A great place to work on our 13th
voicing that it really
just falls perfectly
naturally in, is when we play the blues.
These voicings are great on that.
They really just sit right under there,
and that happens at a pace
that's really a good pace for
us to start getting our feet wet,
having this just fall
naturally under our fingers.
So what I'm gonna do here is put
up the blues in F track, and
then I'm gonna do a little
bit on the blues in E track.
And I'm gonna do the same thing
that I did in the previous lesson.
Just gonna make a little thing out of it,
find them on in there.
If I was really playing a blues track like
this, I would use the 13 voicing on the F.
And again, that's two guide tones,
flat 7, 3, and 13,
but when I got to the B flat
I would use our 9 voicing.
And that's the beauty of these things,
is that with these two you can always
keep them in the cool register.
For now though,
since I'm really looking to find these,
I'm gonna skip around and go up and down.
The C I don't like it here,
I don't like it here.
In truth I would use our C9 voicing.
But since, like I say,
we're working on finding these,
let's find these on our F blues.
I'm gonna play a little
patterns with them first and
then I'm gonna add some right hand.
One, two, three, four.
Just gonna put up the E7 blues track at
140 beats per minute, same exact idea.
These start to fit a little bit more
comfortably because they're half
A 1, 2, 3, 4.
A little bit of
chromatic in there.
What I was
just doing there
was a variation on
the exercise that we had,
where we were playing
playing every third
triplet of every
And then I was trying to play
the second triplet of the quarter note.
And at this tempo it's kind of difficult.
hear I'm having
a little chromatic
fun with that.
I would say as I've said before that,
that's some cheap fun.
Take everything up and down chromatic, and
it's got a little blues thing on it.
And when you get to the A,
[SOUND] that's actually
an E7 altered voicing,
which is a nice little
cadence unto itself.
it's like a meditation, really.
You just sit there and
you get it grooving away.
You make sure that everything is down
tempo, that your shoulders are hanging,
that you're breathing right.
Imagine that you're in a club
called Wally's in Brooklyn,
and it's way after hours,
it's 3:30 in the morning.
You're playing an organ trio, and
it's just you and your buddies and
you're having a good time.
That's how I would do that.
We're gonna quickly look at these on tune
up, because we're interested in the voice
leading aspect on two five one.
We're gonna go like this.
There's our E minor seven.
There's our A13.
There's our D major seven again.
G13, C major nine, C minor nine,
F13, B flat major nine.
That's a really great register for things.
Might be part of why so
much stuff is written in B flat.
Let's play it with the track and
again just have some fun with this.
A one, two, three, four.
It's the same little sequence each time.
If you need time to think and
consider what you're gonna do,
thin out the right hand.
Get that going, keep it swinging.
Remember that this,
your left hand is like The Basie Band.
The stronger it gets.
I mean, eventually, we get to.
We do like
the McCoy Tyner thing.
And it's really
orchestrating a lot down there,
and we want it to swing like the Basie
band if we can get away with it.
It's impossible to do that of course, cuz
that was probably the swingest band ever,
but we want it to punch,
to contribute to our groove.
It's not a lazy thing,
when we're accenting with it,
It needs to be kind of sharp and
in the pocket.
That's our lesson for today, and
I will see you for the next one.