Today we're going to talk about voicings, called the Kenny Barron Voicings, a famous jazz pianist. They sound like this: this is a C Minor, F Minor, Bb Minor. They have this really nice, open sound to them, and I'm just going to show you how they're built. They're actually really easy once you figure out how they're built. The cool thing is, they're all fifth intervals. If you take the bottom hand, and say, you want to build one off of C...view full lesson
The piano voicings shown in this video are ideal to use with your left hand while soloing or while playing a melody. None of these voicings contain the root note which is why these are ideal to use when playing with a bass player. In this video we discuss the 'A' version of these 4 note voicings. As mentioned, there is an easy way to think of forming the...view full lesson
Ahh the famous ii-V-I progression. If you've started to dig into jazz piano at all you've likely come across this progression. The best way to start learning how to play over it is to start with simple chord voicings. In this video, the voicings consist of 3 notes: the root note, the 3rd and the 7th.
The important thing to recognize i...view full lesson
The key point in this video is that if you understand the interval relationships between each note of a triad, you'll be able to easily form a triad in any key, anywhere on the piano.
For major triads, the interval numbers to remember are three and two. This means that between the bottom and middle notes of the triad, you will have three keys that are not pressed down. ...view full lesson
We're just going to go over the very basics of two-five-one progressions, which is the foundation of jazz. Most songs are based off this progression. We're going to do our first two-five-one progression in the key of C, so it's going to include a D minor seventh chord as the two chord. And the five chord is G seven, and the one chord is going to be a C major se...view full lesson
In this video, we're going to talk about fourth chords, and these are common in a lot of modal jazz songs, and one of my favorite sounds. They really kind of give it more of an open sound and give you a lot of harmonic freedom. So the best way to start with these types of voicings is to first just get them under your fingers, and they're called fourth voicings because they have fourth i...view full lesson
In this video, we're going to discuss suspended chords. We're going to just simplify them just in how you would see them in regards to a triad. So if you're talking about a C major triad, sometimes you'll see on a music sheet it says Csus4. What that means is C suspended fourth. You're basically adding the fourth to it. So you're removing the third and putting the fourth in i...view full lesson
In this video, we're going to talk about major seventh chords, as opposed to dominant seven chords, and a major seventh chord uses just what it's called, a major seventh in it. So if you talk about a C major seven, let's first start with the C major triad, which we discussed in previous videos. And then to make it a major seventh chord, if you go up and find the octave above, th...view full lesson
In this video, we're going to discuss how to build dominant seventh chords. A dominant seventh chord sounds like this. This is a C7. Oftentimes they're written just as the letter C and then a number 7 next to them. You'll see them, very common in the blues progression, so it's a very good chord to learn how to use, to learn the different inversions of it, the different voic...view full lesson
