Sonic visualiser chord diagram how to#
Sonic visualiser chord diagram professional#

In this section, we’ll focus on a specific type of chord shell that is commonly known as ‘Bud Powell voicings.’ These two-note voicings of R7 (Root + 7th) or R3 (Root + 3rd) were pioneered by early bebop pianists of the late 1940s including Bud Powell, Thelonious Monk, Duke Jordan and Tadd Dameron.īud Powell style jazz piano chord shell voicings. However, sometimes the 6th is used in a chord shell and occasionally the 5th is used as well, though less frequently. In most cases, chord shells contain any combination of root, 3rd and 7th.

The term chord shell is broad and describes any 2 or 3 note voicing that provides the essential tones needed to imply a given chord. The first category of jazz piano chord voicings we’ll explore are chord shells. Due to copyright restrictions on the tune “Autumn Leaves” featured in today’s lesson, the lesson sheet is available for purchase via the MusicNotes external products link at the bottom of this page. All 6 companion backing tracks appear at the bottom of this page after logging in with your membership. But, first, be sure to grab the lesson sheet and backing tracks for today’s Quick Tip. Now, let’s dive into our first category of chord voicings. This progression is called a cycle of 5th progression. You can learn to master this chord progression in swing, bossa nova, and jazz ballad styles in our course Cycle of 5ths in 3 Jazz Styles (Level 2, Level 3). However, the chord relationships are most logical when analyzed according to the relative major.)Ĭhord progression for the A section of Joseph Kosma’s “Autumn Leaves.” Both G major and E minor are valid interpretations. Many jazz musicians consider the tune to be in the relative minor because it ends on an E minor chord. (Note: the analysis below indicates the key of G major-the relative major to E minor. We will apply each of the six voicing techniques to the following chord progression. Lesson Context for Jazz Piano Chord Voicingsīefore we dive into our first voicing category, let’s take a quick look at the chord progression for the A section of “Autumn Leaves” in E minor.

Sonic visualiser chord diagram how to#

Thick Am11 jazz piano chord voicing with chord extensions (9th and 11th).Īs you can see from the examples above, knowing how to construct and play common jazz piano chord voicings can unlock worlds of sonic potential for the jazz piano student. Am7 jazz piano chord voicing using quartal voicing technique. Am7 jazz piano chord voicing using root + guide tones technique.

For example, each of the voicings below represent a different voicing approach to the chord symbol Am7. Chord voicing also refers to the application of any extensions and alterations. However, the study of chord voicings is not only limited to the tones within a four-note 7th chord. How you choose to voice a chord determines whether it sounds thick or thin, dark or bright, transparent or opaque.

What is a chord voicing?Ī chord voicing is specific selection and distribution of chord tones to achieve a desired sound for a particular musical style.Īs such, there are several possible ways to voice any given chord. In fact, you will want to play them all!Īlso, it is important that we understand what we mean when we use the term voicing.

Sonic visualiser chord diagram professional#

It should be stated at the onset of today’s lesson that while the voicing techniques we’ll study today vary in terms of difficulty, they are all professional jazz piano chord voicings. You’ll also apply them to Joseph Kosma’s “Autumn Leaves.” By studying each of these jazz piano chord voicing techniques, you’ll increase your capacity as a functional jazz pianist. Not only will you learn how to construct each voicing type. This Jazz Piano Chord Voicings – The Complete Guide includes the following voicing techniques: In today’s Quick Tip, you’ll discover a sequential presentation of 6 essential jazz piano chord voicing techniques. In fact, the study of jazz piano chord voicings can seem overwhelming. If you’ve listened to famous jazz pianists such as Bud Powell, Red Garland, Oscar Peterson, Bill Evans, George Shearing, or Herbie Hancock, then you’ve probably noticed that these pianists play jazz chords quite differently.