Jazz-Rock Piano Chops by Mark Harrison

Author:Mark Harrison
Language: eng
Format: epub
Publisher: Hal Leonard
Published: 2014-09-16T00:00:00+00:00

This fourth variation is on the jazzier side of jazz-rock, using concerted rhythms (both hands playing together) and shape combinations between the hands to create polychord voicings. On the Em9 chords, we are building double fourths from the root in the left hand, and from the fourth and fifth in the right hand, creating a transparent, open voicing sound. The double fourths are inverted and mixed with triads on the Gmaj9 chords.

On the Am9 chord, we have the classic polychord sound of a triad in the right hand (built from the third in measure 2, and from the seventh in measure 4) over a double fourth built from the root in the left hand. This either creates a five-part open voicing as in measure 2 (with the G being shared by the upper triad and the lower double fourth), or a six-part open voicing as in measure 4.

On the dominant chords in measures 2 and 4, the left hand is again playing “seven-three extended” three-part voicings: third-seventh-B9th on the B7alt, and seventh-third-13th on the F13. The right-hand fills on the B7alt are derived from the C melodic minor scale (built from the E9th of the chord), and the fills on the F13 chord are derived from G and F major triads (built from the ninth and root of the chord respectively).

When playing this example, be sure to play the concerted rhythms cleanly between the hands, and observe the rests in measures 1 and 3.

Next we’ll combine these four straight-16ths Groove Variations into one long Groove Lab example. The following audio contain two repeats each of the preceding Groove Variations #1–#4, with the rhythm section on the left channel so you can play along with the band.

Straight-16ths Groove Variations #1–#4

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