{"id":12147,"date":"2016-02-23T10:00:00","date_gmt":"2016-02-23T18:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12147"},"modified":"2024-10-14T05:54:33","modified_gmt":"2024-10-14T13:54:33","slug":"ive-mastered-thirds-and-sevenths-now-what","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/ive-mastered-thirds-and-sevenths-now-what\/","title":{"rendered":"“I’ve Mastered Thirds and Sevenths\u2026 Now What?” (Plus Free 2-Week 43-pg Practice Journal)"},"content":{"rendered":"

One of the challenges of piano playing at the next level is playing chords on the left hand.<\/p>\n

Here’s what the beginner’s left hand can typically handle with ease…<\/p>\n

C:
\n
\n…for C major.<\/p>\n

E:
\n
\n…for E minor.<\/p>\n

Those are basically single notes<\/a>.<\/p>\n

With a little progress, it graduates to intervals<\/a>…<\/p>\n

D-C:
\n
\n…for D minor.<\/p>\n

F-C:
\n
\n…for F major.<\/p>\n

This is where the left hand settles for a long while before graduating further to chords.<\/p>\n

Graduating from playing notes and intervals to full-sounding chords is not the easiest thing in the world. Nonetheless, if you read this post, you’ll learn step by step, how to create left hand voicings with the skeletons<\/a> we covered in a previous post.<\/p>\n

“What is Voicing?”<\/em><\/h3>\n

A chord is a collection of three or more related notes.<\/p>\n

The consideration of these notes as voice parts is called voicing<\/em>. Voicing deals with the rearrangement<\/strong> of the notes of a chord as though they are voices.<\/p>\n

Our focus today is on rearranging the notes (aka – “voices”) of a chord to produce left hand voicings (rearrangements) and we’ll be expanding on the concept of the skeleton voicing technique<\/a>.<\/p>\n

Quick Review of Skeleton Voicings<\/h2>\n

It’s possible to play seventh chords with just two notes<\/a> because of the skeleton voicing.<\/p>\n

This rearrangement is all about playing the third and seventh tones of the chord (aka – “skeleton in the chordboard<\/a>“).<\/p>\n

The following seventh chords…<\/p>\n

C major seventh:
\n
\nC minor seventh:
\n
\nC dominant seventh:
\n
\n…can be reduced to their skeleton voicings:<\/p>\n

C major seventh:
\n
\nC minor seventh:
\n
\nC dominant seventh:
\n
\n…respectively, which consists of the third and seventh tones.<\/p>\n

Let’s transform these skeleton voicings into left hand voicings.<\/p>\n

“Thirds and Sevenths – Now What?”<\/em><\/h2>\n

The left hand voicings we’ll be covering in this post are basically adapted from the skeleton voicing of chords.<\/p>\n

The only difference is we’ll be fleshing up these skeletons with some muscles to make them more suitable for the left hand, among other things.<\/p>\n

To do this, I’ll be introducing one compound interval – the ninth.<\/strong><\/p>\n

“Hello Ninths?”<\/em><\/h3>\n

In addition to thirds and sevenths, we can bring in the ninth – a compound interval.<\/p>\n

Compound intervals exceed the span of an eighth (aka -“octave<\/a>“). In the major scale of C:<\/p>\n

…beyond the eighth tone (C):
\n
\n…lies the ninth (D):
\n
\n…the tenth (E):
\n
\n…the eleventh (F):
\n
\n…and beyond<\/em>.<\/p>\n

The major ninth has a letter name that is similar to the major second. Remaining in the key of C, here’s a contrast between the second:
\n
\n…and the ninth:
\n
\n…where the letter name is the same but the notes are an octave apart.<\/p>\n

Make no mistake about it, in chord formation, the second<\/em> tone is the ninth<\/em> and vice versa.<\/p>\n

Therefore, we’ll be adding the ninth (or the second if you belong to my school of thought) to the skeleton voicings<\/a> we’ve explored in previous posts to beef up our left hand voicings.<\/p>\n

Left Hand Voicings of Ninth Chords
\n<\/em><\/h2>\n

Left hand voicings are usually extended chords.<\/p>\n

Extended chords are chords that have compound intervals (aka – “extensions”). Ninth chords obviously belong to this group.<\/p>\n

We’ll be covering three ninth chord qualities – major, minor, and dominant.<\/p>\n

Major Ninth<\/h3>\n

The major ninth chord is basically a major seventh chord with the ninth. C major seventh<\/a> chord:
\n
\n…plus its ninth tone (D):
\n
\n…produces the C major ninth chord:
\n
\nIn the same vein, the skeleton voicing of the C major seventh is E-B:
\n
\nIf we add the ninth (D) to it, this produces:
\n
\n…the left hand voicing of C major ninth.<\/p>\n

