This player, by the name of Alfonso Gugliucci, has a unique style. He uses variations of rootless chords and chord shells to mix his magic. Put on your earphone and take a listen:
http://www.youtube.com/watch?v=0ZsWhR2Dxr4 --- In FairfieldLife@yahoogroups.com, Bhairitu <noozguru@...> wrote: > > Depends on how you are comping the chords since there are many different > styles of comping. Usually you are just playing some open chords in the > left hand no root if you have a bass player. By yourself you can get > away with things like just playing the sevenths in the left hand or > alternating sevenths with thirds. Many of these different styles were > elucidated in John Mehegan's books back in the 1960s. Mehegan taught at > Juilliard. You also had people like Errol Garner (I saw his World's > Fair Concert in 1962) pounding block chords 4 to the bar in the left hand. > > On 01/05/2012 01:13 PM, John wrote: > > The bottom line is that you got to have many techniques that you can access > > while playing on real time during a jam session or a gig. It still takes > > practice to get there. > > > > For now, I'm finding that the rootless chords on the piano are necessary to > > have that "jazz" sound while playing on a trio. The bass player takes all > > of the bottom notes. With the drummer, the trio synchronizes into a unique > > sound. Thus, you have a Keith Jarrett and a Michel Petrucciani. > > > > --- In FairfieldLife@yahoogroups.com, Bhairitu<noozguru@> wrote: > >> Fine but you need to know "how" or "when" to use them. Dominant 7th > >> (9ths and 13th) are preparation chords to resolve to the tonic except in > >> the case of a deceptive cadence. And they are also used on the 1,4 and > >> 5 chords in blues to give that bluesier sound though in a blues scale > >> the 7th is flat. > >> > >> On 01/05/2012 11:29 AM, John wrote: > >>> Dominant 7 chords are also used as passing chords to add spice into your > >>> music. > >>> > >>> > >>> --- In FairfieldLife@yahoogroups.com, cardemaister<no_reply@> wrote: > >>>> I'm not absolutely sure about that, but I guess I finally > >>>> figgered out why e.g. C7 is called a *dominant* seventh chord > >>>> (of the C major scale?). > >>>> > >>>> As most of us might know, the 7 in C7 is B-flat, which > >>>> doesn't belong to the C major scale. > >>>> > >>>> But if you form a similar seventh chord starting (as the root) from > >>>> the *dominant* of C major scale, which is G, the diminished > >>>> seventh is F, which is the fourth (subdominant) of the > >>>> *C major* scale. :o > >>>> > >>> > > > > >
