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Then I wanted to see what types of chords I could get with 10 fingers and learned some pretty neat tricks. When I started filling in the middle of the root and the 7th, I would hear some of the jazz voicings I liked.
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That first chord is really an Ebm9, I just wrote the voicing as two different chords to show how to voice the left hand. I guess it's a jazz/gospel thing, no different than chording with the left and soloing with the right hand. "A Long Walk" is so simple, it's stupid-the only thing moving is the bass line for the most part. I like playing chords with both hands, but sometimes you need to invert chords and omit notes to keep things from getting muddy. Playing a Dm chord with the F on top is much different thant playing the first inversion. The trick to close voicing are the inversions.
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You could resolve a melody to the C, D or F depending on where you want to go. My keyboard isn't in front of me, but from memory try this simple 3 Eb chord prog:įm7 (voiced as Ab/F playing the F in octaves)īb9 (voiced as Dm7/Bb) so the final two-handed chord would be Bb-D-F/A-C-D-F. I usually (not always, depending on voicing and inversions) play the root, 5th and 7th (skipping the 3rd) in the left hand in my voicings. When I chord, most times I am using both hands to fill out the voice.
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Not too much in D, G, A or B, although I've been hearing some stuff in E and Em. You won't find too many songs written on a major scale-most stuff adds the minor, and sticks around C#, Eb, F, F#, Ab, and Bb. Good thing Iam in Philly, huh? Much of the voicings you are hearing in neo-soul are basically variations/combinations on gospel and jazz chords. They use some nice voicings, make extremely good use of tension/release and got me hooked up on that new "Philly sound".