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Jazz Piano Lessons: Two Handed Comping Using “Tune Up”

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[MUSIC]
Let's do this.
Let's put these upper structured
triads to work on tune up.
I'm gonna play it at the really
slow tempo, 80 beats per minute, so
that if I need time to chew my food.
I can do so.
I can look for these things and find them.
[MUSIC]
And I'm also gonna do it so
that I can talk to you while I play it.
So let's just get started and I'll try to
let you know what I'm doing as it goes.
There'll also be a PDF available of
this because it will be transcribed.
[SOUND] One.
[MUSIC]
There's our D
triad over E minor.
[MUSIC]
A over the D Major.
[MUSIC]
There's the E flat over the G seven.
[MUSIC]
Same little thing there.
We've just got our G triad
going over our C major seven.
[MUSIC]
B flat triad over our
E flat major seven chord.
Let's go with the natural 13 here.
[MUSIC]
F triad over
the A seven.
[MUSIC]
Natural 13
then to the E flat triad
over the G seven.
Gives us kind of double our money there.
We get two different sonorities
on that chord which makes it
harmonically twice as interesting.
Now we're on to our B flat major seven.
[SOUND] Diatonic triads,
that little move from our 9th chords.
[MUSIC]
That is an E
minor 13 chord.
And once again our familiar
F's triad over our A7
[MUSIC]
C over our D minor.
[MUSIC]
Look what I did there, I had my guide
tones in the left hand,
the E flat triad in this inversion to
make a nice clustery thing out of it,
with an E flat on top.
[MUSIC]
Chromatic into my B flat
major seven voicing.
D over E minor seven.
Let's go with that this time,
we'll have the flat 13 on there.
[MUSIC]
You get the idea.
You can make a lot of melodies out of
these upper structured triads too.
Just invert them around.
[MUSIC]
The guide tones are just sitting
there like they've been since lesson 25.
Same old guide tones and
by moving the upper structure
triad around and
maybe a little chromatic stuff you
could really do a lot of
comping with these tools.
We're gonna continue to learn more
upper structure triads as we go, and
if you want to experiment on your own,
there's
a PDF with all the available possibilities
by scale degree, because look at them.
Here's our guide tones on C seven,
we could do C sharp minor.
We can do E flat minor,
we can do E flat major.
There's D major which is a whole
other school of thought.
This is not an altered voicing
because these two notes here,
the ones that we would alter.
Instead they're natural.
We can go with a G flat major triad.
We can go with a A flat major triad.
We've got our A major triad.
Stevie Wonder often goes like this.
[MUSIC]
He goes three upper structure
triad's in a row.
This is all for later.
I'm just trying to give you
an idea of the potential of this.
And by way of illustrating
that I have arranged
a ballad called Stella by Starlight.
There's a pdf that you can take a look
at that I've annotated to show you
what upper structure triads I'm using and
why.
But I tried to arrange the whole
thing with upper structure triads.
And it came out quite nicely,
if I do say so.
So we're gonna take a look at that next.
[MUSIC]