Essential Dominant Voicings for Jazz Piano

Discover, Learn, and Play Jazz Piano
Presented by Dr. Bob Lawrence

Jazz Piano Skills

Jazz Piano Skills Podcast

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Contact Dr. Lawrence
972-380-8050 Ext. 211 (The Dallas School of Music)

Keywords
jazz voicings, dominant voicings, music education, jazz piano, voicing techniques, music theory, jazz improvisation, piano skills, jazz harmony, music pedagogy

Summary
In this conversation, Dr. Bob Lawrence addresses a listener's question about dominant voicings in jazz piano. He explains his preferred voicing technique, which involves using the third and seventh in the left hand and the 13th and ninth in the right hand. Dr. Lawrence discusses the advantages of this approach, including the ability to easily create altered dominant sounds by sliding down a half step. He also compares this voicing with a more common one, emphasizing that both are effective but he prefers his method for its flexibility. The conversation highlights practical applications and techniques for jazz piano voicings.

Takeaways
The voicing with third and seventh in the left hand is effective.
Using 13th and ninth in the right hand enhances sound.
Sliding down a half step creates a fully altered sound.
Both voicings discussed are valid and useful.
Preference for voicing can depend on desired sound effects.
Practical application is key in learning voicings.
Understanding voicings is essential for jazz improvisation.
Flexibility in voicing can lead to creative expression.
Teaching methods can vary among educators.
Engagement with listeners enhances the learning experience.

Transcript

Okay, you're absolutely 100 % correct that the voicing you're speaking of, third and seventh in the left hand with the second, fifth and root in the right hand. It's a great voicing, right? In fact, I actually use, play that voicing. I prefer, however, moving everything up a whole step. So I have the third, sixth or the 13th and the ninth in the right hand. So in essence, what I'm doing is I'm exchanging the fifth and the root for the 13th and the ninth, which I'll take that trade every day, right? So I get the third and seventh in my left hand. Third, 13th, and the 9th in my right hand. Sounds like this. Wonderful. The voicing you're speaking of again, very common. I use it, nothing wrong with it. I like this one because I can just easily slide down a half step to create a fully altered dominant sound. Wow, how easy is that, right? I'm here, slide down a half-step, fully-altered sound. And it also remains consistent with the other voicing I teach with the seventh and third in the left hand. And I have the 13th, ninth, and fifth, which again, I can slide down a half step and get a fully altered sound. So from here to here, fully altered. From here to here, fully altered. Sliding down a half step with both voicings. Now, to hear this in context, right?

I've created a little backing track of C7. And so I'll play both of these, right? So there's the voicing I teach, the first option. The second option with the seventh and the third on the bottom. Both of these voicings, I can easily slide down a half step to create a fully altered sound. Some tension. Right, 3-7 in the left hand, 3-13-9 in the right hand. Down a half step, tension, altered. Same thing here, 7 and 3rd in the left hand, 13th, 9th, and the 5th in the right hand. Slide down, get my tension.

So again, right, again, both voicings are fabulous, right? Whether you use the one Morgan that you frequently find listed or notated out on the internet and various sources or the one that I teach. They're both great voicings. Again, I just like the one that I teach because I can just slide down a half step and get that fully altered sound. All right? Hope this helps. If you have any other questions or any listeners have any questions, please reach out to me. Always happy to help you discover, learn, and play.