![\"Jazz-Chord-Voicing\"](\"https:\/\/proproach.com\/piano-techniques\/wp-content\/uploads\/2014\/11\/brownpiano2-150x150.jpg\")
One jazz chord voicing you’ve just got to know as a cocktail piano player involves taking a simply 7th chord and making one simply modification to it. Specifically, I am referring to the 1-5-7-3 chord voicing.<\/p>\nOne jazz chord voicing you’ve just got to know as a cocktail piano player involves taking a simply 7th chord and making one simply modification to it. Specifically, I am referring to the 1-5-7-3 chord voicing.<\/p>\n
Here’s how to play it…<\/p>\n
Let’s use an Fmaj7 chord to illustrate. This chord in its most basic form is spelled out like this:<\/p>\n
F A C E<\/p>\n
Again, this is a 7th chord in root position. In addition, as you take a look at the chord tones, they are as close to each other as they can possibly be.<\/em> In other words, there are no chord tone in between those chord tones that are already there. Therefore, this chord is said to be in closed position.<\/em><\/p>\n Okay, let’s take that 3rd of the chord, which is the A. If we don’t play that A where it is within the structure and, instead, play it one octave higher, the order of our chord tones from left to right looks like this:<\/p>\n F C E A<\/p>\n This is a very commonly used jazz chord voicing and one you’ll definitely want to have a handle on. You’ll want to apply this 1-5-7-3 structure to all the 7th chords that you learn eventually. Doing so will really add dimension to your playing!<\/p>\n Now, go ahead and play those two lower chord tones (the F and C) with your left hand and play the two upper chord tones (the E and A) with your right hand. Listen!<\/p>\n It sounds more “open,” would you agree? Actually, we call this an “open voicing” because we have actually opened up the chord by taking one of the inner chord tones and moving up an octave. You see, we really do have a chord tone that is not being played in between two of the other chord tones at this point (in between the F and C, there is that A which is not being played).<\/p>\n If you were playing a song in which the melody note was A and the chord was Fmaj7, this is a very appropriate jazz chord voicing to play since the A is at the top of the structure (furthest to the right). You are highly encouraged to apply this 1-5-7-3 to other 7th chords that you either already know or will learn in the future. It will work for all of them and, by doing so, you’ll really be adding to that “piano playing toolbox” of yours.<\/p>\n This is a jazz chord voicing you’ll want play again and again. Look for opportunities to use it in your favorite songs. Simply look for melody notes that are the 3rd of the 7th chord that you will be playing and use this voicing to turn what would otherwise be and “okay” sound into one that spells professionalism in the ears of your listeners!<\/p>\n Remember,<\/p>\n Always…<\/p>\n ALWAYS…<\/p>\n PLAY WITH PASSION!<\/p>\n Musically,<\/p>\n Dave One jazz chord voicing you’ve just got to know as a cocktail piano player involves taking a simply 7th chord and making one simply modification to it. Specifically, I am referring to the 1-5-7-3 chord voicing. Here’s how to play it… Let’s use an Fmaj7 chord to illustrate. This chord in its most basic form … <\/p>\n
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