Lesson #12: Shell Voicings (Part 2)

If you haven't watched my previous video, you should check it out HERE before continuing.

Most pianists will skip this very fundamental step in learning how to approach jazz harmony on the piano. Just because it's simple doesn't mean it isn't worth learning. Bud Powell started using these very simple voicings in 40's and they are still used by almost every modern jazz pianist today. My favorite examples of 2 part (and 3 part) shell voicings come from any of the Bill Evans solo albums. You should check them out if you haven't already and are looking for some practical applications of this exercise.

Feel free to experiment by trying out different combinations of shell voicings while working on your favorite jazz standards. Take the exercises as slow as needed and you should have no problem learning these voicings adequately.



Lesson #12: Shell Voicings (Part 2)

#2 - Have You Seen? - Kurt Rosenwinkel

Have you seen Kurt Rosenwinkel play "Old" Milestones (Miles Davis) live?  As far as I am aware, he hasn't recorded in the studio yet.  There are, however, a handful of these wonderful videos and bootlegs circulating among musicians.  "Old" Milestones is the perfect vessel for Rosenwinkel's chromatic weaving and lyrical modernism.  I think you'll agree after watching the two live takes posted below.  Enjoy!

#2 - Have You Heard? - "Patterns in Jazz"

Recorded in 1956, bari saxophonist Gil Melle's album is an odd but worthy addition to the Blue Note library.  I stumbled upon this rare album while looking over the Blue Note Records discography on Wikipedia.  Not to be confused with Jerry Coker's seminal be-bop guide Patterns for Jazz, Patterns in Jazz represents a great but obscure example of "cool" jazz.

Pattern's in Jazz introduced me to some excellent soloists I had not yet heard.  Joe Cinderella and Ed Bert's solos are exciting and melodic additions to Gil Melle's Gerry Mulligan inspired improvisations.  Veteran all-stars Ed Thigpen and Oscar Pettiford hold down groove and provide the perfect backdrop for inspired solists.  Melle's cool-school inspired yet abstract compositions are the true star of the show here.  Weird Valley and Nice Questions were among my favorite tracks.


"The Set Break" - 4:48
"Weird Valley" - 5:13
"Moonlight in Vermont - 4:52
"Long Ago and Far Away - 4:32
"The Arab Barber Blues" - 9:05
"Nice Questions" - 8:17


Patterns in Jazz - Gil Melle

• Gil Mellé - tenor saxophone, baritone saxophone
• Eddie Bert - trombone 
• Joe Cinderella - guitar
• Oscar Pettiford - bass
• Ed Thigpen - drums

Lesson #11: Melodic Shell Voicings

For more lessons, check out the "Lessons" tab above.

You may want to review Lesson #10 before moving on.



Click here to view and download your FREE .pdf copy of this here.

Tips for practicing this exercise.

Step 1: Play the exercise slowly (80bpm or less) with both hands. Be sure you can play the entire etude effortlessly before moving on.

Step 2: Play the left hand shell voicings while simultaneously singing and playing the right hand melody.

Step 3: Play the left hand shell voicings and sing the melody.

Step 4 (optional): Sing the melody alone and away from your instrument.

This reminds me of a story one of my teachers told me about asking Barry Harris how he practiced. Barry answered, "You've got to learn to the play the piano in your mind!" You're not always going to have your instrument available, but that doesn't always mean you can't practice. Being able to hear and sing accurately will allow you to practice anywhere, anytime, regardless of if you have your instrument available.

Feel free to leave a comment or message me with ideas for future lessons.

#1 - Have You Seen? - "Lennie's Pennies" Connie Crothers

Check out Lennie Tristano's favorite piano pupil taking on "Lennie's Pennies."  It's quite apparent Crothers (lovingly nicknamed "Con-Con") took Tristano's lessons in polyrhythm to heart.  Connie is still around teaching and performing her own music in NYC.  You can also check out some of her lessons in free improvisation via Sonny's Pianos homepage.  Enjoy!



Here is Connie improvising "freely" on "What is this Thing Called Love?"

#1 - Have You Heard? - "Tales of Another"

Led by bassist Gary Peacock (age 41 at the time of recording), this date marks the first studio recording of what would later be known as the Keith Jarrett Standards Trio. Tales of Another's moody modalism and crystal clear audio is classic ECM all the way. There was obviously special care taken to get Gary's mic perfect for the session. I've listened to almost every one of Jarrett's later trio ECM contributions and very few come close to matching the clarity of bass tone achieved on Tales of Another.  This album doesn't get much love from reviewers due to Jarrett's consistent vocalizations throughout.  Long time Jarrett fans are used to such distractions and should easily feel right at home from the start.  If you haven't checked it out yet, you're in for a great look at the beginning of one of the greatest piano trios of all time.

Tales of Another

"Vignette" - 7:06

"Tone Field" - 7:58

"Major Major" - 9:05

"Trilogy, No. 1" - 8:34

"Trilogy, No. 2" - 9:46

"Trilogy, No. 3" - 6:20

Recorded in February 1977

All compositions by Gary Peacock

Gary Peacock - Upright Bass

Keith Jarrett - Piano

Jack DeJohnette - Drums

Favorite overall track:  "Tone Field" is a looking glass into future free explorations from the trio such as Always Let Me Go and Changes.

Favorite solo:  Jarrett's solo on "Major Major" is on fire!

Lesson #10: Shell Voicings (Part 1)

Try out some of these voicings on your favorite standards! In our next lesson, we'll take a look at how to practice shell voicings (or any voicing) in a more melodic fashion.



Lesson #10: Shell Voicings (Part 1)

Lesson #9: 2nd Inversion Diminished

If you have not checked out the previous two diminished lessons, it would be helpful to watch/read them first:

Lesson #7: Diminished Pattern with L.H. Voicings
Lesson #8: Diminished Pattern in 1st Inversion

In this week's lesson, we take our pattern from Lesson #8 and transpose (invert) it one octave.  Unlike, the patterns from the previous two lessons, this pattern is not very common.  In fact, I'm not sure I've heard it before on a recording and I certainly don't remember transcribing it.

Whether you like this pattern or not, I recommend at least trying to give it a couple days of working out.  Transposing patterns (or "mental gymnastics" as I tell my students") is a one of the best ways of preparing your brain for more meaningful improvising.  Good luck!

In next week's lesson we are going to learn (review?) some basic left hand voicings for piano.

Sheet Music for this Lesson:  Lesson #9: 2nd Inversion Diminished Pattern