Hey guys, Willie Myette, creator of jazz edge Welcome to Episode 48 of the confident improviser podcast. Today we are talking about these huge chord blues piano tritone
substitutions. So as we were talking about an episode 47, we were talking about the tritone
substitutions and how to add them to the blues. Today I'm going to show you how to create these big chords
. Now there are a couple of lessons I'd like to suggest that you take a look at. First of all, take a look at jazz piano
daily lesson number 34. And also lesson number three. All right, lesson number three goes through the rootless chord, Episode Number 34. It goes through the big chords
like we're doing right here, along with the bell tone. Now if you have not seen the jazz piano
daily lessons, just go and just do a search for jazz edge on YouTube, you'll see the jazz edge channel and then once you go to the channel, you see this top playlist, the jazz piano
daily playlist, just go ahead through and you'll see them right there. So you see the lesson number three is the dominant chord explain and then number 34 is the big chords
. Alright, so I'm going to explain these chords
just in a very basic way. But if you want some more explanation, oh, like I said, Go back to lesson three and 34 from jazz piano
daily. So in the left hand, I'm playing my rootless c seven chord voicing. Okay, first of all, let's let's clear up a little bit of mystery here, I see that, you know, some people online, they start to call this like a C nine or a C 13. Here's the reality is that as jazz musicians, a lot of times we would just write this as C seven. And we will naturally add in the nine and 13 to these voicings, so I write them as C seven because I don't want you to get confused thinking that Oh, it has to be written as c 13. In order for you to see this voicing, that's not true, you could see c seven as a jazz musician, you could say, hey, look, I'm going to add in the nine, I'm going to add in the 13. Alright, so those nine and 13, those tensions are natural tensions to add on the dominant seventh chord, regardless of whether or not that chord symbol says c seven, C nine or C 13. You might see all three versions of that chord voicing, right. So here's c seven rootless chord voicing. Here's the third and the seventh on the left hand end flat. I'm squeezing the 13th right in there, the a plane, the ninth, which is d when my thumb in the right hand, I'm playing these Bell chords
. Let's take out that middle note. Let's just take a look at the outside notes here. First off, you'll see that these outside notes are what is the G and the G, right? And that's just building right off the fifth of the chord. Okay, so we've already talked about this rhythm in the previous podcast episodes, you can go back to Episode 47. If you need help with the rhythm, right? And then all I'm doing here is in the middle I'm throwing in the night. Does it have to be the night? No, I could do the third. I could do the root. Notice I'm picking a chord tone or attention. I'm not going to throw in flat nine. Say Why? Because it's gonna conflict when a natural night. It's not gonna sound right, I'm not gonna throw in sharp, either, because that's gonna sound like garbage. Right? So instead I'll put into nine might throw in the five. You might say, hey, Willie, can I do the 13 instead of the five? You bet. That sounds great.
You move back and forth like that. Alright, so this right hand these these Bell tones up here, you have many different options of what you can do. The main thing though, that kind of gives it that bell tone feel, is that outside octave? Does it have to always be an octave? No, could I do something like that? Which I'm playing the fifth and the third gene he here? Yeah, sure, I could do that as well. But if you really want to kind of get that Beltone feel, it's really that octave, right? Alright, so there's the first voicing c seven. Okay, Let's now move on to the G flat seven chord right here. Again, remember, I write the G flat seven on beat four, but it's anticipated. Some people might write it on the anticipation oftentimes, you'll see it right on the beat and it won't be written on on the anticipate. So just know that you might see that both ways as well. So C seven, G flat seven, I have D natural here. Technically I could also call this f flat as well. I kept it as the E f figured would make it a little bit easier for you to read. A flat is the ninth, B flat is the third and then E flat up top. Here is my 13th My Bell tones 913 nine. Okay, notice I did not do the same pattern. Remember before I was doing the fifth, the ninth and the fifth. Why did I not go there because I don't want to have to go from here and then have to come all the way down here and oh, I hit a wrong note when I come to that F seven chord. So instead, I just literally went up a half step from where that f7 chord is, right? So there's the f7 chord coming up right there. Okay, there's f7. Again, rootless chord along with 913 and nine in the right hand, and I just moved up a half step, and then resolving down to the f7. Alright, let's do the same thing for D flat seven, okay, D flat seven right over here. Okay, D flat seven, I have my third, my 13th, my seven and my ninth. Okay, so that is F natural, B flat, C flat, E flat, and the right hand, I'm playing a flat, E flat and a flat, that's the fifth, the ninth and the fifth. And then of course, that resolves nicely on down to my C seven chord, right here. Alright, so now let's move on to the a flat seven chord, a flat seven, G flat, B flat, C, and F, again, that's 793 13. In the right hand, I'm playing B flat, F, B, flat, 913. Nine. Why did I do that, because again, I'm sliding down to the G seven in which I'm playing the nine, the 13, and nine. So rather than going nine, five, and then having to come down with these, but then go up with that, it might be confusing. So instead, I just kept the exact same structure to the court, just moving down by a half step. So a flat down, the G is just moving down a half step, guess what the G flat is moving down a half step as well. And when I get to the AP, I'm moving down yet another half step. Hey, what would be a nice thing to practice here? All right, well, let me show you. Here's a great practice routine right here, do this, do the a flat, the G, the G flat, all the way up to the F. So that gives you a flat,
G, D flat, we play the right hand up an octave just so you can see the separation,
a flat, G, G flat, cool sounding chords
, big sounding chords
, check out what else you could do. I can throw a little grace note in there, I'm not going to do another g flag, because I can't really, you know, slide up like that. It's not all that comfortable, okay. But then when I get to the F, I could do it again on now, when the F, and on and on the G, I can throw in that grace note, just a little sidebar on the sea as well, you can throw in that gray zone if you want. So sorry, a flat, D flat. So I just practiced that.
