Are you chording with your Left Hand?

[Wolfram]

Jazz rule of thumb...

Tonic (root) Does not have to be played while comping because the bass player will cover that for you.  Secondly, the fifth is an unimportant note because it so resembles the root by being a perfect fifth***.  If you leave it out of any chord you will never miss it.

The third for the obvious reasons of major and minor sound and then the seventh through 13th. 

***  The fifth will have to be played if is is a diminished fifth or an augemented fifth, thus changing it from its original Perfect tonality.


I like to alternate 7ths and thirds on the bottom.  I also like to give the chord some room to breathe.

For example:

A foggy Day:

My left hand voicing may look like this for the first line

Fmaj7 -                A-C-E  (Bass plays F)

A-7b5 , D7b9 -      G-C-Eb (Bass plays A), F#-A-Eb (Bass plays D)

G-7 -                   F-Bb-D (Bass plays G)

C9 -                    E-Bb-D (Bass plays C)

Notice how I go from having the third as the first note in chord one to having the 7th as the first note in chord two and back again and so on...

[darkwing]

Can i ask why? I have hit this problem where for some crazy reason i always play power chords on my LH and then play inversions and extension son my RH.

An example is this;

C major LH- C G C, RH- E G C. I have not been able to break this habit and barely play root position chords on my right. Is this a bad way of playing? The bass player in church once asked me to not play so much bass and i was like what??? Does this method really get in the way of the bass player? I now have to play up the keys so i dont hit low notes but i still play the same way.

Because you have a bass player to play the bass.  Having a bass player, the pianist and organist all playing the bass notes amounts to the same note being played four or five times.  Your bass player is there to play bass.  Play harmonies in your left hand and use your right hand for adding harmony or embellishments.

[Wolfram]

Can i ask why? I have hit this problem where for some crazy reason i always play power chords on my LH and then play inversions and extension son my RH.

An example is this;

C major LH- C G C, RH- E G C. I have not been able to break this habit and barely play root position chords on my right. Is this a bad way of playing? The bass player in church once asked me to not play so much bass and i was like what??? Does this method really get in the way of the bass player? I now have to play up the keys so i dont hit low notes but i still play the same way.

When you play power chord with the left you might as well tell the bass player to pack his stuff up and go home cause you'll be playing his part.  The timbre from the pedals / low keyboard notes interfer with the bass players thing, not to mention the fact that the only real reason why we resort to that is becasue we have no other ideas for that hand.  Learn to orchestrate properly and your chops will just scream, not to mention the fact that by providing everyone equal space to groove, you do not muddy up the lower nonclementure simply because you do not have any ideas for that hand.

Start looking at the left hand as an instrument on its own...  Not a club or guide rule that you use to hammer your version of the chords through to the rest of the rhythm section.  Jazz is much more breathable.  You have to let people do their job.

[musallio]

Great piece of information Wolfram..
Perhaps U should shed some more my friend?

I've learnt so much already from that small shed.

U could even give more examples etc

[Rjthakid]

When you play power chord with the left you might as well tell the bass player to pack his stuff up and go home cause you'll be playing his part.  The timbre from the pedals / low keyboard notes interfer with the bass players thing, not to mention the fact that the only real reason why we resort to that is becasue we have no other ideas for that hand.  Learn to orchestrate properly and your chops will just scream, not to mention the fact that by providing everyone equal space to groove, you do not muddy up the lower nonclementure simply because you do not have any ideas for that hand.

Start looking at the left hand as an instrument on its own...  Not a club or guide rule that you use to hammer your version of the chords through to the rest of the rhythm section.  Jazz is much more breathable.  You have to let people do their job.

Good stuff man. 

[budda963]

I dont know if anybody else does this (and i dont really do it in public) but when i play at home i try to simultaneously chord and play bass with my left the same as i would chord and play melodies with my right.

[Wolfram]

Some quick left hand jazz tips:


1)  When you chord with your left hand, try to not start the chord off with the root note.  Try to alternate your starting notes between the third and the seventh. 

2)  You do not have to play every single note in the chord in the left hand..  The root and un-altered fifth are not important.  What is important is the third and then the extensions.

