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5 shows how he might vamp on bluesy F Dorian (F–G–Ab–Bb–C–D–Eb) figures. Hancock explored the soulful and funky side of jazz as well. This passage starts with mostly wide voicings, and then shifts to closer, Evans-style voicings in the second half. The majority of the chords comprise upper extensions, and you’ll find very few roots. 4 is played over changes similar to “Autumn Leaves” and is inspired by the big two-handed comping Hancock would occasionally employ to create a powerful sound. Herbie Hancock As part of Miles Davis’ second great quartet in the mid ’60s, Herbie Hancock became one of the most influential and important jazz pianists of all time. 3) in the spirit of his vamp playing, adapted to an Afro-Cuban groove. 2ĭave Brubeck The elegant playing of Dave Brubeck, known for hits like “Blue Rondo à la Turk” and “Take Five,” contains plenty of sophisticated harmonies, but at times he was keen to keep his chordal work simple and straightforward. We get a similar result with the final chord: An E major triad with an added F played over a G bass note yields a G13b9. The penultimate chord is a simple F minor triad (F–Ab–C) with an added Gb, but played over an Ab, it yields an Ab13. For example, the first chord is an Eb major triad (Eb–G–Bb) with an added 9 (F), but when placed over the bass player’s C, the sound is a Cm11. It’s worth noting that these sophisticated harmonies are really just triads with a foreign note added and then placed over the bass line.
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If you find this impractical, these chords can be readily trimmed to more-than-satisfactory versions. 2 features much larger voicings, some of which involve difficult and unorthodox fingerings that use the fretting-hand thumb. You’ll likely recognize some of these as being similar to certain common guitar shapes, but slimmed down. 1 is played over a progression similar to “What Is This Thing Called Love” and shows how some small shapes can get the job done in a clear and clever way. Yes, it required painstaking research, but their secrets can be ours, as well.īill Evans One of the fathers of modern jazz piano, Bill Evans can be credited as among the first to wholeheartedly embrace the idea of rootless voicings. Of course, we’re limited to six strings and what four, or perhaps five, fingers can fret, but you may be surprised that many voicings presented here are either identical or very close to what these pianists played. Ready for the challenge? Let’s go.Īs we look to the chordal playing of such jazz piano legends as Bill Evans, Herbie Hancock, Dave Brubeck, McCoy Tyner, and Chick Corea for inspiration, it’s easy to notice that many of these voicings are quite different from our typical chord grips-and that’s the point. In this lesson, we’ll explore essential voicings and chordal techniques developed by some of the most influential pianists of the post-bop era and bring them to the guitar.
#HOLD THE LINE PIANO CHORDS HOW TO#
Because of this, it’s useful to learn how to adapt pianistic techniques to our six strings. It’s hard to dispute that in jazz circles, the piano is considered the preferred harmonic instrument.
#HOLD THE LINE PIANO CHORDS PDF#
Learn how to create rootless chords and imply harmony.Ĭlick here to download a printable PDF of this lesson's notation.Expand your chordal vocabulary for playing jazz standards.Chops: Advanced Theory: Intermediate Lesson Overview: