Let's look at these very simple
voicings that I'm gonna show you that
are part of the jazz vocabulary.
Since the 50s Horace Silver used
a lot of this kind of thing.
We hear it a lot,
Les McKann is a brilliant piano player
that everybody should listen to.
And these things,
they're very, very simple.
They're kind of bluesy sounding,
and we're gonna introduce our first
tension note or extension depending
on what you wanna call it.
And what we're gonna do here,
it's really a Gospel based idea.
And what it is,
it's moving triads around, but
we're gonna pick up a real
particular triad to start this with.
All that is right there is taking triads,
stated out with an E flat right there,
and moving them down diatonically.
And what I mean by diatonically
is that everything moves
down to the next note in the scale.
If it was chromatically it would be
Now I'm moving everything
down exactly the same amount.
Everything is moving down a half step.
Everything moved down a whole step.
Diatonically means that you move it down,
everybody moves to the next
note in the scale.
In this case,
the F mixolydian scale which is basically
the B flat scale starting from the five.
We don't need to know all that for
For right now what we're gonna
do is look at a little voicing
that appears all over the place.
And that's this.
Flat seven on the bottom,
then we're gonna play the G.
And the G is,
it's the second note of the scale
we're on, which is the F7 scale, but
when we add a note above the seven,
we start calling it.
If this is the [SOUND] one, [SOUND] three,
[SOUND] five, seven, [SOUND],
that would be eight if we play it.
[SOUND] This is the nine.
And this is the 13.
[SOUND] No sorry, [SOUND] this is the 11.
[SOUND] And this would be the 13.
[SOUND] For now we're just gonna concern
ourselves with adding the nine which
is the G on an F7 chord.
[SOUND] And this is our voicing,
flat seven, the E flat,
the G is the nine, and
we have the C which is the fifth on top.
Compare that with this,
which is our drop root voicing,
this has the basic notes of the core,
one, three, five and seven.
One, three, five and seven.
So, we're taking our A and we're
putting it down to a G, which starts to
get us into the world of kind
of jazz colored voicings.
And these can get very sophisticated.
I mean, from here,
And we're going to get into those.
Those are called upper structure triads.
Those are collections of extensions.
Now we're just gonna add our first one,
And the thing that you can do with
this once you have this voicing going,
there's a tune by
David Sanborn called Snakes.
And there's a brilliant keyboard
player on that named Ricky Peterson.
And the part that Ricky came up with for
it is just this voicing, basically.
our collection of play-along tracks,
you're gonna find a couple really
nice funk tracks that you can work
out on that have the modes on them.
They have a little progression on them.
And you might want to try
playing this with that.
But so my point with that is
that this voicing is often,
especially if you're playing in kind
of more of a funk-based context,
this voicing can carry you
through a lot of the gig.
What we're gonna do with
it though is we're gonna
play around with the idea of
moving it up a whole step.
And again this is really diatonic.
It happens to also be chromatic
here because everything's moving up
by the same amount.
But what we're doing is taking it and
moving it up to the next
notes in the scale.
So the E flat moves up to the F,
the G moves up to the A, and
the C moves up to the D.
in B flat.
It's the same idea.
Flat 7, [SOUND] which is the A flat, 9,
which is the C on this chord,
cuz this would be 8,
right, the octave, 9, and 5.
You probably kind
of recognize that sound.
You've heard it before, I guarantee.
A lot of my favorite more blues
based players, Phineas Newborn,
could play this stuff,
seven notes worth of it at a time.
[COUGH] There isn't
we can do that with our G minor 7th chord.
It's not really quite the same
thing as it would be,
but again, the same principle applies.
Take this voicing,
which is our drop the root voicing,
B flat triad over G, move it up to a C.
[SOUND] Like that, and then on the C,
it would be B flat, D, and
G and when we move it up [SOUND].
So it's basically a G minor triad moving
up to an A minor triad, same down here.
C minor triad first inversion
up to D minor triad,
those are the notes we're working with.
You might have noticed that I'm really
adding a lot of grease to these.
[SOUND] And what I'm doing,
I'm just kinda slipping
my index finger and I,
you get used to that [SOUND] and
then here [SOUND],
I'm doing that with these fingers.
As you see fit, and as you get
where these are under your fingers,
it's almost always a middle note I
find when I'm greasing up a voicing.
You know, I'm not like that, but
you can add a little just
flavor to it like that.
[SOUND] I'm doing that as I move up.
These voicings are very
popular with organ players.
If you watch a great organ player,
they're playing left hand base,
often a combination of left hand and
And so they've got one hand to work
with they wanna play something simple
that's not gonna bug whoever's out front.
And it's just a real simple.
Very common organ technique.
I'm a person who really just loves
organ with left hand bass, and
just practically more than anything.
This is a great little melodic device.
You'll find that you're kind of blowing
right in there in the middle of your line.
Throw it in there.
You can also [SOUND] work it in
your left hand a little bit,
if you wanna get a little
extra credit on this.
Let's play a little bit on our F7 blues,
I'm just gonna [SOUND] play some various
ideas with this very simple thing.
Then we're gonna do one
more lesson with this,
where we're gonna take
it farther than this.
This is a great, very simple way to comp,
that really covers you on a lot
of different kinds of gigs.
Let's go to the next lesson now and
we're gonna take this
concept a little bit further.
And I will see you on the other side.