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Jazz Piano Lessons: Two Handed Voicing: Drop the 3rd

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[MUSIC]
There's one more
way to voice these most basic
voicings that's useful.
Some of this stuff is standard
big band arranging techniques.
When you voice a chord
you really don't want it
always,
[MUSIC]
kinda wedged together like that.
You wanna open it up,
[MUSIC]
by dropping something an octave.
[MUSIC]
You know that's a very nice voicing
of the G minor seventh chord.
What we're gonna do this time.
In our previous lesson, we took
the third inversion of our F7 chord.
And again, putting the root up there
produces kind of a congested sound.
Putting it down there, you have a much
more open kind of transparent sound,
it's spread out better and
so we don't want that.
What we're gonna do this next time though
is instead of dropping the root an octave,
we're gonna take the third and
drop that an octave and
put our root back where it was.
So now we end up with, this is
the chord but we're taking the A and
putting it down here.
We end up with this.
Now in this register this
is too low to have an A.
[MUSIC]
It's kind of close, but
we wouldn't want to be here.
So let's move this up here
where it's a brighter color.
Again, we don't have the third or
the seventh,
the kind of cornier notes on the top.
So there it is in F.
Same principle applies with B flat,
third on the bottom.
We took our third inversion voicing,
again, root,
first inversion, second inversion,
third inversion.
And we're just gonna put the third on
the bottom instead of in the middle of
the chord.
[MUSIC]
Like this.
The G minor seven, once again we're
working with the third inversion and
I don't wanna voice this
one too low either.
Could be that, but this starts sounding
like we think that's the root, and
we don't want that.
When it's kinda, maybe when it's
below this C below middle C.
Let's put this one up here again, and
that gives us another pretty bright but
pretty pleasing-sounding texture.
It's two fifths stacked on each other.
[MUSIC]
And
as opposed to our other
voicing which was down here.
[MUSIC]
This gives us something that we can do
that's a little bit brighter up there, but
it's still an opening sounding texture.
And then our C7 is the last one,
so we go here with it.
Third on the bottom, seven, root, fifth.
Let's play this a little
bit on our F seven blues.
This is the play along track
at 110 beats per minute,
and again, let's find them first.
We'll kinda play some more
whole note oriented stuff.
And then we'll start to mix those up.
And after that,
I'm gonna start mixing the different, the
first one that we talked about, the drop.
Drop the root voicing,
with some of these, drop the thirds.
[MUSIC]
I'm
gonna
start
mixing
them up
a little
bit.
[MUSIC]
So there
are
the most
basic
kind of
elemental
two-handed
voicing
concepts.
It's really simple.
We will wanna take the root
position voicing and
spread it out in a way that sounds good.
We can also take the same voicing,
put it in the first inversion so
that the root is on top, and
drop notes from that, too.
And now you have voicings with
the root on top to work with as well.
Basically all we're trying to do
is just spread these things out.
We don't really need to
be on the bass note.
It's enough to do this
cuz sometimes we'll be
playing
[MUSIC]
and the bass player has walked down to
that.
[MUSIC]
So it's better for
us to kinda play the upper part of it.
You can kinda bounce off
the root note if you want.
To illustrate these voicings,
I'm kinda playing the root more
than I probably would on the gig.
In our next lesson we're going to
take a look at a very simple idea
that you will recognize probably
from a lot of jazz tunes and
that is the flat seven nine five voicing.
Very simple but
you can have a lot of fun with it.
[MUSIC]