![\"Cocktail-Piano-Chords\"](\"https:\/\/proproach.com\/piano-techniques\/wp-content\/uploads\/2014\/11\/shells-300x225.jpg\")
As you explore your world of cocktail piano chords and voicings, you will undoubtedly find yourself investigating open voicings if you haven’t already. In this message, I would like to suggest a concept that is so very easy to get a handle on yet is very effective at the same time.<\/p>\n
Consider applying this to any 7th chords you are already familiar with. Simply play any 7th chord in its most basic position. For now, let’s use G7:<\/p>\n
G\u00a0 B\u00a0 D\u00a0 F<\/p>\n
Here we have a G dominant 7th chord in root position. With your left hand, you would most likely finger this chord with your pinky, middle finger, index finger, and thumb.<\/p>\n
Well, perhaps you have often heard the expression “less is more.” A perfect example of this can be realized by doing the following: simply leave out the middle two chord tones and play only the G and F (the Root and 7 of the chord) aith your pinky and thumb. This is often referred to as a “shell.” If you think about an oyster, you can imagine the two shells with the oyster inside. You can think of that 3 and 5 (B and D) as the “oyster” or middle and the 1 and 7 as the outer shell.<\/p>\n
Becoming familiar with playing your 7th chords in this fashion will open you up to many possibilities when it comes to cocktail piano chords. For one, playing just the shell voicing (the root and 7) works well on its own without adding anything else to it. Go ahead and do this. Play through a favorite song of yours using only the 1 and 7 of those 7th chords with your left hand and playing the melody with your right and listen to the very open sound that results. You’ll learn to love these shell voicings before long.<\/p>\n
In addition, becoming acquainted with these shells and implementing them will lead to your being able to extend the idea to playing other piano chord voicings. One example would be playing the shell with the left hand and playing that 3 and 5 that you left out an octave higher. That’s a nice chord voicing that I’ve often referred to as the “oyster voicing” (it’s just a name I attached to it). So, if you are playing that G7, one way to approach it would be:<\/p>\n
G and F with your left hand<\/p>\n
B and D with your right hand<\/p>\n
The D would be the highest chord tone. Now, if that happens to be your melody note, this works nicely. If your melody note is higher, then you could play this voicing under it, thus creating a 5-note voicing.<\/p>\n
Focus on creating shells for a while and you’ll appreciate more and more the “thin” or “open” sound they create. Then you can expand on them, too. As you have fun with them, remember…<\/p>\n
Always…<\/p>\n
ALWAYS…<\/p>\n
PLAY WITH PASSION!<\/p>\n
Musically,<\/p>\n
Dave
\nwww.PianoAmore.net
\nwww.ProProach.com<\/p>\n","protected":false},"excerpt":{"rendered":"
As you explore your world of cocktail piano chords and voicings, you will undoubtedly find yourself investigating open voicings if you haven’t already. In this message, I would like to suggest a concept that is so very easy to get a handle on yet is very effective at the same time. Consider applying this to … <\/p>\n