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. I’m going to apply them, starting out just simply to a 5-7 chord, then a 5-7 chord resolving to a one chord. And then finally, we’re going to apply it to a full-on 2-5-1 with tritone substitution in the middle.

Now I’ve also taken together a really cool source announced The Chord Voicing Ingrainer. Full items at the end of this video on how it runs, but it’s designed to assessment you on these chord voices. And you can download that absolutely free only by clicking on the link below this video. So, with that remarked, we’re gonna get straight in. Enjoy the lesson, and I’ll talk to you again on the other side.( piano music) Okay, so to start with, I want to show you a really nice chord sound for C dominant seven. First of all, here is how C reigning seven appears without the chord voicing. There’s C, has a major third, natural fifth, and a minor seventh. Now one of my most commonly used chord voices for a C seven chord looks like this.( keyboard dallies) Now, why did I dally it in a quirky succession? Well, the reason why i, that is the say that I think of this chord in.

So, for me to find this chord voice, first of all, I go to the major third, who the hell is E. And then I improve of stack of fourths up to the ninth. And then last-place of all, I only include in the seventh, which I think of as being a half-step above this middle document.( keyboard toys) And this is one of my most commonly used voicings for a dominant seven chord.

So, to rule construct this, let’s just go around a few different root indicates. Can you tell me which memo I’m going to play for an F dominant seven?( single mention toys) I go up to the major third. And to weigh a major third, I just go up two whole steps. Once I have the major third, I build a stack of fourths.( keyboard plays) Then last-place of all, I go to the middle note and include a half-step.( keyboard performances) And that’s my articulating for F prevailing seven. Now let’s do another seed notation. Let’s remark we had A seven in the chord membrane. Which indicates am I going to play for A dominant seven?( single memo plays) First of all, find the major third.

It’s C-sharp. Construct a stack of fourths.( keyboard frolics) And last-place of all, include a half-step above this middle indicate.( keyboard participates) And that’s my chord expressing for A prevailing seven. And one last example. How would I frisk this chord uttering for D-flat dominant seven?( single document participates) So we find the major third. That’s F. Improve a load of fourths.( keyboard participates) and then contribute a half-step.( keyboard frolics) And that’s my expressing for D-flat seven.( piano music) Okay, so that’s the first articulating I want to show you. Now, in my tritone substitute reading, I established you that you can precede any target chord. A target chord is just a foremost chord that’s at a key point in the music. You can predate any target chord by just going up a half-step and house a dominant seven chord. So let’s articulate we had a C Major seven in the chord sheet, and that was our target chord. And we want to precede it by going up a half-step,( single document frolics) and playing a D-flat prevailing seven chord. Even though it’s not writes to the music, we just want to add in a chord.

( keyboard plays) So we’ll frolic this chord voice. The D-flat seven, the chord articulating I simply established you. And then it’s going to resolve down to C Major seven. And here is my chord voicing for C Major seven.( keyboard continues) And this, again, is a very common chord expressing which I play for major seven chords. And truly, this is a C Major nine chord. And the direction I think of this chord is that I’m just toy an E Minor seven chord in my right hand.

That gives me the third largest, fifth, seventh, and ninth of C.( keyboard frisks) So , now let’s just practice building this major seven uttering from a few different indicates. How about if we had G, a G Major seven chord. How would I frisk this chord enunciating for a major seven chord?( single document play-acts) Well, I’m just gonna go up to the major third. I’m going to build a minor seven chord, so B Minor seven. And that’s our chord voice. Let’s take one more instance. If we had a B-flat major seven chord, how am I going to articulate this major seven chord?( single notation dallies) Well again, just go up to the major third, and build a minor seven chord, so D Minor seven.

And that’s my chord voicing. So now, it’s going to get a bit more enjoyable. Let’s try predating this chord by going up a half-step and house a B reigning seven employing the first chord expressing that I evidenced you.( single mention gamblings) So which indicates am I going to play for B dominant seven? Well if you recollect the first chord voice, we go up to the major third, which is D-sharp. Improve a load of fourths. Contribute a half-step to the middle greenback.( keyboard romps) And this is going to resolve down to B-flat Major. Again, for the major chord articulation, go up to the major third and play a D Minor seven chord.( keyboard frolics) And this is how my psyche reflects. It’s doing this interval arithmetic where I’m just weighing out lulls. And if you want to get good at jazz, there’s no way around counting lulls like this. You have to get good at weighing intervals.

It’s almost sort of like the one most important thing that you just have to get really good at is weigh interludes, because every flake, every chord sound, every poke, all they are is intervals which you have to memorize. So let’s do another example. Say we had a E-flat Major seven chord comes real in the chord sheet, that’s our target chord. Which chords and which greenbacks would I play to precede an E-flat Major seven chord? Well, if we’re using this tritone substitute coming of adding a transfer chord, we would go up a half-step to E. Now we’ll build a prevailing seven chord. To do that, we dally that articulating where you go up to the major third. Improve a stack of fourths.( keyboard performances) G-sharp, C-sharp, F-sharp. And add that half-step.( keyboard gamblings) And then we deal with the E-flat Major seven chord. Which again, you go to the major third and build a minor seven chord, G Minor seven.

Looks like this.( keyboard frisks) And one other theory that you could use is that for the purposes of our major seven chord, if we look at C Major seven for two seconds. You could beef up this chord uttering a little bit and simply dally a load of fifths in the left hand,( keyboard frisks) with the same E Minor seven chord in the right and it’s mostly the same expressing that I pictured you two are, but it just sounds fuller compared to–( keyboard represents) This can reverberate a little bit naked, depending on the register. Resounds more full( keyboard comedies) if you’re down now, but up now,( keyboard dallies) can sound like something’s missing here. So, sometimes, I do this. Stack of fifths, and then a minor seven chord in the right hand constructed from the major one-third of the chord.