3)  Less is more...  If you can get away with a three note accompany chord in the left hand, do so.  It will allow the music to breathe and will allow everyone else room to insert their ideas.

4)  Don't forget about rhythmic ideas...  the left hand sometimes gets forgotten.  Remember that you can put a nice counter rhythm in the left hand that will amplify what the bass and drums are grooving.

5)  The right hand is the melody / dexterity hand.  You can chord here but, it is used for embellishments and solo work too.  Playig everything you know in the first chorus leaves nothing o climb to the second time through.  Pace your self.  Use space.  Remember that music is like a painting, it uses the whole canvas.  Listen to what your other musicians are doing and play off of that... 

[Rjthakid]

Some quick left hand jazz tips:


1)  When you chord with your left hand, try to not start the chord off with the root note.  Try to alternate your starting notes between the third and the seventh. 

2)  You do not have to play every single note in the chord in the left hand..  The root and un-altered fifth are not important.  What is important is the third and then the extensions.

3)  Less is more...  If you can get away with a three note accompany chord in the left hand, do so.  It will allow the music to breathe and will allow everyone else room to insert their ideas.

4)  Don't forget about rhythmic ideas...  the left hand sometimes gets forgotten.  Remember that you can put a nice counter rhythm in the left hand that will amplify what the bass and drums are grooving.

5)  The right hand is the melody / dexterity hand.  You can chord here but, it is used for embellishments and solo work too.  Playig everything you know in the first chorus leaves nothing o climb to the second time through.  Pace your self.  Use space.  Remember that music is like a painting, it uses the whole canvas.  Listen to what your other musicians are doing and play off of that... 

Again...very good stuff.

[MemphisKeys]

Thanks all im trying to move on anotha level in my playing and im starting to listen to blues and jazz music any tips.... Thanks and God Bless

[drebeatz]

I finally got the book and i must say it looks like it is very good. I will be able to say more once i start working out in it!

[sjonathan02]

Is it implied that there's a Bass player when one is playing jazz? 

[Wolfram]

Is it implied that there's a Bass player when one is playing jazz? 

That depends on the jazz that you are playing.  If you are playing solo piano, then obviously, no.  You may end up playing in a jazz duo with a bass player or perhaps a drummer.  If you are playing with a drummer. then you will have to walk the bass line with your left and play everything with your right.  Most of what I am talking about involves a bass player.  That is is when you have the most freedom to actually play your instrument as a pianist instead of a utility player.  I think many times keyboard players get roped into being the string section or brass section or filling in for all the 'sections' that are missing in the original soundbed.  What this does is develops your ear to hear fullness all the time.  These makes you panic when you hear space.  You also get nervous when your hands are both not doing something big together in a coordinated effort.  That phat or fat sound is needed in many modern orchestrations that lack the actual bodies to pull of a tune without your help.  In jazz, you are actually a player in your own right.  The music can have space and air inbetween things and not fall flat on its face.  Chords do not have to be stacked eight fingers+ deep to get a good timbre and it seldom takes two keyboard players to pull off a good sound unless that is exactly what you are going for.

Listen to Bill Evans.  He was an amazing talent.  If you listen to him for even 5 minutes, you will see what I mean about all of this.  He is on Youtube...

[kmckinn1]

Thank you all for your input in this topic.  It answers many questions that I had in the back of my head.  The main thing is I am so accustomed to playing along with just a drummer.  I play two keyboards.  And when our conference time comes around, and we have to play with other musicians, I do not fit in unless I am leading.  God forbid if we have a strong bass player.  SO I often just sit back and let the musician who can leave a pocket for the other instruments play.  I thought it was just me, but now I see that there is an intresting concept being discussed here.  Keep up the good work and God will keep pouring into you all.

[musallio]

Hi Kmckinn1,
welcome to LGM

Indeed, we all experience the same problems (luckily I've never had to play in a band sitaution with a bassist..*pheeew*..

