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

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How to Riff on Van Morrison’s “Moondance” – Part 1

 

Today we have two video lessons, either of which is a good introduction to a pretty simple notion, which I sometimes like to call the “melody machine.” With this, I’m not suggesting some big new original conception. On the contrary,  the concept I’m calling the melody machine is about as old as music itself.

If that nickname sounds a little gimmicky, it’s really not meant to be. I actually do call this device a “melody machine,” in my own thinking, part of an ongoing process of internalizing my favorite composition devices. Also, it’s fun to say, just like saying “Lollapalooza” or “Isn’t she pleasant?”

In a nutshell, this lesson shows you certain ways of using an underlying chord progression as a “thought generator” for creating melodic material.

First:

How to Riff on Van Morrison’s Moondance – Part 1

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Learn all 12 DOMINANT-7th Chords Today

Hello Friends,

Today I’m happy to present the next lesson in my ongoing course, Chords 108.

Class Audience: Any musician who’s struggling to memorize the individual notes to all those dang chords on piano or keyboards, and looking for a solution.

Today: Learn how to immediately call up the notes to any of the twelve DOMINANT-7th chords on a keyboard — without having to rely on rote memory.  

Coming nextDiminished chords.

*This lesson is part of the premium ALL-ACCESS  series called Chords  108.  Our all-access members keep this site alive, and 100% ad-free.

Thanks to all!

THE VIDEO (non-public)

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Learn all 12 Major & all 12 Maj7 Chords by Pattern (not by rote)

Today I’m happy to present the next lesson in my ongoing series, Piano Chords 108.

Class Audience: Any musician who’s struggling to memorize the individual notes to all those dang chords on piano or keyboards, and looking for a solution.

Lesson Description: Learn how to immediately call up the notes to any of the twelve major chords — without having to rely on rote memory.  This lesson applies to all twelve major seventh chords as well.

Coming next: The minor and minor seventh chords.

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Announcing “Piano Chords 108: Lose That Chord Catalog”

I’m excited to announce a new online lesson series, in progress here at Piano With Kent, called Piano Chords 108.

Since my 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.”)

Piano Chords 108 (the series introduction  is further below)

Here’s the first few lessons I’ve posted for Piano Chords 108.  As with all full courses on this site, most of this material is premium content (accessible only to supporting members).

Half-Step, Whole-Steps, and Thirds on the Piano

Learn all 12 Major and Major Seventh Chords Together (24 chords)

Learn all 12 Minor and Minor Seventh Chords Together (24 more chords)

Learn all 12 Dominant Seventh Chords Together (12 more chords)

COURSE INTRODUCTION: 

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How to Riff on Van Morrison’s “Moondance” – Part 3

Welcome back!

This is Lesson Three of a 3-lesson collection on the topic of “jazzy-rock” improvisation.

Jump to:      Lesson One       Lesson Two 

Lesson Three video

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How to Riff on Van Morrison’s “Moondance” – Part 2

Hello!

This is Lesson Two of a three-part video series on “jazzy-rock” improvisation.

(Lesson One is here.)

(Lesson Three is here.)

///

These three tutorials would fit somewhere near the center of the jazzy-rock genre spectrum, if there was one.

I guess there could possibly be a jazzy-rock genre officially defined somewhere, like in a big canvas binder at the Genres Office, or like that. Regardless of the possibility of this being regulated, I’m using the term freely here, maybe even whimsically.

If I had a managing editor you would not have seen the previous paragraph. Don’t worry, with your continued support, I will hire a managing editor.

Van Morrison’s Moondance is the “jamming vehicle” we’re using in this trio of lessons. Moondance is a catchy tune, and it serves really well as a straightforward case study in jazzish-rockish piano improvisation.

 

VIDEO LESSON:

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Blues Lick #12 “Chromatic Sixths”

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Congratulations! After finishing this lesson, you will have completed the entire course, “A Study in Blues Piano – Focusing on 12 Licks!”

You will then have learned (1) a complete intro section, (2) lots of raw soloing material (specifically, those 12 licks and their endless possibilities), for you to copy, extend, alter, etc., (3) a solid structure for your soloing (that is, the 12-bar blues structure, with a supporting bass-line). Also (4), you now have a solid “turn-around” to use, which will keep that energy moving forward, into each new chorus, and finally, (5), that same turn-around can be used as an ending (and very effectively).

So, here we go, the final lesson: Lick Number 12, “Chromatic Sixths.”  This pattern is way-cool, and also quite versatile.  It has a traditional, honky-tonk sound you will probably recognize, a real staple of the “boogie/blues/rock/jazz” piano vocabulary.

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Blues Lick #10: “”A 12-bar intro, plus the start of a solo”

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This lesson is more than just a lick, I’ll tell ya!

We have here a two-handed intro section, a great setup for getting any blues jam started. This opening groove covers a full 12-bar cycle, giving your listeners an exciting intro (a.k.a. “head”) which leads nicely into the next 12-bars, where you can begin your right-handed soloing.  Note, you can use the left-hand (bass line) of this groove throughout your entire jam. It’s a simple and powerful bass line that keeps the beat going strong.  But wait, there’s more! This lesson also includes a sample opening for your solo. No way!

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