Adding a Jazz Flavor to Your Piano Playing

If you know your piano chords well, try this next step. Say the song you are playing asks for a C7 chord. That is called a dominant seventh. Here's what you do. With your left hand, play just the root and seventh of the chord, so that would be C with your pinky and Bb with your thumb.

Now for the right hand. Go up one half step from the C7 and play a minor chord. This would bring you to C#minor. The notes in a C#minor chord are C#-E-G#. By playing the C and Bb in the left hand, and the C#, E and G# in your right hand, you will be adding a flatted 9th and sharp 5th to the chord. Those chord alterations are very common in jazz and will add a beautiful sound to your chord - lots of flavor for sure!

Here is another way to jazz up a chord. When the required chord is a C, again, play the C and Bb in the left hand. Now with the right hand, go down one whole step from the C and you get Bb. Build a Bb major chord on the Bb. So in the right hand, you will now be playing Bb-D-F. What are those notes in the key of C? They are the 7th, 9th and 11th. Very dissonant but beautiful.

When you put one chord in the right hand and another in the left to achieve these tensions, these are called upper structure chords. Use them wisely. They won't always work for every chord in every song. It's a matter of taste so listen carefully and have fun with it!

Debbie Gruber is the author of many instructional piano CDs, books and DVDs. She operates a private teaching studio in Burlington, MA and holds a Master of Music degree. She is the Creator of http://www.EasyPianoStyles.com and she teaches at many Adult Education Centers in Massachusetts. Article Source: http://EzineArticles.com/?expert=Debbie_Gruber

Learn Jazz Piano Voicings - The Key to Making Jazz Interesting For All Instrumentalists

Voicings are no doubt what have given all famous jazz pianists their identity. Art Tatum, Bud Powell, Bill Evans, McCoy Tyner, Herbie Hancock, and Brad Mehldau all use unique, interesting voicings when making music. However, even though the idea of playing jazz is to create something unique and spontaneous, jazz is also a language, and in order to be effective at playing jazz piano, one must understand the standard set of jazz voicings, because there sure as heck is one!

Before we cut to the chase, I want to first identify the difference between a VOICING and a CHORD. A CHORD refers to a set of given CHORD TONES to be used. So a C chord contains the chord tones C, E, and G. BUT, I might VOICE the chord with E under C and G above C. Or E under G under C. So to VOICE the chord is to actively place the chord tones wherever you like.

1) SHELL VOICINGS: The name "shell voicing" speaks for itself. It is the basic framework of the given chord. Shell voicings are useful because they give off the color and characteristic of the chord with the least amount of notes. SO, if I wanted to play a Cmaj7 shell voicing, I might play, from bottom to top, C, B, and E. Try it for yourself. Sit down at the piano, and hold down these notes. It will sound the strongest if you play the C under middle C, B under middle C, and E above middle C.

The concept is that you are playing the ROOT, 3rd, and 7th of the CHORD. However, I VOICED the chord with the ROOT, 7th, THEN 3rd. This concept works with ALL chords. So if I wanted to play a Cmin7 shell instead, I would probably voice it with C, Bb, and Eb.

2) FOUR NOTE VOICINGS: I use these voicings all the time, especially with my left hand when I am taking a solo! So, with a Cmaj7 chord, the chord tones are C, E, G, and B. However, the D ABOVE B also sounds GREAT. So, in this case we have two options. We can either voice the chord using C, E, G, and B, OR we can voice it using E, G, B, and D. If we use the second option, we will stay out of the way of a bass player if we have one, because most likely HE'LL be playing C.

The great thing about four note voicings is that we can invert them! What this means is, if I were to use the second option, I could play it the way it is, or play G, B, D, E, or B, D, E, G, etc. That's a LOT of options! And once again this works with all minor chords and flat seventh chords, too!

Frankly, you ALREADY know enough to get on the bandstand and play voicings that fit behind the soloists and yourself! But, I'll give you one more, which is the bread and butter of modern jazz.

3) FOURTH VOICINGS: Sometimes people call this a "Quartal" voicing. McCoy Tyner and Chick Corea use these voicings ALL the time! The idea behind this is you can take any old scale, say Cmajor which is C, D, E, F, G, A, and B, and play a chord where each note is a fourth away from the next one, but ONLY using notes from that scale.