Here's my main reason for coming here..to post these LH voicing s for jazz piano.
I found them about 6months ago on some site..(good thing I kept it).

here they are:

1-7-9
1-6-9
1-5-9
1-b7-9
b3-b7-11
b3-8-11
5-10-13
5-#9-13
5-8-13
b7-12-15
2-b7-10
2-6-10

Most of these voicings have a very nice jazzy sound to them, but I just don't know how to apply them in any song

Could any jazz gurus help me (us) to apply these in some popular songs..
Even if it's just a few of the chords used in the LH, I will be more than happy coz i want to know how to use them.

or

Are these voicings strictly used when 1 is improvising in the RH? How would 1 improvise if so?

I value all that U teach us here.

Thanx in advance

[MemphisKeys]

thanks everyone for da shed of information I really am Glad 2 b apart of your beautiful works Ima learn how to do all of this and more and mayb I can shed a lil of my knowledge

[Wolfram]

Hi Kmckinn1,
welcome to LGM

Indeed, we all experience the same problems (luckily I've never had to play in a band sitaution with a bassist..*pheeew*..

Here's my main reason for coming here..to post these LH voicing s for jazz piano.
I found them about 6months ago on some site..(good thing I kept it).

here they are:

1-7-9
1-6-9
1-5-9
1-b7-9
b3-b7-11
b3-8-11
5-10-13
5-#9-13
5-8-13
b7-12-15
2-b7-10
2-6-10

Most of these voicings have a very nice jazzy sound to them, but I just don't know how to apply them in any song

Could any jazz gurus help me (us) to apply these in some popular songs..
Even if it's just a few of the chords used in the LH, I will be more than happy coz i want to know how to use them.

or

Are these voicings strictly used when 1 is improvising in the RH? How would 1 improvise if so?

I value all that U teach us here.

Thanx in advance

Was this a progression or just a individual groupings of chords? 

[musallio]

Was this a progression or just a individual groupings of chords? 

Sorry 4 late reply, I was working all day!

it's an Individual grouping.

thanks everyone for da shed of information I really am Glad 2 b apart of your beautiful works Ima learn how to do all of this and more and mayb I can shed a lil of my knowledge

.

By all means man, plz do U needn't be afraid. U'll be amazed how much you will learn even from just doing that.

[pozeenjay]

I have found that a lot of stretches the guys do I cant' do.  Can you fellows enlighten a sister on how you get that wide stretch?  I can do an octave but after that I have to figure out how I can stack the notes to play those wide chords.

[musallio]

I have found that a lot of stretches the guys do I cant' do.  Can you fellows enlighten a sister on how you get that wide stretch?  I can do an octave but after that I have to figure out how I can stack the notes to play those wide chords.

I get where U'r coming from sis..I also found that I had to either use different inversions for the voicings or use 2 hands 2 complete the voicing in some keys.

I once read in some jazz website that the RH stretches wider than the LH by an inch or so.
I believed this because I know I play tenths with relative ease on my RH compared to the LH.

So what can a sista do?

The suggested exercise was that U find a flat surface,
stretch out your LH fingers, trying to form a perfect 180^o angle with the thumb and the pinky;
& then stretch the "webs" between the fingers; adding particular focus between the index & thumb.

What I also try to do is use the thick edge on the side of the table to try to form a 180^o angle between:
Thumb & pinky & thumb & index finger.

Of course U could stretch your fingers whenever & wherever, U need not have a surface

finally, make a concious effort to first play the 1-9 in the keys of F# & C. Now extend that to 1-10.

Once U can play those, try the 1-5-10 & the 1-6-10.
Now U can go to the 1-7-10 & the 1-b7-10 (i find these 2 very challenging in the key of F#).
practice them all in different inversions & in diff keys..it will pay off in the end

The results won't be immediate, but constant practice will help, within 2 years, U should be playing the 1-b7-10 in any key without much strain

[Wolfram]

I have found that a lot of stretches the guys do I cant' do.  Can you fellows enlighten a sister on how you get that wide stretch?  I can do an octave but after that I have to figure out how I can stack the notes to play those wide chords.

I avoid wide open voicings that involve octaves and fifths if I can help it... If in doubt, start with the third or seventh on the bottom and build your chord from there.  You can skip the root and fifth altogether and still sell the chordal idea.

Wolf