Chords for Larry Goldings - Ballad Comping on the Hammond Organ

Hello again, I want to talk a little about comping on a ballad and
_ Specifically _ how to connect your chords and how to limit the amount of unnecessary _ _ _ _
Voices in your chords and also unnecessary _
_ movement around the keyboard a very common chord progression that you will find in
probably hundreds of standards is
_ _ one four three six two five one
I'm gonna play it in a very basic skeletal form first.
You can hear what I'm talking about _
key of B flat
_ _ _ [Eb] _ _ _
[D] _ _ _ [G] _ _ _ _ [Eb] _
_ [F] _ _ _ _ [Bb] _ _ _
[Gm] _ [G] You see it so so much in standards this this type of movement
So let's uh, let's begin with that and I'm gonna play a few examples of how I would get around
_ With that chord progression I want to stress that my first example is perfectly _ _
Acceptable because it's got everything you need thirds the sevenths are a great way of getting out of the way
Texturally while providing all the necessary
harmonic information
[A] _ _ _ [Eb] _ _ [D] _
_ [G] _ _ [C] _ _ [F] _ _ [A] _
_ _ [Gm] _ _ [G] Let's add let's add a third note [E] to those voicings
[A] _ _ _ _ [Eb] _
_ _ [D] _ _ _ [Em] _ _ _
[Eb] _ _ _ _ [F] _ _ _ _
_ _ [G] _ _ So
Let's look at that on the B flat I just added a sixth right next to the
Major seventh if you've seen some of my other videos in this series
I talked about how the interval of a second will automatically give you _ _
Sort of a bigger sound
_ _ And that's just science man, it's just _ _
It's science.
So trust me
All I added to my little [Fm] skeletal major seventh and third was a [A] sixth here _ _
[G] Of course you can invert [D] that
And what do you got you got fourths when you invert it or maybe it's the other way around when you invert fourths you get this _
_ _ So that's really good to remember that this is actually an inverted fourth
So it's one way to look at it moving on to my second chord
_ _ _ [Eb] _
So [G] there I added my 13
_ _ To my to my skeletal third and seventh and look at that
You hear all that vibration
_ It's because my [Cm] Leslie has a family of raccoons in it but [Db] aside from that
_ _ _ _ [B] It's just science [D] and so _ _ [Eb] _ _ _
[D] _ _ on my D minor I'm _ adding a
An 11th right next to again once again, I have a second here
_ _ So that's giving me a D minor 11th with just three notes
_ And notice how my top note is descending here _ _
[Cm] _ _ _ [D] _ Next chord [Em] _
_ _ _ I added to my seventh and third and II [B] which is a 13th
_ again _
_ [E] _ _ _ _ [C] _ Then [C] another one
I added a ninth to my minor seventh and [B] then I kept this and I just moved [A] one note _
[B] And I've got [Db] another [Dm] 13 chord _ _ _
We [Abm] all [A] know that
_ Okay _
[Eb] But how often do you take your D [Dm] and put it down an octave? _ _
[A] Then we resolve on another _ _
A chord that's got a second in it and that is our B flat
Major ninth make B flat major seventh night
_ Let's try a different set of voicings for the same chord progression.
Okay?
[Bb] _ _ _ [Ebm] _
_ [D] _ _ _ _ [F] _ _ _
[Eb] _ _ [F] _ [Eb] _ _ [A] _ _ _
[F] _ _ _ [Bb] _ so there I
[Ab] start with a
very monk ish [F] major seven
_ _ _ _ [G] _ _
[C] Simply major seven root [F] fifth _
Okay, then I took some [Eb] poetic license here instead of my normal
Seven [N] that would normally be a if anything a nine or thirteen
I thought well, I want to I want to have a melodic an ascending melodic idea happening here
So I just took the liberty of making the E flat a sharp nine.
Why not?
[F] _ _ _ _
_ Okay, because I still have some you know, good good voice leading [Bb] happening
_ Moving down [A] here _ _
_ _ [D] _ _ _ [G] _ _
[C] Okay now again here I'm gonna keep going up up half steps and I could easily just play a minor chord
but I decided to stick with this kind of monk idea of dissonance and I combined [C] my
suspended four with the three
_ _ [Gb] _ _
Okay again dissonance and that's just a compound _ [D] minor second
[G] and we already said that seconds are
_ _ _ Scientifically proven to improve your playing
_ [Bb] _ _ [Eb] _ _
_ [D] _ _ _ _ [F] _ _
So there's a [Fm] nice there's another
_ big wide interval _
[Em] But I've got my basic [G] third and seventh to keep keep me [D] warm
_ _ [F] _ _ _
_ [Bb] And
Again, I'm going to take the liberty of making my to a [G] dominant which is something you can do
_ [Em] Anytime you want and it works and then I resolve back on a [Bb] simple
_ [Ab] _ clustered clustered
B flat [G] major seven
_ again
_ Minor second and then my turnaround
[Dm] _ _ _ _ _
[Bb] Okay, three notes [E] 13 [Ab] flat 9 [D] root _ _ _ _
[G] Nice and crunchy, so I hope this experience was nice and crunchy for you and see you next time
_ [N] _