This is a video clip from Dick Hyman’s excellent series of jazz piano instructions. He outlines several useful patterns for playing block chord across the diatonic scale including mixing in a ‘drop 2’ voicing used widely by Barry Harris, Bill Evans and OP. Drop 2 on piano is a port of an orchestration technique for opening up a closed voicing for a horn section where the second note is dropped down an octave. On piano, it is often played with LH on bottom note and RH handling top 3. Hyman explains that the sweet zone for these types of block chords is middle octaves where the instrument is resonant but they can sometimes work high as well for certain melodies.
This is Henry Mancini’s famous book on orchestration. Every musician should own a copy. It has been around for many years in many formats but exists now as a book with accompanying CD. Sometimes I just like listening to the example CD and reading trough the score like it is a very cool story album. Mancini is great at describing the textural effects that can be achieved with different unconventional big band/orchestral instrumentation and how that could map to certain moods or visual cues in a soundtrack. He describes the philosophy and uses of some of his signature colors like alto flute + alto sax. He also walks through single pieces with different voicing and instrumentation structures so you can hear the result of certain decisions. There are extremely cool, useful tricks to be had here that could apply to almost any style of music and this type of knowledge is also highly applicable to jazz piano voicing/comping.
Red Garland’s block chords are arguably his most famous stylistic contribution to jazz piano. While overuse tends to make you sound a bit on the loungy side of things and can make you sound like a Garland wannabe (for better or worse), judicious use of this trick can come in handy in a number of band configurations. It obviously sounds great on the Workin/Cookin/Steamin/Relaxin session where Garland’s understated playing provides contrast to the Horn solos and offers space to let the Philly Joe and Paul Chambers push. On a practical level, this particular block chord style is relatively easy to implement and can get you a big sound without banging when you are on a lousy upright and feel like you are fading into the curtains. Here is the recipe:
- Right Hand: Octaves with ‘locked 5ths’ above bottom note. (Maintain a perfect fith from the bottom note of the octave at all times)
- Left Hand: Rootless voicings (see this entry) sounding on every note that the right hand plays.
This produces some weird dissonances at times (see the fifth above the third on the C7 in the simple example) but don’t let that stop you. It is part of the style.
Voicing will go a long way toward defining your sound as a pianist much like a sax player gets known for a certain tone or a vocalist has a certain quality. The 3/7 4-note rootless voicings are an essential mainstay and go a long way in achieving a framework for basic improvisation and other more complex voicings. It is the family of chord voicings that is probably the most important thing to get down in order to start to be able to comp over lead sheets. Once you start to play them you will recognize them everywhere from Bud Powell to Bill Evans.
These voicings follow a rule: avoid the root and outline the 3rd and 7th adding other necessary notes that are implied by the melody. In the simplest form this is generally a 3 5 7 9 or a 7 9 3 5. A good way to begin to get these voicings in your hands and see how they work with each other is to use the circle of fifths to cycle the ii-V7-I progression through all keys using one of the two voicings above as the starting point and rotating the voicings keeping either the third or seventh on the bottom:
|3 5 7 9 [F,A,C,E]||7 9 3 6 [F,A,B,E]||3 5 7 9 [E,G,B,D]|
|7 9 3 6 [C,E,F,A]||3 5 7 9 [B,D,F,A]||7 9 3 6 [B,D,E,A]|
The first thing you notice when playing these voicings through the circle of fifths is that you are not moving around much. This economy of movement frees you to think about the rhythm of your comping and your improvisational lines. These voicing combinations also create very strong voice leading (the perception of a “horizontal” connection between the chords) and emphasize the resolution of cadences within the progression. In other words, this is why these voicings sound good.
There are many possible mutations of the 3/7 voicings. Play with them and see how it is simple to create augmented, half diminished, b9, #9, when necessary. You should practice playing these in the right hand with “shell voicings” in the left or playing them in the left hand while playing the melody in the right. For simple two hand comping, pull the 5th out of this voicing and play it in octaves above the left hand or add other missing chord tones or simply the root in octaves.
People often ask me how to begin to learn to play jazz piano. Unfortunately, even if you are (or were once) a fairly skilled classical player there is no one semester class or latenight video infomercial lesson series that is going to work for this. You need to become somewhat obsessed – listening to a lot of jazz and also spending significant time at the piano learning chords, voicings and theory. Both of these will feed into your playing in a noticeable way if you keep the intensity up. To get started learning ‘jazz chords’ I recommend first learning to play all root chords by their notation symbol in all keys. You really can’t begin to tackle a leadsheet and understand jazz piano voicings and harmonies until you can bang these chords out on demand, picture them in your head when you see the symbol and hear them when they are played to you. Rather than reinventing the wheel, I will point you to places that convey these concepts well.
If you feel you have this down you should be able to answer the questions below without much thinking and you are ready to think about how to voice these chords for piano.
What notes are in the following chords?