gmin7 chord in second inversion (yes, you can apply this to all the positions!):

D  F  G  Bb

Play this Gmin7 chord with the right hand beginning with the D just above middle C. Then drop the second chord tone from the top to the bottom, which gives you this:

G  D  F  Bb

You are playing the G with your left hand. Of course, you can split the voicing between the hands so that each is playing two chord tones if you like.

Apply the drop 2 voicing to all the inversions of a 7th chord as you ascend and descend and listen to what you get! As you take your cocktail piano playing to many different heights with this one, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Jazz Chord Voicing: Minor 9ths

Piano-Chord-VoicingLet’s take a look at what can be referred to as a stock jazz chord voicing. We use the term “stock” since this is a voicing that virtually all jazz piano players will use. In other words, it’s “on the shelf” ready for use and it gets used often. This particular chord structure can be used for minor 7th chords.

First we will acknowledge a minor 7th chord in its basic root position. We’ll use Dmin7 for our example. Here it is:

D  F  A  C

Now if we associate this chord to a minor scale beginning on D that includes these chord tones, we have:

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

(8 is the same as 1)

For our purpose, we have the scale illustrated in two octaves above.

Let’s look at it again as we highlight the chord tones in the Dmin7 chord:

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

Specifically, the chord is constructed using the 1, 3, 5, and 7 of the scale.

Now, if we extend the numbers a bit, we notice that the second E can be called a 9:

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

So, in other words, the 2 and the 9 are really the same letter name.

Okay, now imagine a bass player playing that root of the chord (the D). This means that the pianist does not have to. Therefore, he or she has the freedom to use those fingers to play some more interesting colors. That remaining F  A  C  E can be played with the left hand while the bass player plays the D. Of course, you can play the root with the D an octave lower, taking on the role of the bass player, while playing the F  A  C  E with the right hand (the C is middle C so you know what range we are playing in).

Play this and listen! You are actually playing a jazz chord voicing for Dmin9. Yes, that’s right, more often than not, when your music calls for a Dmin7, you can play a Dmin9 instead, thus achieving more color! This is typical for a jazz pianist to do. Jazz players will add colors like 9ths to 7th chords without needing to be told to do so. That’s one of the great liberties a jazz player enjoys.

Now, go ahead and create more Minor 9th chords on other roots based on what we’ve learned here. As a cocktail piano player, you’ll learn to love these! While you have fun with those 9ths, remember…

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

A Jazz Chord Voicing You’ve Just Got To Know

Jazz-Chord-VoicingOne jazz chord voicing you’ve just got to know as a cocktail piano player involves taking a simply 7th chord and making one simply modification to it. Specifically, I am referring to the 1-5-7-3 chord voicing.

Here’s how to play it…

Let’s use an Fmaj7 chord to illustrate. This chord in its most basic form is spelled out like this:

F A C E

Again, this is a 7th chord in root position. In addition, as you take a look at the chord tones, they are as close to each other as they can possibly be. In other words, there are no chord tone in between those chord tones that are already there. Therefore, this chord is said to be in closed position.

Okay, let’s take that 3rd of the chord, which is the A. If we don’t play that A where it is within the structure and, instead, play it one octave higher, the order of our chord tones from left to right looks like this:

F C E A

This is a very commonly used jazz chord voicing and one you’ll definitely want to have a handle on. You’ll want to apply this 1-5-7-3 structure to all the 7th chords that you learn eventually. Doing so will really add dimension to your playing!

Now, go ahead and play those two lower chord tones (the F and C) with your left hand and play the two upper chord tones (the E and A) with your right hand. Listen!

It sounds more “open,” would you agree? Actually, we call this an “open voicing” because we have actually opened up the chord by taking one of the inner chord tones and moving up an octave. You see, we really do have a chord tone that is not being played in between two of the other chord tones at this point (in between the F and C, there is that A which is not being played).

If you were playing a song in which the melody note was A and the chord was Fmaj7, this is a very appropriate jazz chord voicing to play since the A is at the top of the structure (furthest to the right). You are highly encouraged to apply this 1-5-7-3 to other 7th chords that you either already know or will learn in the future. It will work for all of them and, by doing so, you’ll really be adding to that “piano playing toolbox” of yours.

This is a jazz chord voicing you’ll want play again and again. Look for opportunities to use it in your favorite songs. Simply look for melody notes that are the 3rd of the 7th chord that you will be playing and use this voicing to turn what would otherwise be and “okay” sound into one that spells professionalism in the ears of your listeners!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com

Jazz Piano Chords

Jazz-Piano-ChordsThe exploration of jazz piano chords is an important part of your journey toward more creative cocktail piano playing. Of course, the benefits go beyond the scope of playing cocktail piano. In short, the more you learn about jazz piano chords, the more interesting your playing becomes from a harmonic standpoint.

It’s one thing to learn how to play cocktail piano in a confident fashion using basic chords like triads and 7th chords (and, as I have emphasized time and time again, much satisfaction can be gained by playing in this fashion). It’s quite another when you begin incorporating some of those tasteful jazz piano chords into those standard tunes of yours.

For the most part, when the topic of jazz piano chords is brought up, the discussion inevitably must lead to the subject of chord voicings. You see, when it comes to playing chords on the piano in their most basic positions, jazz players will often opt out and, instead, pursue more creative ways of getting that harmony across. This is true more often than not. Let’s consider an example:

Let’s say that you are playing Erroll Garner’s Misty in the key of Eb. After the pickup notes, the first melody note in the first measure is a D and the chord is Ebmaj7. That chord in its most basic form looks like this:

Eb G Bb D

Now, this works just fine. However, a creative cocktail pianist or jazz player may opt for something with a little more substance. Also, I would like to mention here that playing a chord that sounds more substantial does not necessarily mean playing more notes. As an example, one tasteful way to approach this chord with this melody note might look like this:

D    (right hand)
G
____

Bb    (left hand)
Eb

Here is an example of a chord voicing that utilized the exact same notes as the basic chord does. However, you’ll notice that they are arranged differently. Go ahead and play that Eb and Bb with the left hand and, above that, play the G and D with the right hand. Here we have what is referred to as an open voicing. You can see that the melody note is actually the top note of this chord voicing. Surely, you can hear a significant difference when playing the basic chord and then playing this voicing for Ebmaj7!

This is just one example of how to enhance your cocktail piano playing by incorporating more spicy ways to play those chords. As you make it part of your routine to learn more and more about jazz piano chords and voicings, you will find that there’s no turning back… you’ll just want to engage yourself deeper and deeper into this art form. Now, that’s a sign of artistry in the making!

Remember,

Always…

ALWAYS…

PLAY WITH PASSION!

Musically,

Dave
www.PianoAmore.net
www.ProProach.com