Modern Voicings. 2 2
Instant Bill Evans. 3 3
Chordal Fragments. 4 4
So you've just played chordal voicings. 5 5
[SOUND] And the pianist Bill Evans made great use of these. 6 6
And also a thing called chordal fragments. 7 7
Chordal fragment is when you simplify a four note chord down to three notes and 8 8
cluster two of the notes together. 9 9
So to make things simple, 10 10
look at the middle of the page at the G minor 9 and the F minor 9. 11 11
Basically what you're gonna do is 12 12
[MUSIC] 13 13
look for a G minor chord 14 14
[MUSIC] 15 15
and then move the root note up 16 16
[MUSIC] 17 17
to the second note, so should also hold the ninth. 18 18
This is also the second, one in C, one, two, three, 19 19
four, five, six, seven, eight, nine, which is also the second. 20 20
Look for the G minor. 21 21
Put your finger up onto the ninth. 22 22
Can you hear the nice sound you get? 23 23
[MUSIC] 24 24
If we wanted to make F minor 9. 25 25
Chordal fragment. 26 26
Look for F minor 27 27
[MUSIC] 28 28
Simply move the root up onto the 9th. 29 29
[MUSIC] 30 30
G minor 9 chordal fragment 31 31
[MUSIC] 32 32
F 33 33
[MUSIC] 34 34
[SOUND] So there's just lovely dissonant sound. 35 35
So again, you get a nice vague kind of sound. 36 36
[SOUND] So the chordal voice will give you [SOUND] uncertainty 37 37
about where the tonality is It's the same with these. 38 38
[MUSIC] 39 39
They're less definite than 40 40
[MUSIC] 41 41
So to improvise over these chords, you can either use the minor seven scale. 42 42
So G minor seven, the F minor seven scale for when you change the chord. 43 43
[MUSIC] 44 44
So the good thing is, you're learning to change the scale with a chord. 45 45
And you can hear changing quite distinctly. 46 46
Because you can't play one scale over the other chord. 47 47
So we have to change. 48 48
And it gives a nice change rather than playing the blues scale repeatedly 49 49
over everything. 50 50
[MUSIC] 51 51
You see how it changes everything? 52 52
If you can hear, the melody completely changes to the new chord. 53 53
You can also use chord tones. 54 54
So in the G minor nine, the chord tones are mmm. 55 55
You can simplify the nine to first, 56 56
second, third, fifth and again with. 57 57
[MUSIC] 58 58
Do the same with the F minor. 59 59
First. 60 60
Second. 61 61
Third. 62 62
Fifth. First. 63 63
Second. Third. 64 64
Fourth. 65 65
All C's. 66 66
Chordal voicings in the right hand. 67 67
[MUSIC] 68 68
Remember, just keep everything simple for now. 69 69
Just looking for small patterns. 70 70
So when you're in the G minor line, 71 71
it's this note that's really giving [SOUND] a difference to that chord. 72 72
Because if it was just, so it's really this note that's making it unique. 73 73
So with that in. 74 74
[MUSIC] 75 75
And again here 76 76
[MUSIC] 77 77
Just work up and down the scale, just smoothly. 78 78
Don't try too much