Now, that we're reeling from
all that dense complex harmony,
let's go a whole other way.
Let's visit the world of,
maybe Hampton Haas,
great kinda Gospely Jazz
piano player Phineas Newborn,
another really great
Gospel Jazz piano player.
This guy could basically play a Bebop
solo voiced out in seven voices.
one of the great feel players of all time.
And [SOUND] what we're going
to do in this lesson is expand
on something that we did
on our dominant chords,
except now we're gonna do it on our minor
chords and it's very simple.
Start with that voicing.
And just walk that thing up.
What I'm gonna do with this,
as a way of taking a break from the more
I'm gonna put up our fast funk track, and
I'm gonna play these voicing and
just kinda jam out on that.
That's a really great exercise
to cleanse the pallet.
Here's our funk track.
I decided to go with this slow one just so
I can talk a little bit more over it.
A little bit of a, what,
a tower of power feel.
Classic funk track and
it's fun to work these things out on that.
[SOUND] Nice to, to sit on our C minor
seniority, and we're going to start
out with kind of an E [SOUND] flat triad
over the C minor as our home base and
move up to the next note in the scale for
each voice in the chord.
As we go.
You hear a lot of chromatic
action going by in there.
If I were in fact Phinas Newbourne not
Las Vegas, any of these New Orleans guys,
I would double what I'm doing in
the top of my hand with my left.
Like this, you can see that the left hand
is copying, what the right hand is doing.
The top voice and I'm also I'm doing a lot
of kind of greasing it up like that.
There I'm just taking the thirds out of
the chord, and walking around with those.
That's the action down there, and
I'm putting this on the top to just
kinda keep somebody riding herd.
If you watch what I'm doing with
my left hand, I'm kinda just,
I'm playing this like it's
a clavinet basically,
which means little touches of things
that aren't meant to be [SOUND].
I'm not doing this down here, but
I'm kinda balancing my
right hand against my left.
There's a nice little way to go,
its just chromatic.
Down to our D minor.
All that is right there is our G altered
voicing [SOUND], throwing that in for
a little tension, who cares what
the bass player is in to down there.
I want to hear a turn around,
so I stuck that in.
There we had a little walk up.
With our flat seven,
nine, five voicing and
this is all just stuff,
I could do this all day.
It's a really fun way to practice,
it's another one of those things that gets
the shape [SOUND] of these things and
the notes and what's native to this key.
It becomes just second nature and
then you come to the point,
where you are just the pilot of
this thing kind of a freight train.
Its great to work on your time also,
if I haven't been playing funk music for
awhile, and I haven't been
playing funk music for awhile.
One of the ways, that I like to just
kind of get my machine oiled up again,
is to put on Tower of Power Live and
in Living Color,
a killer concert from Sacramento, where
Chester Thompson just plays the entire
history of funky organ in the span
of 40 minutes of a live concert.
And you play with those guys
Play with Earth, Wind and Fire,
that's another really cool record.
Any of those to play with,
you kinda absorb their energy.
So that's how I would practice this little
bit [SOUND] and it's kind of a very
different thing, from the dense harmony
we were working on in the last lesson.
You notice a lot of greasing the thing.
[SOUND] Right there,
I'm actually playing [SOUND]
two kind of grace notes or
grease notes, if you will.
I'm often doing that, creating my [SOUND]
little grace thing in the middle.
There's another thing you can do [SOUND],
is walk this whole thing up and
[SOUND] down as seventh
chord is voiced close.
Right there that's our little Gospel,
Great there too and you go there.
We'll examine some more of this kind
of thing, in future lessons and
right now we're onto the next thing.