A fourth away from C is F, a fourth from D is G, etc. So if I have a Cmaj7 chord, one fourth voicing I can play is E, A, and D. I am only using notes in the C major scale, and they're all a fourth apart! But, I can completely do this randomly, with any group of notes, just as long as they're IN THE SCALE, and are each a FOURTH apart! This is the secret to achieving that "hip and modern" sound!

At this point I have given you enough information for you to REALLY start exploring jazz piano voicings over tunes. BUT, mastering jazz piano voicings is a process that takes time, energy, love for the music, and most importantly, the proper guidance. If you visit my blog at http://marksmusicreview.blogspot.com, I will tell you about my journey, and hopefully help you along with yours! Also, if you would like to hear my music, visit my brand new MySpace page at http://www.myspace.com/markdanielsjazz

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Art Tatum - The Virtuoso of Jazz Piano

Being born blind never proved to go against the music in Arthur Tatum Jr's heart. One of the most technically sound pianists, his technique and compositions manage to boggle musicians even in this advanced day and age.

Born on the 13th of October 1909, Arthur Tatum could barely see from one eye after having cataracts in one eye with the other having limited vision - a condition which he had from when he was just months old. A child prodigy, he started by learning how to play the piano rolls from recordings which his mother used to play at home. He slowly started playing duets not knowing that they were meant to be played as duets but playing both the parts himself.

Having learnt to play in this unusual manner, his playing style was very fast which he could surprisingly play with acute accuracy. While he was developing his talent, he also made sure that the piano was always tuned right and would insist that it be tuned right.

He underwent surgery to improve the condition of his eye which didn't give him relief for too long. In around 1930 when he was around 20 years old, he was inflicted which damaged his eye again. He started his career in Ohio where he was born. He later shifted base to New York in 1932.

His music influences grew over the years and he started taking after James P Johnson and Fats Waller who were considered the best stride piano players. His claim to fame was a cutting contest. A cutting contest was a contest between stride piano players in Harlem where one player would "cut" into the piece the other player was playing and in the process try to outdo him. In a cutting contest in 1933, he beat his heroes at the keys - Fats Waller.

At these contests, the standard songs that used to be played were Harlem Strut, Carolina Shout and Handful Keys - all of which were composed between Johnson and Waller. Tatum competed against them with his own arrangement of Tiger Rag - a tune originally composed by the Original Dixie Land Jazz Band. He out beat them and all the other competition making the event one that marked the phasing out of the stride era. After that, he became known to be the authority on the stride style of playing the piano. He held the record for being the best at the instrument only to be challenged by Donald "The Lamb" Lambert who came the closest to challenging Tatum at the instrument that he had come to master.

The immediate reaction of a pianist to one of Tatum's recording would leave him baffled at what he was doing where and how. His fingers flowed like water on the keys. He was consequently free stylist in his method of playing the piano. His mastery of being able to move his fingers fast over the keys of a piano with accuracy like as if one is listening to a sped up version of the player using the same techniques. This allowed him to fly like a breeze through a part that any other pianist would cringe to play because it was difficult.

The technique itself was not the complicated. Jimmy Rowles, an admirer and colleague, confessed that the despite slowing down the faster parts of his signature piece "Tiger Rag", you'd find a perfectly coherent, syncopated rhythm. Taking ground from his stride piano roots, he took the same genius to playing jazz like the good usage of pentatonic scales which allowed for jazz to grow a form of music which was ideal for solos. He influenced many jazz masters of the period like Bud Powell, Thelonious Monk, Oscar Peterson, Billy Taylor, Bill Evans, and Chick Corea.

Another handy work of the genius that Tatum was is the introduction of swinging the beat of a jazz song. He was firm believer that melody was king which showed in his music. He never attempted going away from the original melody of the song and preferred working with the original melody of the tune innovating with the chord progressions to suit the melody.

The man was such a genius at the piano because most musicians couldn't keep up with his speed and extensive techniques. He will go down in history as the virtuoso of jazz piano.

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