To add to the skeleton voicings of the major seventh chord that I assume you’re familiar with in all the keys, here are major ninth left hand voicings that are the outcome of the addition of the ninth tone.<\/p>\n

C major ninth:
\n
\nDb major ninth:
\n
\nD major ninth:
\n
\nEb major ninth:
\n
\nE major ninth:
\n
\nF major ninth:
\n
\nGb major ninth:
\n
\nG major ninth:
\n
\nAb major ninth:
\n
\nA major ninth:
\n
\nBb major ninth:
\n
\nB major ninth:
\n<\/p>\n

Minor Ninth<\/h3>\n

Addition of the ninth chord tone to a basic minor seventh chord produces the minor ninth chord. Using C minor seventh chord as an example:
\n
\n…adding the ninth tone (D):
\n
\n…to this basic minor seventh chord produces the C minor ninth chord:
\n
\nUsing the same procedure, the skeleton voicing of the C minor seventh which is Eb-Bb:
\n
\n…can be upgraded to a minor ninth left hand voicing:
\n
\n…if we add the ninth (D) to it.<\/p>\n

At this point, I also want to assume that you’re already familiar with the skeleton voicings of the minor seventh chord in all twelve keys. Check out the following ninth chord left hand voicings derived from the skeleton voicings of the minor seventh.<\/p>\n

C minor ninth:
\n
\nC# minor ninth:
\n
\nD minor ninth:
\n
\nEb minor ninth:
\n
\nE minor ninth:
\n
\nF minor ninth:
\n
\nF# minor ninth:
\n
\nG minor ninth:
\n
\nG# minor ninth:
\n
\nA minor ninth:
\n
\nBb minor ninth:
\n
\nB minor ninth:
\n<\/p>\n

Dominant Ninth<\/h3>\n

The dominant ninth chord is basically a dominant seventh chord with the ninth. C dominant seventh chord:
\n
\n…plus its ninth tone (D):
\n
\nproduces the C dominant ninth chord:
\n
\nIn the same vein, the skeleton voicing of the C dominant seventh is E-Bb:
\n
\nIf we add the ninth (D) to it, this will produce:
\n
\n…the left hand voicing of C dominant ninth.<\/p>\n

To add to the skeleton voicings of the dominant seventh chord that I assume you’re familiar with in all the keys, here are dominant ninth left hand voicings that are the outcome of the addition of the ninth tone.<\/p>\n

C dominant ninth:
\n
\nDb dominant ninth:
\n
\nD dominant ninth:
\n
\nEb dominant ninth:
\n
\nE dominant ninth:
\n
\nF dominant ninth:
\n
\nGb dominant ninth:
\n
\nG dominant ninth:
\n
\nAb dominant ninth:
\n
\nA dominant ninth:
\n
\nBb dominant ninth:
\n
\nB dominant ninth:
\n<\/p>\n

Introducing…The Practice Journal for Left-Hand Ninth Chord Voicings<\/h2>\n

A practice journal is a learning aid that helps you keep record of your daily practice. We’re introducing our inaugural practice journal to help you out with left-hand ninth chord voicings in all keys.<\/p>\n

This practice journal’s goal is to help guide you through a 2-week program that will help you master major, dominant, and minor ninth left-hand voicings in ALL keys.<\/p>\n

I must say that this is not one of those long boring programs that will eventually get you discouraged – No! This program is structured to give you more output with as little as a 12-minute daily effort.<\/p>\n

If you miss this, you’re practically walking away from…<\/p>\n

12 major voicings
\n12 dominant voicings
\n12 minor voicings<\/p><\/blockquote>\n

…and if you do the math, that’s 36 left-hand ninth chord voicings that you can apply to any popular music style, jazz, and gospel especially.<\/p>\n

Do your best to be part of this program by entering your email address in the opt-in form below.<\/p>\n

[thrive_leads id=’12586′]<\/p>\n

Final Words<\/h2>\n

Playing left-hand voicings is what separates the men and women from the boys and girls.<\/p>\n

I joined the league of pianists who play left-hand voicings several years ago and trust me, it’s a good thing, not just to me, but to every bass player I’ve come across.<\/p>\n

“Did I Just Say ‘Bass Player’?”<\/strong><\/em><\/p>\n

Yes! The left hand voicings we just covered are played without their root (aka – “rootless voicings”).<\/p>\n

Rootless voicings are very useful in band situations. By leaving out the bass notes, you are not only focusing on more, but giving your bass player a sense of belonging.<\/p>\n

I hope to see you do the same for a bass player in the near future. <\/p>\n

Hope you’ve enjoyed. <\/p>\n

Until next time.<\/p>\n

[thrive_leads id=’12586′]<\/p>\n","protected":false},"excerpt":{"rendered":"

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