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Jeff Brent's Lessons - History of The Jazz Pianist's Left Hand
Jeff Brent's Lessons - History of The Jazz Pianist's Left Hand
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Basie, Ellington and even Monk were all beholden to the school of stride (listen to any Basie
and Ellington solo recordings, Monk's very last recordings were solid Stride numbers).
In the mid-40's a new style was brewing. Nobody could compete with the solo piano of Art
Tatum, and so guys who were playing with combos decided not to.
Bud Powell used "shell" chords in the left hand. This still provided a rhythmic impetus and
harmonic interest, but stayed out of the bass player's way.
Typically "shell" chords consisted of the 1, some kind of 7 and some kind of 9. They're called
"shell" chords because they include only the outer reaches of the chord (and exclude 3rds and
5ths). In this way Bud needed to devote very little brain power to the left hand, and could
devote almost the entirety of his creative energies to executing those intricate speed demon
bebop lines in his right hand.
The next step in the evolution was the rootless chord system. I'd like to mention that the
rootless chords still have all the same tendencies of their "rooted" counterparts. There are some
tunes (cocktail solo too!) that I just play left-hand rootless chords all the way through and they
sound great.
For more on rootless chords, see the article "Rootless Chord Voicings for Piano".
After that the "modernists" got into quartals. (stacked perfect 4ths) These give a spacey modal
effect. Try these quartals to spice up a tired old ii-V7-I progression:
Dm69 (no root, no b3) B E A
G9 (no 3,no b7) A D G
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