A song that I play over and over and can't get it out of my head (because of it's famous groove) is Take Five. Are you familiar with the song?
"David Warren Brubeck (born December 6, 1920 in Concord, California[1]), better known as Dave Brubeck, is an American jazz pianist. Regarded as a jazz icon, he has written a number of jazz standards, including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranges from refined to bombastic, reflecting his mother's attempts at classical training and his improvisational skills. His music is known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities.
His long-time musical partner, alto saxophonistPaul Desmond, wrote the Dave Brubeck Quartet's most famous piece, "Take Five", which is in 5/4 time and has endured as a jazz classic."
http://en.wikipedia.org/wiki/Dave_Brubeck The Dave Brubeck Quartet - Take Five (1961)
Dave Brubeck, Paul Desmond, Joe Morello and Gene Wright
Take Five With Carolyn Lee Jones
http://www.allaboutjazz.com/php/article.php?id=31507
* Dave Brubeck Take Five Free Sheet Music Riff
"Dave Brubeck's classic, Take 5 uses only two chords throughout, for both the main melody and the subsequent improvisations. It's in a minor key (we've chosen F here, but the original the more challenging Eb) and the whole piece rocks back and forth between chords I and V of the scale - F and C, only instead of the traditional major chord on the fifth, we have instead a minor 7th."
http://www.8notes.com/school/riffs/saxophone/dave_brubeck_take_five.asp Here's the vamp you hear over and over in this famous song.... love it!
Take Five - Piano Solo By Dave Brubeck Quartet, composed by Paul Desmond. Single for solo piano. Eb Minor. 4 pages. Published by Alfred Publishing. (AP.0158TSMX) See more info...
I came across this neat little trick... Parallel Dominant 7th Movement
Here is a great lesson on how to move dominant 7th voicings within a key. This will really spice up your playing and add a lot of motion when you are playing on one chord. Go to www.coolschoolvideo.com Musicteacher
Learn Big, Rich Jazz Piano Chords
Understanding Jazz Chords
Jazz piano chords can sometimes be confusing at first glance. In this article, I am going to explain how jazz players usually interpret chords and pick tensions to create lush chords. Bear in mind, every musician has their own "tricks" that they use to form their chords. However, there are some basic harmonic concepts that you need to understand and I'll cover some of them in this article.
If you are looking for an instructional course on creating full chords at the piano, I'd suggest the JazzPianoLessons.com Piano Chords bundle. This three-DVD set covers both basic seventh chords along with advanced quartal voicings, tensions, alterations, upper-structure triads, rootless voicings and more.
Let's begin with a basic seventh chord for D-7. Example A is what a typical voicing of a D-7 chord might look like.
Example A
O.K., that's pretty simple, right? Now take a look at example B. Does this still look like a D-7 to you?
Example B
Labeling Chords
You might look at this chord and think F Maj7 or D-9. We can rule out F Maj7 because the root is a D. However, why didn't I label this chord D-9?
I did not label the chord as D-9 because it is common for jazz players to automatically add tensions to the chords that they are playing. Jazz players know which available tensions each chord can utilize. Personally, I'd rather see a chord written as D-7 than D-9 or D-9 (add 11). I think that many (not all) pianists would agree with me because as jazz players, we are accustomed to working from a "shell".
Basically, when I see D-7, I already know that the 9th and 11th are probably available to me. When looking at a lead sheet, especially in a low-light gig situation, I want the lead sheet to be as un-cluttered as possible.
The "Right" Tensions
You might be wondering, which tensions are the "right" tensions for a particular chord? Well, let's go through the three basic chords: Major, minor and Dominant 7th chords.
Major 7th available tensions are: 9, #11 or 6 (usually replaces the 7th) Minor 7th available tensions: 9 and 11. 6 would replace the 7th. Dominant 7th available tensions: b9, 9, #9, #11, b13 and 13.
Chord Type Available Tensions Major: 9, # 11 or 6 (usually replaces the 7th) Minor: 9 and 11. 6 would replace the 7th Dominant: b9, 9, # 9, #11, b13 and 13
So, looking back at the D-7 chord in example B, you'll notice that I am adding the 9th to the chord. This is just one of many different voicings that I cover in the Piano Chords bundle.
