What are box voicings? (or bach's voicings?) I know the "left hand voicings." I really like 5:39 with the diminished 7th chords with the raised major 7th and the descending chromatic line in the left hand and sequenced a minor third down.
Thank you! I understand it as far as the first octave voicings but what about the second octave. How would we reharmonize the tensions? for instance the melody on the target chord is the 9th so, as far as this goes, it looks like for tensions on the melody you will use a diminished. The same with the major 7th on the melody. For instance the first not on In a sentimental mood is the maj7 of a Maj7 chord. Should it be a diminished chord over the root of a Maj7?
To put the 13th (A natural) on that dominant 7 chord, what if you were to play it as BbCEGA? In the sequence it would go . . . G7b9 (AbBDFAb)-->*C13* (BbCEGA)-->G7b9 (BDFAbB)-->C7 (CEGBbC)? Is that no good or would that work?
Can you explain me this: The only thing I don't get is when the original chord is C7 and your melody note is an A. What kind of block-chord do you play then? The C dominant7-Scale with Block-chords goes like this: 1=C7 2=D diminished 3=C7 4=F diminished 5=C7 #5= G# diminished b7= C7 7= B diminished So what do you do when you play an A in your melody? The A isn't a scale tone. Can you explain? Is there a rule?
I Know!! You can't really follow this system to closely cause there are lots of places where it just doesnt work. from bottom to top try A, Bb D E A This is what I refer to as a 'box' voicing. It is a rootless voicing. You can also flat the 9 - make that D a Db and tht opens up a lot of possibilities.
Thanks Tony! I've found an example on wikipedia about Shearing voicings: the C7 is first played as something like a rootless C13: A-Bb-D-F-A (sounds beatiful, in fact it's Bbmaj7) and then they go into C7b9: G-Bb-Db-E-G (also rootless)
Thank you. I am personally a fan of this technique but i always worry it sounds very quaint and “old timey” to everyone else. So i’d try not to play it on something that’s supposed to sound very modern or edgy at all. Unless i just haven’t discovered a way.
go to the next level with the Jazz Piano book by Mark Levine, that David Gerber above mentioned. The more advanced and subtle variations of drop 2 and the other shapes sound very modern and are useful to connect smoothly and fill in the gaps, moving from one chord to the next , rather than jumping from chord to chord.
George Shearing's immaculate style, Mark Levine's excellent book, and Tony Winston's spot-on demo and analysis. How freakin' good does it get!
Just starting out in piano. It's the existence of stuff like this that makes me want to learn to play. Thanks for showing me something awesome.
Tony you are one of my favorite instructors on TH-cam I only have five instructors that I often look at thx u enjoy your lesson as always lesson
What are box voicings? (or bach's voicings?) I know the "left hand voicings." I really like 5:39 with the diminished 7th chords with the raised major 7th and the descending chromatic line in the left hand and sequenced a minor third down.
Jack McCabe box voicings refers to shapes such as f a b e in the left hand . That is box 1. I have several videos about box voicing on this channel
great lesson man!
Great thank you !
Thank you! I understand it as far as the first octave voicings but what about the second octave. How would we reharmonize the tensions? for instance the melody on the target chord is the 9th so, as far as this goes, it looks like for tensions on the melody you will use a diminished. The same with the major 7th on the melody. For instance the first not on In a sentimental mood is the maj7 of a Maj7 chord. Should it be a diminished chord over the root of a Maj7?
I would probably not use the diminished chord in tha situation. C major 9 would be played like Em7
Tony Winston thank you. Tensions are then treated as substitutions of the lower octave tone. 9th for 1s, 11: for 3rds or 5ths, etc
To put the 13th (A natural) on that dominant 7 chord, what if you were to play it as BbCEGA?
In the sequence it would go . . . G7b9 (AbBDFAb)-->*C13* (BbCEGA)-->G7b9 (BDFAbB)-->C7 (CEGBbC)?
Is that no good or would that work?
Yes that sounds okay. The only thing is that the top and the bottom note should be an octave apart when using this system
Milt Buckner made use of block chords before most.
Can you explain me this: The only thing I don't get is when the original chord is C7 and your melody note is an A. What kind of block-chord do you play then? The C dominant7-Scale with Block-chords goes like this:
1=C7
2=D diminished
3=C7
4=F diminished
5=C7
#5= G# diminished
b7= C7
7= B diminished
So what do you do when you play an A in your melody? The A isn't a scale tone. Can you explain? Is there a rule?
I Know!! You can't really follow this system to closely cause there are lots of places where it just doesnt work. from bottom to top try A, Bb D E A This is what I refer to as a 'box' voicing. It is a rootless voicing. You can also flat the 9 - make that D a Db and tht opens up a lot of possibilities.
Thanks Tony! I've found an example on wikipedia about Shearing voicings: the C7 is first played as something like a rootless C13: A-Bb-D-F-A (sounds beatiful, in fact it's Bbmaj7) and then they go into C7b9: G-Bb-Db-E-G (also rootless)
Thank you. I am personally a fan of this technique but i always worry it sounds very quaint and “old timey” to everyone else. So i’d try not to play it on something that’s supposed to sound very modern or edgy at all. Unless i just haven’t discovered a way.
go to the next level with the Jazz Piano book by Mark Levine, that David Gerber above mentioned. The more advanced and subtle variations of drop 2 and the other shapes sound very modern and are useful to connect smoothly and fill in the gaps, moving from one chord to the next , rather than jumping from chord to chord.
It seems like this would be a nightmare to play if you were playing a fast bebop tune!
Q but nobody does that
@@AntonStruzik George Shearing plays block chords on bebop George Shearing: goo.gl/nYiHeG
I don’t get it! How is the diminished chord still functioning as G7? The notes in it aren’t actually G7 notes. Are we saying G7b9?
Yes, that's right. G7b9