( keyboard plays) Okay, so practice exercise number one is to go through the 12 records on the keyboard at random and to just tell yourself, okay, G. We’re going to have a G Major seven chord. That’s going to be our target chord and I’m going to precede it with some tritone substitution, so I’m going to go up a half-step, toy an -Aflat prevailing seven chord and then you find the notes to the sound of the dominant seven chord. So you find the major third, fourth, fourth, and supplement a half-step in the middle.( keyboard dallies) And then go down a half-step and construct your target chord, which is a major seven chord.

And again, the voice, you go to the major third and build a minor seven chord. So I demand you to go through all 12 notations at random multiple times, and to practice building the interim patterns to these two chord articulations.( keyboard movements)( piano music) Okay, so the next decoration I’m going to show you is almost the same as the last pattern of the dominant seven going to a major seven chord. Except this time, we’re going to resolve to a minor seven chord. Now, here is my favorite, or sort of most used enunciating for C Minor seven. If I visualize C Minor seven in the chord sheet, beginning in the left hand. And I’ll go to the minor third. So to weigh a minor one-third, exit whole-step and half-step. And then, we’re going to build a major seven chord. E-flat major seven looks like this.

And you end up frisking C Minor nine. You have the third, fifth, seventh, and ninth.( keyboard frisks) So it’s kind of like the opposite process that my mentality goes through for the major seven chord because for a major seven, I count up a major third and then I build a minor seven chord. Whereas for the minor seven chord, it’s the other way round. I count up a minor third instead of a major third. And then I build a major seven chord instead of a minor seven chord. So if the chord’s minor, I end up playing a major seven chord in my helping hand sound, whereas if the chord’s major, I end up dallying a minor chord in my right hand articulation. So now let’s try this tritone substitute resolving going to a minor seven chord instead of the major seven.

So if the chord expanse supposes C Minor seven, which two chords am I going to play? I’ll do this one with you. We’ll come near a half-step, build a prevailing seven chord expending the same expressing we’ve been using. So “re going to the” major third, stack of fourths, and then supplement a half-step.( keyboard frolics) And then resolve down a half-step for the specific objectives chord. We’re gonna go up a minor third. And then we’re going to build a major seven chord.( keyboard toys) And again, if you’d like, you can always flesh this expressing out as well. Stack of fifths in the left.( keyboard frisks) Okay, so let’s start rehearsing this resolution. Tell me which two chords I’m going to play and which sounds I’m going to play if we had a F Minor seven chord in the chord sheet and I wanted to predate it with some tritone substitution.

Which two chords am I going to play? Well, if you said G-flat dominant seven and F Minor seven, you’d be correct. So next up, how am I going to articulation these two chords?( single greenback plays) G-flat prevailing seven, I’m going to find the major third. B-flat, stack of fourths, up a half-step. That’s my uttering. Croaking to F Minor seven. How am I going to articulation F Minor seven? Proceed up a minor third, -Aflat. And I’m going to build a major seven chord which aims up dallying an F Minor nine chord.( keyboard frolics) Next precedent, what if my target chord was D minor seven? In the chord sheet, it announces D minor seven. Which two chords am I going to play to use this tritone substitute pattern?( single note comedies) I’m going to play E-flat dominant seven and D Minor seven and then I’m going to voice them. E-flat, go up to the major third, so G. Stack of fourths, half-step. Croaking to D, go up to the minor one-third. Then build a major seven chord from whichever indicate I’m on. We have an F, so F Major seven.( keyboard represents) So that would be great pattern if you went through all 12 observes and practised this pattern.

And I know this sounds like quite a number of work, but this is honestly what it took me to memorize these articulations, and to ingrain them. Now I can do them through all 12 observes without even thinking about them. My thumbs just go to them. But it did take me at the least two weeks of kind of rehearsing this for at least five minutes a day. And there’s no way around that with jazz. You do have to do these patterns and you have to do the time arithmetic, which is my name for time counting out intervals. You have to be able to count one-quarters, major thirds, half-steps, fifths, tritones, and that is sort of the first step with jazz is being good at intervals. Because jazz is wholly really counting intervals. All daylight long, when I’m playing jazz, I’m always measuring out different intervals.( keyboard movements)( piano music) So, thank you very much for watching.

I hope you enjoyed this video. If you did, I’d actually revalue a thumbs up. And if this is the first video of pit you’ve seen, make sure you don’t miss out on future videos by subscribing to my canals. Now I’ve also taken together a free source which I’m really excited about. It’s something which I announce The Chord Voicing Ingrainer. And this is a free download. You can open it on your computer, on your tablet, or on telephone calls. And what this is is 26 chord sound questions that will improve your ability rapid. And we just go through and it asks you, how would you voice C prevailing seven? You come up with your answer, and then you go to the next slither and it tells you the answer. And then you go to the next debate, F seven. And you find the answer. And this acces, you can keep track to seeing how accurate you are. Then we get to the major seven chords, then we get to the minor seven chords, but then later on, you get combinations of chords.

So we have E-flat seven going to D Minor seven. And then you have to come up with both chord sounds. So I hope this Chord Voicing Ingrainer is contributing to. You can download it absolutely free time by clicking on the link below this video. So, that’s it for me. I’m Julian Bradley. Thanks for watch, and I look forward to seeing you again soon ..

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