Wednesday, May 19, 2010

2 things: a beautiful bitter sweet drop-2 voicing, and playing in the cracks.

Today i would like to talk about two things:

i was playing Sweet Georgia Brown the other day in G. Using drop-2 voicing variations which ROCK!!! ..and this is so cute i love it: [the sixth note+chord of the 2nd group of 4 bars, it's "A7" right?] - but first, coming up to that note; voicing the melody in classic Eminor style drop-2 voicings {for A7} E, F#, G, E | B (with, from top down, F#, D#, G underneath) === THEN:

G [is the melody note, top voice of a] root position C major triad over F# {all around middle C on the piano} *

next chord; from top down: C#, F, D, G#. (let the chord hang while the melody moved to B) ...etc..

* this voicing sounds sweetest in this key, this position i reckon.


The other thing i wanted to mention was: The beauty of how you can play any 'wrong' note in the cracks ..if it's in the melody you want to play. You don't even have to juggle the harmony around it or get too adventurous with quasi reharmonising, but just don't play the chord at that moment that the note happens. i just noticed the other day i do this all the time; just hadn't been so conscious of it before. And the thing i really noticed was how brief a moment in time it can be. Grinds are cool too and all. But this is really tasty. Consonant but can be kooky. Sure; usually the melody you improvise will inspire all sorts of variations of movements and changes in bass lines, chords and/or counter melodies/moving inner voices. (solo piano)

thank you very much for listening and caring.

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