#Carla bley lawns piano tutorial how to#
#Carla bley lawns piano tutorial pdf#

Jens Larsen begins by breaking down the triads using a standard jazz harmonic progression II/V/I.

#Carla bley lawns piano tutorial how to#

Like Rick BeatoвЂ™s one, it perfectly matched what I was looking for for the Stick, namely: how to find interesting voicing with 3 sounds for the right hand, the left hand being dedicated to a bass line? Some concepts overlap with the previous chapter.

#Carla bley lawns piano tutorial pdf#

The second PDF is directly inspired by a tutorial I found on YouTube, made by guitarist Jens Larsen (which I also encourage you to follow). Do I want a sound with a more вЂњopenвЂќ or вЂњtighterвЂќ harmony? You will have the choice. Once again, this does not compete with traditional positions, but will allow you to better control your voicing. Above all, it leads you to think of your positions in terms of voicing: where does a certain note go in the next chord? Which note stays in place? вЂ“ And no longer in terms of mechanical position. You probably wonвЂ™t be able to integrate these notions quickly into your game, but keep working on them, little by little it will become more and more natural. Your fingers, your muscles, will have to adapt to these new positions, it takes time. Others more complicated, and some are downright difficult. This makes a significant number of them in each family. The first PDF вЂњSpread Triads on StickвЂќ is therefore dedicated to this technique, with the 3-sound chords I was able to list. C major7 breaks down to E minor in the right hand with a C bass in the left hand), the possibilities, without being infinite, are immense. Moreover, since on the Stick we can easily break down the chords into a foreign lower triad (e.g.

Again, the point is not whether one color is вЂњbetterвЂќ than the other, but just to have an additional sound palette.ДЄnd, what we do with a major triad, we can do with all the chords of 3 sounds. Whereas with the traditional position and its inversions, we find between the notes intervals of thirds and fourths, here we have intervals of fifths and sixths, which have totally different sound colors. We have much open chord positions here, and therefore different sounds. And you do the same for each inversion E/G/G becomes G/E/C G/C/E becomes C/G/E. You now have the following voicing: E/C/G. Let me explain: you take a simple triad of C major C/E/G, and you lower the second note (i.e. It simply consists of transposing the second note of the chord one octave below the first note on a basic triad. While discovering Rick Beato (wonderful teacher) on the net (I encourage you to watch ALL of his videos on YouTube), I stumbled upon the concept of spread triad, a technique that comes from the piano or the guitar, and that can be found in classical music as well as in Pat MethenyвЂ™s first songs (especially in вЂњBright Size LifeвЂќ). These work perfectly, and my approach was not a questioning of this practice but just a desire for new harmonic colors. These pedagogic PDFs will offer you possibilities to discover new chord positions, and will help you in the search for new harmonic colors.ДЇor a long time, I have been looking for ways to try to get out of the вЂњclassicalвЂќ right hand chord positions on the Stick.