![\"Jazz-Piano-Chords\"](\"https:\/\/proproach.com\/piano-techniques\/wp-content\/uploads\/2014\/11\/pianokeys7-300x214.jpg\")
When it comes to jazz piano chords, less really can mean more when it comes to sound and texture. You probably already realize that it doesn’t take a lot of notes to create some really interesting harmony. Actually, this is very true. Let’s consider one example of this concept in action below.<\/p>\n
Let’s take a look at a Cmaj7 chord (of course, you are encouraged to apply this in all keys for maximum benefit and appreciation!). Here is a Cmaj7 chord in its basic form:<\/p>\n
C\u00a0 E\u00a0 G\u00a0 B<\/p>\n
Naturally, this chord structure gives us a nice sound in its own right. But when it comes to playing jazz piano chords, players use these basic positions less often. Now, by making a couple of very easy adjustments, we can come up with a voicing that is much more contemporary sounding. So that this is easy to transpose in other keys easily, let’s acknowledge the chord tones in terms of degrees of the major scale:<\/p>\n
C = 1<\/p>\n
E = 3<\/p>\n
G = 5<\/p>\n
B = 7<\/p>\n
Okay, now here is where the “less is more” comes into play. Rather than using all four of these chord tones for the piano chord voicing that we are going to be playing, we will use only three of them. Specifically, we will include the 1, 3, and 7 in our voicing. However, we will make a simple modification, as follows…<\/p>\n
Instead of playing the chord with the C furthest to the left of the voicing (C, E, B), we will begin with the B furthest to the left. Use the B next to middle C. Then play the C and E to the right of it. So, our voicing looks like this:<\/p>\n
B\u00a0 C\u00a0 E<\/p>\n
We are playing a 7-1-3 chord voicing. This will make it easy when playing this structure in other keys.<\/p>\n
Play this jazz piano voicing and listen!<\/p>\n
You’ll notice a bit of dissonance when playing it. This is especially due to the half step that is created between the 7 and 1 of the voicing. Also, within this chord structure, there is a perfect 4th interval between the 7 and 3. This also lends itself to that more contemporary sound. It’s interesting that the major 3rd interval between the 1 and 3 sets it off a bit since it is a consonant interval. Seeing jazz piano chord voicings in this manner will lead to a better understanding of how different textures are created.<\/p>\n
This Major 7th chord voicing is one you’ll want to add to your “piano playing toolbox” for sure. By doing so, you’ll be joining the likes of pianists like Bill Evans who was well noted for playing such contemporary chord voicings!<\/p>\n
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
<\/p>\n","protected":false},"excerpt":{"rendered":"
When it comes to jazz piano chords, less really can mean more when it comes to sound and texture. You probably already realize that it doesn’t take a lot of notes to create some really interesting harmony. Actually, this is very true. Let’s consider one example of this concept in action below. Let’s take a … <\/p>\n