10度まで届かないんです!どうしたらいいですか?(By Jeremy Siskin)

Jeremy Siskin氏が語る「10度まで届かないんです!どうしたらいいですか?」を翻訳しました。




Hey there, everybody! My name is Jeremy Siskin. I'm the author of these books: "Playing Solo Jazz Piano," "Jazz Piano Fundamentals Book Two," and, you guessed it, "Jazz Piano Fundamentals Book One." Great gifts to give others or yourself.

皆さん、こんにちは!私の名前はジェレミー・シスキンです。私はこれらの本「Playing Solo Jazz Piano」「Jazz Piano Fundamentals Book Two」「Jazz Piano Fundamentals Book One」の著者です。他の人に贈る素晴らしいギフトですし、自分へのご褒美にもなります。

Today, I want to talk about what happens with voicings when you can't reach tenths, which is very common. Personally, I can stretch and reach tenths in some keys, but not in others. For example, I can generally get from G to B, but not really from Ab to C. If I have a lot of time, I can make that stretch, but not easily. So, I know my hands are bigger than many and not as big as many others.


So, I want to talk about some alternate solutions that you can come up with when you're playing voicings that require or suggest tenths. This is especially applicable when you're playing solo piano.


We have two main forms of basic shell voicings. If you're not familiar with that term, shell voicings mean that we're going to have the essential tones—the third and the seventh—without really anything else.


So, we can have, for example, Bb major seven. We can have what we think of as type A shells, where the third is below the seventh. And then we can also have type B shells, where, you guessed it, the seventh is below the third.


Now, when we're playing solo piano, we generally want to play the bass along with the shells. In type A voicings, this is no problem at all. I'm going to add the bass in blue. We're just going to add the bass right there. For 95% of us, that fits pretty comfortably within our hands, right?


But for the type B voicings with the third below the seventh, if we try to put the bass there, I really couldn't reach that. My hands are pretty big, so that does not work for me. So it's really when we have these type B voicings that we're going to have a problem with that stretch of a tenth.


And when I say tenth, just to be clear, I'm talking about this stretch between the root and the third, an octave above.


So let me anticipate a question you might have, which is, "Well, why don't we just always use type A?" With type A, these are the B. Why don't we just put that third down and just use another type A? And the answer is, we can't do that. When we have common progressions like a ii-V-I, we want, where possible, to have pretty smooth voice leading from one chord to the next. We want notes in one chord to connect notes in the next chord. So, it's all good. We can start with type A for C minor. So here we have the root, the third, and the seventh. But if we then try to do type A again for F7, we're just going to be leaping around. If we try to do type A all the time, this is not going to be very smooth or very musical. It's going to be very disjunct and very jumpy. So we really need to alternate in progressions like ii-V-I between type A and type B voicings so that we have these smooth connections between really important chord tones.



Okay, so now you understand the problem, hopefully. Let's tackle some of these solutions. Let's look at this F7 in the middle here, and let's talk about some things that we can do.


One category of solutions is just about leaving out notes. So instead of having three notes, we can find ways to have two. What could we leave out? Well, we could leave out the root. In which case, and I'm going to go to a different camera angle here.



This is going to work best at fast tempos where it's not really important to hear every note of the chord at every moment. So, you know, if I'm playing at a pretty fast tempo, it might not matter very much honestly if we don't hear the root for a moment.


And then we could also leave out the third, which is a tenth above the root.


Again, this is going to work best at faster tempos rather than slower tempos because we're going to really miss hearing the harmony of the third if we're at a slower tempo. But again…



…for it. I've sometimes heard it referred to as Bud Powell voicings because Bud Powell often does use just two notes in his voicings.


And we could limit the entire progression to just two notes. So here, it's just root and third. And then root and seventh. And then root and third.


Would it be nice if the chords were a little fuller or if some of the intervals were a little bit more spread out? Sure. But does it sound fine like this? Yeah, I think so.



Okay, so that's kind of our first bucket of possibilities - we can leave out notes.


The second bucket of possibilities is changing the base, changing the base.


And so, if we're taking that F7 and we have the essential tones here, we have a few things that we can do. We can replace the root with the fifth in the base.


So, this is the fifth frame. This chord is an F7.

So, we'll have C, and this actually sounds pretty good in context. Watch the staff.

Here's C minor seven. There's F7 with the fifth in the bass. And then B flat major.





