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Jazz Piano Lessons: The #9 Tension on Top of Guide Tones

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[MUSIC]
Let's get our left hand going
underneath these scales now.
We took a look in a previous lesson,
a few lessons back at
the basic sharp nine voicing,
the simplest expression of which
is just putting a sharp nine
on top of a third low and
a seventh, a minor seventh above.
So third, seventh, sharp nine.
For now we're just gonna
work with this voicing
even if it's getting
a little out of range.
Somehow neither of these is
quite in the right range.
But we're going to do now is
we're going to put up tune up.
[MUSIC]
And instead of doing what we've been
doing, which is that smooth voice leading
from E minor 9 to A natural 13,
to D major 9,
we're gonna stick in that
altered voicing on the A.
And we're just gonna do this left
hand alone here as we've been doing,
until we get comfortable with it.
And then we're gonna start adding in very
simple right hand for it to work against,
so, again these voicings would
be our minor 9 voicing on the E,
our A altered, 7th voicing, C sharp, G, F.
When we hit the A, and
then when we get to the D,
our D major 9 voicing.
Then, for the next one,
we go to our D minor nine voicing,
and then for
G, you can use that right there,
which is B, F, B flat.
The chord tones here, the guide tones.
Third, the seven, and the sharp nine.
[SOUND] To C major 9, and then one more,
C minor 9, gonna go up for that one,
cuz this starts to sound
like the bass note.
Up into there.
[SOUND] the F7 sharp 9 voicing,
the third, seventh, sharp 9.
I'm gonna put up the track and
we'll play with this.
We'll add a little bit of right
hand when we feel like we've got
some level of muscle memory
going in our left hand.
A one, two, three, four.
[MUSIC]
Right away
you recognize it as
a classic jazz sound.
[MUSIC]
I'm going to
leave this as a natural.
Because of where it's going, really.
[MUSIC]
So we'll just take that one right here,
the one on the second bar of the tune,
and we'll make that into our altered.
[MUSIC]
Again,
leave that one
natural, and
this one as well.
[MUSIC]
That's
how I
would
practice
that.
We want to get these, as always,
down there where they're so
comfortable that you're reaching for
this automatically in some way with
your left hand while your A brain,
let's say, is devoted to your line.
So practice that, have some fun with that.
This gives you a whole new spectrum
of places to go on our tune and
we will continue on in our next lesson.
[MUSIC]