Dominant 7th Tensions
I want to draw your attention to the Dominant 7th available tensions. Once again, they are b9, 9, #9, #11, b13 and 13. Let's go through the notes for a C7 chord.
C7 chord tones are: C-E-G-Bb
Available tensions are: Db-D-D#-F#-Ab-A
You'll notice that the only two notes left that are not represented are F and B. F would be a sus4 and B would change the C7 to a C Maj7 chord.
I like to bring this up because remember, when you improvise, you can use any chord tones or available tensions in your solo. So, on a Dominant 7th chord, there are really only two notes that you would try to avoid. This also means that when you play a Dominant 7th chord, you can add almost any note as a tension. Well, let me put it this way, you have a 10 out of 12 chance of hitting the "right" note!
The Million Dollar Question, "Why 13 and not 6?"
I have been asked this question for years! It is a difficult question to answer because it is like asking why does 2+2=4? However, I do have my explanation. Let's take the C7 chord as an example again.
The chord tones (notes that are found in the chord and not tensions) are C-E-G-Bb for a C7 chord. The C is the root, E is the third, G is the fifth and Bb is the flatted 7th.
It is perfectly reasonable to think of D, F# and A as two, sharp four and six. However, we would call D the ninth, F# sharp eleven and A the thirteenth. You might be asking, "Why?" Since chords are predominantly formed by "stacking" thirds, we would consider the D-F# and A as being "upper structures" of the chord.
As I was thinking about what could I write on the last day of December as a blog entry, Eartha Kitt's voice came to my mind, singing "Santa Baby". Reflecting on this year, it's been a good one for me and I sincerely hope for you as well.
"Broadway stardom led to a recording contract and a succession of best-selling records including "Love For Sale" and "Folk Tales of the Tribes of Africa," for which she received a Grammy nomination. She also published her first autobiography, Thursday’s Child," during this period, and returned again to the cabaret scene with runs at The Persian Room, The Empire Room, and London’s Talk of the Town, among others."
http://www.earthakittfanclub.com/biography.htm Santa Baby Lyrics
Translate: German | French | Spanish | Italian | Russian | Portuguese
http://www.kovideo.net/lyrics/e/Eartha-Kitt/Santa-Baby.html Chords to Santa Baby C Am D G C
1. Santa baby, slip a sable under the tree,
Am D G C
for me, I've been an awful good girl.
Am D G C Am D G
Santa baby, and hurry down the chimney tonight.
C Am D G C
Santa baby, an out of space convertible too,
Am D G C
light blue, I'll wait up for you dear.
Am D G C Am D G C
Santa baby, and hurry down the chimney tonight.
E
Think of all the fun I've missed,
A
think of all the fellas that I haven't kissed.
D
Next year I could be, oh, so good,
G G7 C
if you'd check off my Christmas list. Boo doo bee doo.
Am D G
2. Santa honey, I wanna yacht and really that's
C Am D G C
not a lot, I've been an angel all year.
Am D G C Am D G
Santa baby, and hurry down the chimney tonight.
C Am D G C
Santa cutie, there's one thing I really do need,
Am D G C
the deed, to a platinum mine.
Am D G C a D G
Santa cutie, and hurry down the chimney tonight.
C Am D G C
Santa baby, I'm filling my stocking with a duplex,
Am D G C
and checks, sign your 'X' on the line.
Am D G C a D G C
Santa baby, and hurry down the chimney tonight.
E
Come and trim my Christmas tree,
A
with some decorations bought at Tiffany's.
D
I really do believe in you,
G G7 C
let's see if you believe in me. Boo doo bee doo.
Am D G C
3. Santa baby, forgot to mention one little thing,
Am D G C
a ring, I don't mean a phone.
Am D G C Am
Santa baby, and hurry down the chimney tonight.
D G C Am
Hurry down the chimney tonight,
D G G7 C
hurry down the chimney to...night.
See you in 2009!
http://ladydpiano.com
I love teaching beginners, young children, and adults. I offer piano lessons for ages 3-103 and all levels from primer to advanced. We have a blast with piano games, playing duets, learning songs and theory.
I offer private and group lessons. I am a WunderKeys piano teacher for preschoolers, 3-years-old to Kindergarten. We have 2 recitals, Fall and Spring.
Thank You!
I've Been Mentioned!
Billie
“If I’m going to sing like someone else, then I don’t need to sing at all.” – Billie Holiday
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