You actually hear people doing this relatively often.



You know, especially at faster tempos, I don't really miss that root in the bass.


The second thing that we can do is we can put the tritone in the bass. If you're not familiar with the tritone substitution, I've got a video on it. I'm sure you can find other people's videos on it. But whenever we have a dominant chord - and do keep in mind this will only work for dominant chords - we can replace the bass note with the bass note a tritone away. Why did I choose C flat? Why didn't I just write B? I regret everything. You should unsubscribe to this channel immediately. I'm obviously a masochist.


All right, so watch the staff now. Yeah, there we go. Good. Okay.


The negative side to including the tritone is that it might be in like an unintended color for you, right? It really changes the character. The good part is that we really do hear the nature of that dominant chord.



Or the other thing that you can do is we can raise the bass by an octave. So, if we really want to hear that root note and we can't reach it below the voicing, we could put it in the middle of the voicing. This gives you a pretty thin voicing, pretty high in the register, so I'm skeptical of using that too much. But in a pinch, it's not the worst solution.


So now our two-five-one, something like that. Again, probably pretty noticeable at a slow tempo, less noticeable at a fast tempo.



Alright, so that's our second kind of bucket of possibilities. And then our third, and I think final, bucket - bucket is a fun word to say - our third and final bucket is separating the notes of the chord.

OKです。それが可能性の第2のグループですね。そして、第3であり、おそらく最後のグループ - バケットという言葉は楽しい言葉です - 第3であり最後のグループは、コードの音符を分離することです。

Okay, so you can't play all three notes of this at once. You don't necessarily have to play all three notes at once. The most common thing to do is to divide between the root of the chord and the essential tones, and most people would play the root first and then play the essential tone second. So, if I'm comping, maybe I can't…



What Bill Evans really frequently does in his solo piano playing is he will play the third and seventh of a chord first, and then add the root. I always love how he does this, even with type A voicings, and it's not always really like for the reason that he can't reach the chord. I think he just likes the mystery of having just a third and seventh and then adding in the last note.



So, Bill Evans might play this like:


There's a little bit of mystery, like what chord is it, where are we oriented, and then the root note comes in.


Now, for a ballad, you can roll chords, right? And by roll, I mean play each note slightly separately but quickly.



Or you can, again, separate out the root from the rest of the chord, and the difference would be that you'd want to really pedal them together.



An important aspect of rolling that I see students getting wrong a lot is that you do want there to be some rhythm to your roll. So, I recommend, as I'm kind of showing here, starting before the beat and then arriving right on the beat with the upper notes.



Okay, or if you're gonna roll, I'd recommend that the top note land right on the beat. Two, three, four. I generally like to save rolls for places where it's going to have a really dramatic effect, so I prefer being really subtle and trying to separate out the bottom note from the top two.


I'll give you one more hint here. I said it would be the last bucket. I don't know if this last thing qualifies as a bucket, but on chords where the ninth and the third are either both black or both white keys, which is actually most chords, sometimes you can add the ninth. You might think that would make your life harder, but in fact, it means that you don't have to reach quite so far with your thumb to get over that ninth.


So, some of these chords where I have a hard time reaching all the way to the third or the tenth, it's much easier. I can relax more if I play the ninth so that my thumb can just hang out on both of those white keys and not have to worry about skipping.


So, um, that works, for instance, on this F7, right? G is the ninth, whereas A is the third. It would also work on a G♭7 where we can play the A♭, which is the ninth, and the B♭, which is the third, both with our thumb. Pretty nice and easily, and this makes life a lot more comfortable than if I have to try to reach just solely to that B♭.


Alright, everybody, thank you for watching. Um, I hope that was helpful. If you like that, you're going to love a lot of stuff, particularly in this book, "Playing Solo Jazz Piano." Um, and if you stuck around for the whole thing, why don't you share the word "garbanzo" in the chat? I do like garbanzo beans. Um, and have a fantastic week. I'll see y'all soon.

皆さん、ご視聴ありがとうございました。役に立ったでしょうか。もし気に入っていただけたなら、特にこの『Playing Solo Jazz Piano』という本にはたくさんの素晴らしい情報があります。最後まで見ていただけた方は、チャットで「garbanzo(ガルバンゾ)」という単語を共有していただけますか?私はガルバンゾ豆が好きです。素晴らしい週をお過ごしください。また近々お会いしましょう。


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