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KeyboardMag.com >> This Month >> Two-note Voicings
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Jump right into bebop and beyond with simple left-hand chords. Two-Note VoicingsIt’s time to ’fess up. Have you been looking at the Play section of this magazine for the past few months and, after seeing all of the juggernauts we’ve been covering (like McCoy Tyner, Joe Zawinul, and now Oscar Peterson), presumed that there wouldn’t be much for the beginner to enjoy? Fear not! All the great players mentioned above have something in common: They developed a strong grasp of the fundamentals. Check out the left-hand part in the transcription for “Fascinatin’ Rhythm.” You’ll notice a trend that developed in group settings during the bebop era in the ’40s, and has continued through the following decades of straight-ahead jazz. For one, the playing is somewhat sparse; entire measures go by with little or no accompaniment from the left hand. When the left hand does comp, you will notice that many of the chords are voiced with just two notes. Yet, when you listen to the recording, the overall performance sounds anything but simple. This understated left-hand technique serves an important musical purpose: to make room. Specifically, it gives the bass player and the soloist (in this case, Oscar) room to improvise more freely within whatever chord is happening at the time. So, by selecting the two notes that most define a chord, you give the listener the flavor while not confining the bass player or soloist. Check out the example to see what those note choices should be. Play Audio and MIDIThese audio and MIDI files correspond to the full song transcription beginning on page 52 of the February 2007 issue of Keyboard. All files performed by Michael Gallant. |
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