LearnJazzPiano.com archives: Block chords made easy!

Brotherdavies -- 08/26/2006, 02:07:23 -- #29497

There seem to be so many ways of playing Block Chords. The chapter in Levines Jazz Piano Book will take me a long time to work through, I'm not ready for such an in depth analysis at this stage. What appeals is playing an octave in the right  hand and then filling in the gaps with some notes. And that's where some advice would be welcome - filling in that octave. As I play solo piano, my left hand is busy - so I really like the Concert block concept (Alberto illustrates this in one of the Melodic Voicing files)of playing chords etc in the left hand whilst using the right hand to play melodies in blocks. It seems like cheating if I don't use the three fingers between thumb and pinky in a block but a good blocky sound seems to be achievable by perhaps using one note within the octave (e.g. minor third) Something I like do is play the octave with 3 notes in between and then for the next melody note shift the octave a whole step and play the same middle notes. Anyy more ideas? CHEERS! Bro'

Jazz+ -- 08/26/2006, 10:30:54 -- #29497

"It seems like cheating if I don't use the three fingers between thumb and pinky in a block but a good blocky sound seems to be achievable by perhaps using one note within the octave (e.g. minor third)" I think it is more practicle not to require a full three notes filled in all the time. Vary it with anywhere from zero to three notes. Red Garland would insert just a 5th above the thumb. Levine typicaly plays a pick up note with out a "block" and then blocks from beat 1. Block chords should be used sparingly, mostly for scale movement in a line, otherwise it can get tedious.

JHMurray -- 08/26/2006, 16:56:54 -- #29497

"Something I like do is play the octave with 3 notes in between and then for the next melody note shift the octave a whole step and play the  same middle notes." Rather than playing the same three middle notes, try alternating between major and diminished chords as you go up the scale, like this: C-E-G-A-C D-F-Ab-B-D E-G-A-C-E F-Ab-B-D-F G-A-C-E-G It works the same with a minor chord as well. Just change the E to Eb. Notice also that the 6th (A) remains consistent. To me the 6th is an essential element for the classic block chord sound. I think this is a hard enough exercise for TWO HANDS, so if you can play block chords with ease in one hand, my hat's off to you. Jim

SolArt -- 08/27/2006, 06:18:03 -- #29497

Shhh!

7 -- 08/27/2006, 16:48:41 -- #29497

Whether or not the current melody note is a chord tone is largely irrelevant when deciding which notes to include inside the RH octave. In general, one or two notes inside the pinky and thumb octave spread is enough to state the current chord quality. So which notes to put in? If you want a relatively vanilla sound, choose notes from the lower end of the chord (root, third, fifth, 7th). If you want a "crunchier" more "modern" sound, include some of the upper extensions (9th, 11th. 13th). If you are including two notes inside your octave, there is no reason why one of them can't be a lower structure tone and the other an upper structure tone. If a chord contains a "characteristic" chord tone (ie. b5, #9, etc) it's often a good idea to throw that in (especially if it's not being covered by the LH). Also it's extremely cool to have one of those interior tones be a common tone in the next chord, ex: C9      -> F13    -> Bb7 D  (9)  -> D (13) Bb (b7) -> A (3)  -> Bb (R) G  (5) E  (3)  -> F (R)  -> F (5) D  (9)  -> D (13) -> D (3) The choice of interior notes is also very often a function of ergonomics, ie. which chord tones fall most easily under the fingers. This requires a bit of trial and error initially, and is tough to execute in an improvisation. Although a treatment of the head with a pre-arranged block chord melody line is an interesting way to go every once in a while.

Brotherdavies -- 08/29/2006, 00:38:04 -- #29497

"Although a treatment of the head with a pre-arranged block chord melody line is an interesting way to go every once in a while. " That's the plan. Days of Wine and Roses, Fly Me to the Moon - I want to play block chords for the head. I Like Paris would be good as well. Thanks guys for your tips - I must get some Red Garland in my collection. Mind you, I think I about to go through an intense period of Bud Powell worship - get ready for some Be-Bop questions!! Cheers Bro

loveforJAZZ -- 08/29/2006, 05:52:35 -- #29497

What other ways can you add more tension than having diminished chords?

rassi -- 09/06/2006, 14:13:56 -- #29497

eavesdrop on the marster og "block" --Gerorge Sheering. 1 Play melody i both hands. 2 Play chord i both hands. 3 Play inversion i right hands. The melody on top. Play the melody in          left hand. Play a new melodi every day! have a nice day rassi

pnowanabe -- 09/07/2006, 10:32:25 -- #29497

What would the left hand be doing in some of these examples?  Would it be playing Bill Evans style rootless voicings??  What is a good book to study these chords from the ground up. I mean, examples that start simple and get increasingly more complex. Thanks -J

Jazz+ -- 09/07/2006, 13:06:05 -- #29497

This is kind of hard to lay out in words, have you read Mark Levine's chapter on Block Chords?

Jazz+ -- 09/07/2006, 13:19:50 -- #29497

Google search: Block chords http://en.wikipedia.org/wiki/Block_chord http://jazzlessons.blogspot.com/2005/12/block-chords.html Red Garland block chords http://www.pytell.com/jpblog/16

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