Hayden Hill
Hayden founded PianoGroove in 2015 with the goal of making the world a more musical place. He shares his love for jazz piano through his online courses and manages the community area of PianoGroove.
August 31 · 2022
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Seminar Description
Seminar Description
In this seminar you will learn the most important chord progressions in jazz music. We will explore the theory, practice tips, and how to analyse progressions in tunes.
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Essential Chord Progressions
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Hey everyone 👋
Here are the links shared in the live chat to related lessons and courses:
Whole Step 251 Course:
https://www.pianogroove.com/jazz-piano-lessons/whole-step-251-exercises/
4 Essential Theory Courses For New Jazz Students:
1) https://www.pianogroove.com/jazz-piano-lessons/jazz-piano-foundations/
2) https://www.pianogroove.com/jazz-piano-lessons/extended-chords-voicings/
3) https://www.pianogroove.com/jazz-piano-lessons/left-hand-voicings/
4) https://www.pianogroove.com/jazz-piano-lessons/altered-harmony-upper-structure-triads/
Tutorial On 10th Intervals:
https://www.pianogroove.com/jazz-piano-lessons/how-to-play-10th-intervals/
Cheers,
Hayden
Hi Hayden – again, great seminar. Question on visualizing rootless chords which I understand theoretically but have had hard time getting under the fingers. With upper structure triads, we think of the formula for US 2 as a “major triad built off the 9”. With rootless chords, why isn’t it ok to do the same?
Rootless major chord is a “minor 7 built off the 3”.
Rootless minor chord is “major 7 built off the b3”.
Rootless dominant chord is “minor 7 b5 built off the 3”.
As long as we think of the base chord Cmaj7 (even though we are building an Emin7),, seems just like UST formula, good way to get under the fingers?
Hi Rick,
Interesting question and I’m glad you enjoyed the seminar.
Here are my thoughts:
With the upper structure triad voicings, we are visualising the chord in 2 parts, and if we omit the bottom part, or ‘lower structure’, which is usually root-7 or root-3-7 or just 3-7, then all we have is a triad in the right hand which in no way outlines the original dominant chord. In that sense I see the triad as something additional to the core of the harmony, which in effect is 3 and 7 of the dominant chord.
On the other hand with the rootless voicings examples that you mention, they contain the 3rd and 7th of the chord which define the chords quality, and its function in the progression. It’s quite hard to explain but i hope that makes sense in terms of the difference between an upper structure triad, and a rootless voicing.
Perhaps we are both over-analysing it! :–)
Ultimately, if this approach helps you to find the rootless shapes, then I don’t see a problem with using it. Perhaps I even did the same approach when I was learning these voicings many years ago, but now I don’t think that way. It’s just much easier for me to look at the keyboard and see “3-5-7-9” of a Cmaj9 chord, instead of thinking a minor chord built off the b3.
My gut feeling is that the same will happen with you. After you have learnt the rootless shapes using this shortcut, then your muscle memory will take over and allow you to access these rootless shapes almost subconsciously when you see a chord symbol and want to play a rootless variation.
Let me know if I can help further here.
Cheers,
Hayden