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Jazz Piano Lessons: Extended b7-9-5 Voicing

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[MUSIC]
Taking the idea of these diatonic
triads a little bit further, you can.
[MUSIC]
You can just keep going up.
[MUSIC]
And go down
a little bit too.
And that gives you flexibility to create
a lot of melody with this, depending on
what you hear the soloist doing or
what you want to add to your own solo.
Let's look again at the idea of
moving things diatonically like this.
[MUSIC]
There's our basic voicing, the next note
up in the scale, which is the B
flat scale, and again if we put it
over the F it's called a mixolydian scale,
[MUSIC]
We're not using our bop scales when we
do this kinda thing.
The harmonic thing,
those are only for melodies.
[MUSIC]
So here's the first voicing,
second voicing,
let's go up to a third voicing now.
That'll go up to there,
that'll go up to there.
That goes up to there, and that gives
us an E flat triad over our F, so.
[MUSIC]
Next step up from that is
a straight-up F triad.
And if we keep going from there,
[MUSIC],
we get a G minor triad.
And I kind of stop there cuz here again,
we have one of the notes
of our tritone on top.
[MUSIC]
That, in this register,
I don't really like it.
[MUSIC]
In this register it's okay.
That was our very first experiment
in harmony was those guide tones.
So for now let's
kind of
[MUSIC].
That's a different thing.
On B flat 7, same idea,
[MUSIC].
Walk them right up to
the next note in the scale.
Again it's not chromatic motion.
It's not parallel motion in that sense,
cuz that would give us this.
[MUSIC]
You know, Herbie Hancock can make that
work, but for
now we're working on our blues.
[MUSIC]
In C 7,
same idea.
[MUSIC]
And again, I don't so
much mind hearing the third on
the top if it's down here.
That's a little splattery for me somehow.
Let's work out a little bit on the very,
very slow F 7 blues.
This is the F blues track
at 80 beats per minute.
And I'm just gonna continue to extend
[MUSIC]
all this stuff.
There's no reason that
it has to be step-wise,
either,
[MUSIC],
it could just as easily be.
[MUSIC]
You notice also, that when I'm doing
this stuff, I see a lot of piano players,
a lot of keyboard players doing this.
If you ever play clavinet,
there's no way not to do it.
I'm kind of putting a little bit of
in-between information with my left hand.
In an ideal world,
the bass player won't complain about that.
But it's mostly a little
way of kind of [SOUND].
You can see, sometimes I'm kinda
flicking at it, but I'm not playing it.
It's a way of kinda
anchoring my own stuff.
If you ever play mo bass, you'll find
often that the secret, not to divert, but
to the Boogie on Reggae Woman bass line
is that he's playing a lot of stuff,
a lot of ghost notes down here that
you don't even really hear the note.
But you hear a little,
it's almost like a click, and
that's where a lot of the funk from
that kind of baseline comes, but
when I'm playing, I'm imagining that
I'm comping behind a soloist here.
So, in theory, I could be playing
[MUSIC]
big, full seven-note chords.
Often I'm trying to add
the essence of the harmony and
little commentary and a color, and
this is just a very simple
kinda hip color, again.
Listen to Les McCann,
listen to Billy Preston, classic.
And you'll hear a lot of this stuff, and
you'll hear that it's really just so
often the right thing.
Let's play on our slow blues a little
bit and just have some fun with this.
[MUSIC]
Little
chromatic
action
in
there.
[MUSIC]
There
we
have
it.
You can hear the one thing that
makes these things work is a lot
of dynamic range.
I mean,
[MUSIC],
that kind
of thing.
And you can also hear that
I'm really laying back often,
especially when you hit on the beat.
[MUSIC]
That's way behind the beat.
If I were to record that in the sequencer,
and
we were to look at where
those notes are in time,
often, they're more than
a sixteenth note back, but
that sort of very relaxed
phrasing is the essence of jazz.
Again, we don't listen
to a song like this,
especially at this tempo to feel nervous,
we want it to be very laid back.
But we want to be relaxed, that's the
thing, if we're like this and it's like,
I've got to put this behind the beat,
don't work like that.
Once again, as I've said, it took me
a long time once I identified that
this whole thing of being uptight and
trying to bring it in was in my way.
It took me months to really make a habit
of relaxing all the time when I practiced.
They say it takes 21 days
to burn in a new habit.
And it took me more than 21 days.
But sit like this, be relaxed.
You're in a club, everybody's left.
You're just playing for yourself and your
buddies who are on the bandstand with you.
And have fun with these, and
I will see you for the next lesson.
[MUSIC]