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Jazz Piano Lessons: Diatonic Parallel Triads: Major Chords

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[MUSIC]
We're about to do something
here that I've never done before.
But there's a reason we're gonna do it.
You generally,
if you're playing a modal thing and
you're gonna hang out on one chord for
five minutes at a time.
You want it to be this,
[MUSIC]
or this,
[MUSIC]
or this,
[MUSIC]
you don't want it to be this,
[MUSIC]
but there's a purpose here, and
I made us modal play along tracks
on a major 7 chord precisely for
the reason that I want us to
be able to explore things.
[MUSIC]
That kinda thing because we've got our
three note voicings,
our three note moving triad voicings,
that's a dominant's
[SOUND] chord sound there.
[SOUND] And we just did ones for
minor chords.
[MUSIC]
We did that.
And there are also the same principle
applies to major chords, and
if we are in that world, where were
[MUSIC]
if we're doing that kinda gospely
triad based movement on the top,
we don't wanna stop when we
get to the major seven chord.
To be honest,
if it were me on the gig and I'm.
[MUSIC]
Whatever it is, I would
kinda seventh it up a little bit.
But we should know how to do
this on a major seventh chord.
And it's the exact same idea
as with our minor chord.
[MUSIC]
Start out with,
your home base is gonna be the major 7,
but
with the root missing or
down on the bottom.
Walk on up your scale.
We don't wanna hit this, because that's,
now we're really clearly saying G7.
[MUSIC]
But
let's have a little bit of fun with this,
I'm looking at this way.
[MUSIC]
There's that great Doobie Brothers tune,
that is walking around on the triads
over a major seventh chord.
Now we just need to be able to sing like
Michael McDonald and we can start a band.
[MUSIC]
That little
move right there
is just
[MUSIC]
go into the four chord.
[MUSIC]
In our internal voicing.
Check this out.
[MUSIC]
There's a nice little thing.
All I'm doing is.
[MUSIC]
The thinking there, on that one is
that we're doing a little cadence from
[MUSIC]
from D to G to C, standard 2, 5,
1 except it's a dominant on the D and
a dominant on the G and
we're voicing it internally.
[MUSIC]
you see it,
[MUSIC]
actually this,
I'm liking this playing
on a modal major seventh chord.
[MUSIC]
There we are walking
down our thing.
The guide tones would be going.
[MUSIC]
The only
thing is that
I don't like
this,
[MUSIC]
so I'm gonna
leave it,
that seven,
the G would be
a suspended chord,
so
[MUSIC].
There another little gospel voicing for
you.
We're taking an F major triad
turning into an F minor, and
these two notes just resolve down
a half step into our C chord.
[MUSIC]
I ended up going a little
bit nuts there showing
some additional stuff,
but it's all fun.
And it's all triads.
This once again our D triad in there, and
there that's a voicing
of an F minor triad.
And then,
[SOUND] down into our [SOUND] amen.
And [SOUND] If you wanna know
what that is, that's our classic
suspended voicing of a flat
seven triad over the root.
[SOUND] Flat seven triad
over the root [SOUND] and
if you look at the way
that I grease that up,
it's kinda a quick move using the same
finger in there to get to that
[MUSIC].
And play a little boogie woogie like that.
So that's our lesson on moving triads
around on the three different chords.
The dominant, the minor, and the major.
And that's such a useful thing on so
many different kinds of gigs.
It's not the first thing
that would come to mind on
a more cerebral jazz gig with
a lot of weird harmony in it.
But most people are always happy
to hear a little touch of gospel.
So, we'll continue on from here.
[MUSIC]