More Isn't Necessarily Better...

Some jazz pianists get caught up in the mentality that the more notes in a voicing the better.  We do our best to cram all the 9s, 11s, 13ths as we have fingers for in every chord we play.  If done correctly, those thick  chords with lots of tensions can have a great sound.  However, more isn't necessarily always better. Less dense voicings have a great sound too, plus we don't have to exhaust all of our mental energy playing them We can focus on what really counts 1) Playing the melody 2)  playing with the a good rhythmic feel 3)  and improvising in a meaningful way.  Tons of great pianists, including Thelonious Monk, Bud Powell, and Bill Evans, utilized two-note voicings.  

Two-Note Shell Voicings

Some of my favorite chords to use in my left hand, especially in a solo piano context are shell voicings that contain only two (yes I said TWO!) notes.  Those notes will be:

1) Root + 7      2) Root + 3     or     3) Root + 6

I decide which of these three combinations to play based on where the voicings will lay on the piano.  I don't want it to be too high (interferes with the melody) or too low (gets too muddy).  I'll also think about voice leading too.  For example, If you play a Root + 7 for a ii7 chord, a Root + 3 will work nicely for a V7 chord.  

And a last plug for how great these voicings are, when you are first learning a tune, you don't want to have to think too hard about complex voicings.  You just want the essentials (Root, third, seventh, melody note).  Once you get get the hang of the shell voicings on a particular tune, they leave lots of room to add other voices if that's your thing.  


All The Things You Are

The best way to learn a new concept (in this case, two-note left hand voices) is to apply it to tunes.  A great one to try for this concept is Jerome Kern's All the Things You Are.  It has a lot of changes (just about one per measure!) and there is not a lot of repetition.  In the following video tutorials and sheet music, I take you through ATTYA using this concept.  

Can you come up with different shell voicings to use over this tune?  What about applying the concept to other songs?  

Happy Shedding!


Video Tutorial Part 1

Video Tutorial Part 2

Sheet Music

Several years back, some old college friends of mine asked if I wanted to play in a roots/reggae cover band.  Of course, I happily agreed.  What's better than playing feel-good music with old friends?   While I was excited to play music for the pure fun of it, I also looked at the new experience as an opportunity to learn something, to expand my horizons as a keyboard player.  I had dabbled in reggae here and there, but never took the time and effort to really study it.  Early on in checking out this new style, I made a discovery that completely changed how I played reggae keyboard.  The discovery was a technique called "The Bubble."  

The key to the bubble is, of course, the rhythm.  The right hand plays predictably on beats two and four (think of the classic reggae-guitar "chick - chick").  The spiciness is in the left hand, which plays all up-beats (or the "ands").  You'll mostly hear the bubble played on organ, but it also sounds great on piano as well as a Rhodes or Wurly patch.     

Once I started using The Bubble in reggae music, I found it extremely useful in other styles as well, including funk, jazz, and Afro-Cuban music.   I noticed master jazz pianists like Herbie Hancock and Danilo Perez playing similar types of rhythms when they were comping.

Check out the video tutorial below, it's a technique much more easily demonstrated than written-out. 

And last, it's only appropriate to end with my favorite Bob Marley lyric:  "One good thing about music, when it hits, you feel no pain." 

Happy Shedding!
  

Someone who is sitting-in on an upcoming gig asked if we could play Recorda Me by Joe Henderson.  Great, I responded, I love playing that tune -- it has fun chord changes to solo over and a funky latin rhythm.  Who could ask for more really?  It's no wonder it gets called so much at jam sessions.  

Others may not have been as happy to play Recorda Me on a gig as I am.  There are certain jazz snobs out there who don't like to play songs because "everybody plays them."  This is not my viewpoint.  On the contrary, these songs get called on gigs and at jam sessions for a reason -- they are great songs!  However, since everyone does play them, we have to make an extra effort to make sure we stand out when we do play them.  One great way to do that is to go to the original recording of the tune, and REALLY LEARN IT off the record.  Take Blue Bossa, another Joe Henderson classic -- it's often used as a beginner/intermediate level tune because it is straightforward to improvise over -- but how many of us seasoned jazz players have scoffed at the idea of playing it on a gig?  The thing is, that tune is killer!  (Killer by the way is a good thing in jazz lingo)  If you really check out the original Joe Henderson version and learn how he played the actual rhythm of the melody and how he soloed over it, you'd realize that Blue Bossa is no tune to scoff it, rather, it's a tune to STUDY!  

The same goes for Recorda Me, you might have played it a million times on gigs, but have you ever played the intro from the recording?  It's such a cool intro that not a lot of people play, probably because it's not written down in the Real Book.  Let's change that right now and learn the intro once and for all!  

Check out my transcription and video tutorial below.  There is a unison left-hand piano and bass line and some simple 3-note right hand chord voicings to go along with it.  Enjoy it and surprise everyone on your next gig when you play the real introduction to Recorda Me!

Happy Shedding!