Announcing “Piano Chords 108: Lose That Chord Catalog”

UPDATE, Nov. 17, 2018: The first video lecture of this course has just been published!

HERE’S THE ORIGINAL POST (yesterday):

I’m excited to announce a new online music course in progress here at PWK, called “Piano Chords 108.”

Since our site is blog-like, this course will be published in installments. (That’s also how we did things this summer with “The Blues Piano Crash Course” and “A Study in Blues Piano.”)

This post below is the Course Introduction (just text for now).

COURSE INTRODUCTION

Welcome to Piano Chords 108!

Kent Smith here, your instructor.

This course provides a simple system for memorizing the “108 Essential Piano Chords.”

See the chord symbol, or hear the chord name, and you will know all the notes, with certainty!

Altered and Extended Chords

You’ll also acquire enough knowledge in this class to alter or extend any of those 108 chords. (Jazz students will need this additional skill, for sure.)

In the end, you’ll be able to determine the unique set of notes that define any one of HUNDREDS of chords, on the spot. This impressive accomplishment requires zero rote memorization of any chord. (What?)

Because of the above, my focus on “108” as being the number of chords you will acquire is an understatement. One can see (in the second, more optional part of this course) that the rest of the “standard chord universe” opens right up — as soon as you know how to alter and extend any member of the “Big 108” group.

When it comes to these 108 chords — by far the most common and useful chords in both popular and classical music — you will never again need a chord catalog, chord poster, or web search.

Even though this course has the goal of weaning students off chord catalogs, so to speak, I will definitely include a downloadable picture-based catalog for these 108 chords. Such a reference will no doubt prove useful for checking your understanding of this system. But ultimately, I don’t want you to need any such piano chord reference…

…Because that’s the whole theme and purpose of Piano Chords 108: Lose the catalog (so to speak)!

Here’s the scoop.

Continue reading “Announcing “Piano Chords 108: Lose That Chord Catalog””

Chord Voicings for Jazz Piano (rootless, left-hand, Type B)

"Type B" Rootless Chord Voicings for Piano

"Rootless voicings" on piano (especially for left-hand support) are great for handling big jazz chords that normally can't be covered by one hand alone. This video tutorial  shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root.

This is Part Two of a pair of lessons, covering "Type B" voicings.  The first lesson,  covering "Type A"  shows another way of executing the same idea, only with the notes in a different arrangement.

VIDEO LESSON:

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Video: Ray Charles “What I’d Say” — Practice your blues licks with this one!

 

What’s up, Blues Cats and 12-bar Chicks?

If you want to get better at your blues piano playing, who better to learn from than Ray Charles? Try playing this video while throwing in your own blues licks on top.  Also try to imitate or paraphrase some of Brother Ray’s.

Here’s some insight to help you:

(1) The key is E.  You can start joining in by using the E-minor blues scale, throughout the whole jam, right hand only.  The E-minor blues scale is E, G, A, Bb, B, D, (E). Even if that’s all you practice here — which is quite valuable — it still helps to realize the following things about the chords involved . (If you’re especially ambitious,  you can try playing these chords in your left hand, while riffing with the right.)

(2) The chords are E7, A7 (added ninth, optional), and B7.

(3) The chord progression is a classic 12-bar blues, in its most basic form, outlined here:

E7 — 4 measures (bars)

A9 (or just A7) —  2 measures (bars)

E7 — 2 measures (bars) 

B7 — 1 measure (bar)

A9 (or A7) — 1 measure (bar)

AND THE TURN-AROUND:

E7 — 1 measure (bar)

B7 — 1 measure (bar) 

Now go back to the top.

(4) Repeat the above progression over and over, as you would in any 12-bar blues.  EXCEPTION: You may notice that the B7 in the turn-around does not happen in the 12-bar introduction, where Ray is playing the left-hand bass line and nothing else.  Here, E7 is implied throughout the last two bars.

(5) In the sections where the band stops, but the singing or soloing continues (called a break, or “stop-time”), the prevailing harmony is four bars of E7, as usual. Each time this break happens, we are sitting at the top of the 12-bar cycle. Therefore, each break leads us right into the A7 at measure 5.

So here’s the video, and have fun!

Chord Voicings for Jazz Piano (rootless, left-hand, Type A)

"Type A" Rootless Chord Voicings for Piano

"Rootless voicings" on piano (especially for left-hand support) are great for handling big jazz chords that normally can't be covered by one hand alone. This video tutorial  shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root.

This is Part One of a pair of lessons, covering "Type A" voicings.  The second lesson,  covering "Type B,"  shows another way of executing the same idea, only with the notes in a different arrangement.

VIDEO LESSON:

The remaining content of this post is for supporting members. Your monthly membership is extremely affordable, and makes it possible for us to work full-time on the task of creating  FREE educational content, plus additional premium content, for members like you. This is a fast-growing site, and we really need your support as an "All Access" premium member   to keep this site alive.  (After signing up, you may need to refresh this page to open all the content.)

A Good Way to Learn All Your “Thirteenth” Chords (by Pattern, NOT by Rote)

Hello again, piano people!

Todays’ post is about learning “thirteenth chords” on piano. In this video, you will learn a good way to learn and retain all twelve of the standard 13th chords without resorting to rote memorization.  In my experience,  I discovered early on that learning scales and chords by rote — that is, note-by-note, without any understanding of the patterns they all have in common — is the worst way to go.  Learning the underlying patterns that consistently define all scales and chords is absolutely where it’s at!

 

“Fourth Chords” — Very Useful (Part One)

“Fourth chords” are chords built as a “stack of fourths,” rather than as a “stack of thirds.”An example of a “stack of fourths” would be: D, G, C, and F, where D is the lowest pitch, and the rest make up a series of fourths above that.

The greatest thing about these stacks is that any given stack can be superimposed above multiple roots, to create a variety of voicings for various chord types.

Using the stack mentioned above as an example:

A “Dmin7” chord using the stack D, G, C, and F, results in a nice open-sounding voicing, with an added 11th (the “G” note is the 11th).

OR,

D, G, C and F also sounds great over a B-flat root, creating a “Bb69” sound! That is, a B-flat major chord, with an added 6th and 9th. (G is the 6th, and C is the 9th).

And so on…my video here explains this in depth. (Check back soon for Part Two, with more insights on this.)