voicings tagged posts

Jazz EPIC CHORD VOICING LESSON | Tritone Sub Voicings In All Keys

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( keyboard frolics) -[ Julian Bradley] How’s it exiting, guys? Julian Bradley now for the Jazz Tutorial YouTube channel. I hope you’re doing well. And in today’s video, I’m going to do a follow-up to my recent tritone substitution reading. And when I affixed that tritone substitution lesson I got quite a few observes soliciting more talk about chord voices. Because as I said in the lesson, at the least half of the power with tritone substitute is squandering nice chord articulations. So in this video, I’m just gonna share with you a set of voicings which I often use when I represent tritone substitution...

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How To Play Block Chords (JAZZ PIANO) Part 1/2

Hi! Today I want to show you how they are able to “block out” some chords and play the “block chords” style. And the “block chords” style is pretty much like this: For precedent...

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SMOOTH CHORD PROGRESSION LESSON (Jazz Piano Tutorial)

( forte-piano music) -[ Julian] How’s it extending guys? Julian Bradley here from TheMusicalEar.com. In today’s video I’m gonna share with you my chord advance of the week. I’m gonna start by playing the original v9ersion, and then I’m going to share a couple of other variances, which you can do on the same chord advance. So here is the original form.( piano music) So the chords start on C-minor-Seven, and I’m expending an interesting voicing. It’s called an open sound, whatever it is you hop-skip every other observe. So “youre playing” C, you skip the Third, play G, bounced the root, play-act E-Flat, bounce G, and play B-Flat. This is a nice open voice. It sounds very clean when you play it...

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Larry Goldings – Jazz Organ Lesson 1

When you’re playing organ, you can be more orchestral, and they are able to have substance moving around that only adds to the texture of what’s going on, you know, in the band. You take your 9th ambiance and you move it down to the root, to the major 7, to the dominant 7, and you SUS it, and you resolve that with the 9 or the b9, you did the same happen here. The object is, I’m not just plotting down the chords, chord to chord, chord to chord, chord to chord. I want to be very economic in how I do it, so let’s look at this G child. Db9, I’m not moving anywhere. I want to harmonize this E, but I don’t want it to sound pedestrian, you are familiar, so what do I do? I go…

I wanted to get some crunchy memoranda in there...

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