How to Voice Chords with the 2nd & 5th Notes

Video Transcript

So, now we want to take a second and look at what is called shell voicings. Which is really outlining the last material we can get out of these large scales that we've derived out of E flat major. And the shell voicing just outlines three and seven, so if I have E flat major my three and seven is here, right? Three and seven, then F minor three and B flat seven, you have seven and three here. So, we got F minor, B flat seven, E flat major, and you see that movement there? Bring this top one down and then bring the bottom one down. It's that step by step motion that really gives these chords that momentum. See how pretty and lush that sounds. But, even without the chords you can hear that progression. So, when you first start making chords, especially if you're playing without a bass player you want to put these three and sevens in the voicing?s. And you can hear how you can still hear the chords going through, the chord change. So, even though it's very simplistic it still sounds gorgeous and you can go through every tune and play just shell voicings. Bud Powell used them all the time and he almost all the chords he played were shell voicing?s. It's very simplistic, but it leaves a lot of room for a vocalist or an improviser to just blow over those chords because it gives him that much openness and doesn't really confine them to the day to day confinements that they would have to deal with if they had a square pianist I guess, yeah.

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