This week was all about rootless voicings on the piano. I carried on with my work on ‘Misty’ from last week and tried a different style of comping. I originally planned on introducing another song this week, but I found the rootless voicings to be challenging and require more time. I tried figuring out the voicings in my head at the piano, but it was too much to think about. So I decided to break it down by going back to the theory basics and writing out each chord, determining the root, 3rd, 5th, 7th, 9th and 13th. Then, I wrote out the chords transitions so that there would be nice voice leading and common tones between the chords.
A side note about voice leading: I studied a lot of Bach chorales in my first and second year of music school, with the goal of understanding proper voice leading. There are lots of “rules” with voice leading, but they help with problems like:
“smoothness, independence and integrity or melodic lines, tonal fusion (the preference for simultaneous notes to form a consonant unity), variety, motion (towards a goal)” – Open Music Theory
Open Music Theory is an open source textbook (open educational resource). Cool!
In short, good voice leading makes music sound pleasing to the human ear! I really like the end result of my progress this week:
rootless chord voicings – figuring out which notes to play and using good voice leading
Starting to incorporate good voice leading
Overlaying multiple videos in my vlog
I had to write out the chords this week (instead of figuring out the chords in my head). Although not my original plan, it allowed me to really understand the theoretical sides of rootless chords and good voice leading.
I think we have reached the halfway point in our learning projects! I feel like I am developing more independence in my jazz playing skills (for example, I can just sit down at the piano and experiment – get this – WITHOUT SHEET MUSIC!). Last week was all about reading a lead sheet and this week I focused on the art of comping. In a jazz group rhythm section, there is usually a bass player (responsible for the root of the chords), drums (rhythmic accompaniment) and piano/guitar to fill in the chord harmonies. Comping is essentially accompanying a soloist in an interesting way. Here is my progress with comping so far:
What I worked on:
Practicing the chords for “Misty” (focus on playing the root, 3rd and 7th notes)
Experimenting with different comping patterns for “Misty”. I learned about 3 different styles: walking bass, open voicings, rootless voicings. I chose open voicings this week.
I felt like I was able to use my creative side and experiment with different comping rhythms and voicings. It was fun!
Feeling hesitant with my chord voicing choices and concerned with playing the “wrong” notes. As soon as I relaxed, it felt a lot easier.
Next week I plan to continue experimenting with different comping styles (different rhythm patterns and rootless voicings) and try out a different jazz standard. I think am ready to start jamming with other musicians – any takers??
This week I tackled how to read a lead sheet (or fake sheet) in jazz piano. Basically a lead sheet has a melody line and chord symbols – the musician is expected to fill out the rest (using their understanding of the style of music and the type of accompaniment required). This is where my classical background and key knowledge was very helpful, since I already know how to read chord symbols and translate this to the piano. But the challenge this week was to read a lead sheet like a real jazz musician – incorporate 3rds and 7ths in the voicings and always make sure the melody note is the played “on top” in the right hand. Hopefully my vlog this week explains my process with a jazz standard, “Misty”.
**Note – in a jazz group, there is a “rhythm section“. This usually includes piano (and guitar), drums and bass. The bass in responsible for playing the “root” of the chords, so the pianist usually omits the root of the chord when playing. Since I don’t have a rhythm section, I have included the root of the chords in my version!
What I worked on:
Analyzing and reading the lead sheet for the jazz standard, “Misty”
Used the 2-5-1 exercise and C Blues as a warm up
I felt very invested in my learning project this week because I realized how much I enjoy the analytical side of music. Figuring out the chord voicings in my head was tough but rewarding!
Stayed on track with my practice plan this week. Short and frequent sessions as suggested by my classmates.
I hope you enjoyed watching what I mean by “classical fake jazz playing” and learning to read a lead sheet. I am looking forward to pulling out my “Real Books” (massive collections of jazz standard lead sheets) and putting my new skills to work. Next week I would like to try another style of Blues (perhaps with a walking bass line) and start looking at comping patterns in the left hand.