That's a killer sound. Can't beat that sounds great sound. And then we go back to the D flat seven chord again. And then finally back to the C seven. And then back to the D flat seven. Alright, so what we're going to do now is I'm going to go through it, I'm going to play it slowly for you, along with the band, we're going to do it at 110. And then we're going to actually know we're going to do we're going to start at 100. And then we'll go up to 110. Right, what I'm going to do here is I'm going to make this music small so you can have a fighting chance of being able to see most of it at least on the screen. Okay, what I'd like you to do, though, is if you want to get this music, right, go back to jazz edge, comm slash try tone, or just take a look at the card that popped up on the YouTube video on the top right. And then you could follow that link back there as well. All right, so let's, let's try playing this along with the band. Here we go. 100 beats per minute
on the gray zone, and I don't have to do that every time. Whoops. Let me do that. Again. I'm here talking and make a mistake here. All right, let's do it again. Here we go. Remember when you end the blues you end on the one chord so we're not going to end on the flat. It's not going to sound resolved. And so we end on this C you can kind of kind of play around with that Beltone as well kind of arpeggiated up if you want as an ending. Alright, so now that was at 100. Let's bring this up to 120. And let's do this together. Remember, start with just the right hand if you want to. And also remember, like I said in the beginning, you could take out that middle note, if you just want start with the G right in the right hand. So just do the outside notes to get started, remember, is no shame in just starting with one hand, just trying to get down the rhythm. Remember, every time you practice something wrong, you're getting better at playing it wrong. Okay, so you want to go slow, you want to play it right? As much as you can. So if that means you have to go super slow, in order to get all of those chords
, and all of those notes, right, you're way better to do that than to play it fast if you're making mistakes all over the place. Because every time you make a mistake and you play it wrong, you're teaching your hands the wrong position to play, right, so go slow. Alright, here we go.
I just want to do for you right now is I'm going to play each of the chords
one time, and I'm just gonna hold it down so you can see the chord. So you can grab those notes c seven, right, I'll spell the notes in case you're listening on the podcast. So you can kind of pause the podcast if you want to see if you can figure out the notes on your own. Alright, so here we go c seven, left hand, I'm playing E, A, B flat, D, and the right hand I'm playing G, D and G, G flat. Left hand I'm playing E, which is also f flat to be enharmonically. Correct. But we can call it E, A flat, B flat, a flat, left hand, right hand, I'm playing a flat, a flat, a flat, and an F seven, left hand I'm playing E flat, G, A and D, and the right hand I'm playing G, D, and G, the D flat seven chord, right? And left hand playing F, D flat, C flat, or B natural, D flat, right hand I'm playing a flat, a flat, a flat. A flat seven chord, left hand, G flat, B flat, C and F right hand B flat, F and B flat. And all the other chords
we've already done the g7 G flat, upset. Alright, so that's it for this lesson. Another couple of pointers for you. The left hand let's say that, you know you can get the belt tones in the right hand, but the left hand side Oh man, well, these rootless chords
are killing me right now I just can't do them. Remember, in Episode 47, we did the shells. Hmm. What would happen if you played the shells in the left hand, along with the bell tone in the right hand? Well take a listen.
I take it here, the shells in the left hand along with the Beltone sounds absolutely fine. Nothing wrong with that at all. Let's say that okay, I can do the shells in the left hand, I can do the Beltone on the right hand, but I'm still having trouble getting down the rootless chords
in the left hand, we'll try just doing the guide tones in the left hand. So that would be C seven, the E and the B flat f seven is the E flat and the air. So C seven right? I remember when I go to the G flat it's the same guy tones right there's my G flat seven still in E and D flat and I moved down to f seven. If you need help with the guide tones just go back to the other podcasts episodes I did 4445 46 we were talking about the triad
tones and then there's some exercises in those lessons which would be good to kind of help you get down those guide tones. Alright so anyway, thank you very much for joining me like I said if you'd like to grab this sheet music, it is absolutely free of charge. Just go back to jazz edge comm slash try tone. Also, be sure to subscribe to the channel right and get updates the YouTube channel just do a search for the word jazz edge. If you liked the video do me a favor, subscribe to the channel. Like the video turn on notifications and leave a comment. Let me know what questions you have because guess what? These podcast episodes jazz piano
daily. A lot of this I'm basing this off of the comments that I get on the YouTube channel. So if you want to you know If you have questions that I can answer, ask it, write a comment on the YouTube channel, and then that might end up being a future lesson. All right, so go back to jazz piano
daily if you're interested in those daily jazz piano
lessons. That's it for me guys. I will see you guys in the next podcast episode.