KEYBOARDS
Teri Parker is a Toronto-based pianist , composer , and performer . She is a University of Toronto Jazz Performance graduate and has also studied in New York City under the tutelage of world-renowned pianists and composers Aaron Goldberg ,
Sophia Rosoff , and Guillermo Klein . Her bands the Parker Abbott Trio and Teri Parker Quartet have released four acclaimed original albums and toured across Canada . www . teriparkermusic . com .
By Teri Parker
A Modal Approach to Chord Voicing
Do you ever feel like you ’ re always playing the same chord voicings ? Often when we first start learning how to play jazz on the piano , our teachers show us the standard rootless chords for the left hand , often referred to as “ Bill Evans ’ voicings .”
These chords are either built from the 3 rd up ( using chord tones 3-5-7-9 ) or the 7 th up ( 7-9-3-5 ). This is a great place to start and gives you a concrete way to comp through tunes right away . These shapes give you everything you need to sound good playing through changes , as your chords include the most important chord tones , the 3 rd and 7 th , as well as colour tones , the 5 th and 9 th . If you start altering the extensions , such as lowering the 9 th or raising the 5 th , you ’ ll really start sounding great ; however , if you ’ ve already mastered these voicings and are starting to get bored playing the same thing , it ’ s time to try a new approach .
A Fresh Start To get started , pick a key . I would recommend starting with D dorian , as you won ’ t have any black keys to deal with ( yet ). Then create a four-note shape starting with D in the bass – for example , D and G in the left hand and C and F in the right .
For the first shape , you may like to build a chord using the important notes to outline a Dm7 chord , which is why I ’ ve chosen the
C ( 7 th ) and F ( 3 rd ) in the right hand . Using the same fingering , move this shape up and down in steps through the D dorian scale . Make sure to maintain the same shape throughout . Because you are playing in one tonality , ALL of the chords you are playing will work over a Dm7 chord . Some of them will be more harmonious and clearly outline the chord , and some will be more dissonant , and might be used more as passing chords . Your goal is to feel comfortable moving through the mode , using the same shape so you have access to any of these chords while comping through a tune .
The Next Step Once moving your voicing up and down in steps feels easy , try adding a fifth note to your chord , or moving the shape up and down in 3 rds or 4 ths . Then improvise , creating chord melodies while maintaining the same shape . Try a new shape each day , creating your own sounds within a certain mode . This exercise can be done both in and out of time , but it ’ s usually good to start out of time to make sure you ’ re maintaining the original shape , then work through a slow tempo on the metronome ( 60-80 bpm ) and work up from there .
Try adding rhythm , such as the Charleston rhythm ( dotted quarter followed by an eighth note ). This voicing exercise works great as a 10-15-minute daily warmup . Make sure to play through all the keys and all the modes . There ’ s a world of possibilities within this exercise , and I encourage you to find as many creative ways as you can to change and vary your voicing practice .
Making Music Once you ’ ve spent some time in a few keys and modes , put your new skills to practice in a tune . A great song to start with is “ So What ” by Miles Davis . This is a model song ; the form is Dm7 for 16 bars , E m7 for eight bars , and Dm7 for eight bars . You have a lot of time on only two chords and your job as the pianist is to make them sound interesting ! Put the record on and play along , moving your shapes up and down in the two modes and exploring as many combinations of shapes and intervals as you can come up with .
Some other great tunes to practice these voicings on are : “ Impressions ” by John Coltrane , “ Freedom Jazz Dance ” by Eddie Harris , “ Footprints ” by Wayne Shorter , and “ Maiden Voyage ” by Herbie Hancock . Listen to how the pianists on these recordings approach comping through the tunes and the voicings they use , and play along with them . Practicing chord voicings by moving shapes around modally will open up your ears and give you new and exciting ways to explore harmony .
Good luck and have fun !
26 • CANADIAN MUSICIAN