Stage 5 | Lesson: 48 | Step 2 – (theory) This particular hexatonic sound contains 2 extensions that work over the dominant 7th chord. The combination of the 9 and #11 create a colorful sound without sounding too far “out” because of the natural 9.
Stage 5 | Lesson: 48 | Step 3 – (theory) The pop/rock style is home on the piano. Many famous pop/rock pianists have emerged from writing simple 4 chord songs that are amazing. If you have spent time learning jazz theory than this step will be a walk in the park.
Stage 5 | Lesson: 48 | Step 4 – (theory) This particular popular diminished chord is simply two diminished chords stacked on top of each other to create a brilliant sound.
Stage 5 | Lesson: 47 | Step 4 – (theory) The straight feel style is a modern style that essentially contains no swing. Just like the title implies, it contains a straight 8th notes with space and or subdivisions.
Stage 5 | Lesson: 47 | Step 5 – (theory) This popular diminished voicing has an added major 7th on top and on the bottom. They can utilized by themselves or together as you see in this example.
Stage 5 | Lesson: 47 | Step 2 – (theory) This is a real fun one because it contains the b9 and #9 along with the #11. This is a great extension combination and with the triadic movement this will produce a very modern sound.
Stage 5 | Lesson: 46 | Step 2 – (theory) This is another classic hexatonic sound that you’ve probably heard a lot. I love the balance of this because we’re using a completely natural triad filled with chord tones then moving to a triad which gives us two extensions.
Stage 5 | Lesson: 46 | Step #4 – (theory) The R & B style doesn’t really require much from the keyboard player other than laying down solid harmonies for the tune. The drummer and bass player are in charge of the groove. All the jazz theory and knowledge we’ve learned can be applied to creating a harmonic base for tunes.
Stage 5 | Lesson: 46 | Step 5 – (theory) There are two unique qualities in this popular major 7th voicing. The first being the two whole step rubs you find in both hands. The second is the fact you have the 13 in the LH and the 9 in the RH so the extensions are split.
Stage 5 | Lesson: 46 | Step 6 – (theory) Utilizing Coltrane’s famous changes to reharm 2-5-1’s is very common practice in jazz. In this step we will be using his popular progression to reharm standard 2-5-1’s.
Stage 5 | Lesson: 48 | Step 2 – (theory) This particular hexatonic sound contains 2 extensions that work over the dominant 7th chord. The combination of the 9 and #11 create a colorful sound without sounding too far “out” because of the natural 9.
Stage 5 | Lesson: 48 | Step 3 – (theory) The pop/rock style is home on the piano. Many famous pop/rock pianists have emerged from writing simple 4 chord songs that are amazing. If you have spent time learning jazz theory than this step will be a walk in the park.
Stage 5 | Lesson: 48 | Step 4 – (theory) This particular popular diminished chord is simply two diminished chords stacked on top of each other to create a brilliant sound.
Stage 5 | Lesson: 47 | Step 4 – (theory) The straight feel style is a modern style that essentially contains no swing. Just like the title implies, it contains a straight 8th notes with space and or subdivisions.
Stage 5 | Lesson: 47 | Step 5 – (theory) This popular diminished voicing has an added major 7th on top and on the bottom. They can utilized by themselves or together as you see in this example.
Stage 5 | Lesson: 47 | Step 2 – (theory) This is a real fun one because it contains the b9 and #9 along with the #11. This is a great extension combination and with the triadic movement this will produce a very modern sound.
Stage 5 | Lesson: 46 | Step 2 – (theory) This is another classic hexatonic sound that you’ve probably heard a lot. I love the balance of this because we’re using a completely natural triad filled with chord tones then moving to a triad which gives us two extensions.
Stage 5 | Lesson: 46 | Step #4 – (theory) The R & B style doesn’t really require much from the keyboard player other than laying down solid harmonies for the tune. The drummer and bass player are in charge of the groove. All the jazz theory and knowledge we’ve learned can be applied to creating a harmonic base for tunes.
Stage 5 | Lesson: 46 | Step 5 – (theory) There are two unique qualities in this popular major 7th voicing. The first being the two whole step rubs you find in both hands. The second is the fact you have the 13 in the LH and the 9 in the RH so the extensions are split.
Stage 5 | Lesson: 46 | Step 6 – (theory) Utilizing Coltrane’s famous changes to reharm 2-5-1’s is very common practice in jazz. In this step we will be using his popular progression to reharm standard 2-5-1’s.
