get working on integrating these ninth
chords into what we've been doing.
We've been kinda comping with our
left hand on the guide tones.
This is really a pretty
simple matter from there.
We're just gonna add that note
to the guide tones.
But it adds a lot of color,
a little more density.
It really just sounds more
like jazz when you've got
more going on in your left hand.
We're also gonna look at another
way of approaching this where we add
in this note, which would be the 13th.
For now, let's work on getting
these things under our fingers.
You kind of want these things to be
something that you, at this level,
that you just don't really
need to think about.
Eventually, we're going to come to
a point where our left hand is more
a real part of the flow of
the solo integrated in there.
More and more as we progress.
But for now we just want to get these
things where they're comfortable, and
we can focus a little bit more on
what we're doing with our right hand.
Let's put these ninth voicings in under
the scales that we're working on.
You'll find that in order to
void crossing fingers like this,
you might want to start your bop
scale from a different degree.
And let's leave a little bit of space
in there as we find the chords.
So we're gonna play a little bit of
the scale, leave a little space,
hit the next chord, and so forth.
That's the kind
of practicing that I would be looking
to do with this, at a nice easy tempo.
Let's put up our A, D,
B, P, M blues track,
play a little bit along with that.
That will space you out, and
it's kind of a good idea in general,
even when we've mastered these,
to take a little break.
Herbie Hancock is great at this,
at playing a bunch of really nice stuff
with his right hand, and then letting
the left hand shine just for a second.
It's a nice way of doing
some breathing on it.
There's a great singer named
Carmen McRae who is a real lesson
in that kind of thinking, because she
plays piano for herself and sings.
And what she does under herself
singing is really just a case study
in how to accompany yourself.
Whether you're blowing a solo,
singing, what have you,
it's worth checking out
some of her records.
So I'm gonna put up the 80 beat
per minute F7 blues track,
blues in F track and
we will work with that.
[SOUND] One, two, three, four.
Maybe a little.
Then the pentatonics a little bit.
Maybe a little chromatic up there.
And that's how we'll practice this and
as you get it adept at it here.
You're looking to get these things
where they really just fall under here
We're going to learn some more.
The altered voicing is coming up in
the next ten or fifteen lessons.
But get these where you don't have to
think about them at this level, and
you'll have some nice
accompaniment going down there.
You'll have a little place to
go when you take a breath.
And we will continue
on in our next lesson.