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

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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.
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.
There's our D
triad over E minor.
A over the D Major.
There's the E flat over the G seven.
Same little thing there.
We've just got our G triad
going over our C major seven.
B flat triad over our
E flat major seven chord.
Let's go with the natural 13 here.
F triad over
the A seven.
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.
That is an E
minor 13 chord.
And once again our familiar
F's triad over our A7
C over our D minor.
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.
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.
You get the idea.
You can make a lot of melodies out of
these upper structured triads too.
Just invert them around.
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,
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.
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
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.