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The Quick-Fix voicing con sists of th e 3rd an d 7th o f ea ch cho rd (or 3rd an d 6th a s dicta te d b y the

chord symbol) in t he r ight ha nd , a nd t he root o f the chord in the le f t . It i s der ived f rom t he block

chords in Exercises 6-10. (Block cho rds a re fo ur-not e chords voiced in close po sit ion w ith a l l not es

played at th e same time, no t a rpegg iate d.) The Quick-Fix voicing is of ten referred t o a s a shell voicing .

E x a m p le 2

Exercise 11 il lustrat es how th e Quick-Fix voicing can be a pplied to a ja zz sta nda rd song . Practice i t

unt i l you can play i t ea si ly w ith no m ista kes. Pla y the b ot to m tw o sta ves on ly; the song ’s melod y isprovided only for your re ference . Not ice th a t the r igh t ha nd 3rds and 7 ths a re inver ted a s needed t o

minimize the reposi t ioning of han ds .

E x e r c is e 11

“ I G o t R h y t hm ”

19Jazz Piano 101



8 8 Jazz Piano Handbook

Pla y open voicing Pa tt erns P1 and P3 a s w rit t en in Exercise 46. Your g oa l is to be a ble to play th em

per fect ly a t q = 88. Feel free to experiment w ith th e use of ot her color no te s of your cho ice. Since th e

d istr ibut ion o f tw o no tes in the le f t h and an d three in the r igh t i s new for you, it ma y req uire a l it t le

extra prac t ice t ime. Hang in there !

Ex e r c is e 4 6

P a t te r n P 1 M a jo r



3 6 Jazz Piano Handbook3 6 Jazz Piano Handbook

Now a pply the i i-V-I Pat te rn P2 Major to a tun e. Notice in Exercise 24 tha t th e complet e o r par t ia l ii-

V-I prog ressions a re bra cket ed fo r ea sy iden tifi cat ion. For cho rds tha t a re no t p a rt o f a ii-V or ii-V-I

prog ression, Voicing P2 is used.

Ex e r c is e 2 4

“ E m ily ” Tr a c k 2



9 6 Jazz Piano Handbook

Chapter 9 Pianist ic Texture

GOAL: Practice specifi c exercises fo r brea king up cho rd voicing s in a pia nistic w a y an d

ad ding pa ssing to nes to c rea t e in terest a nd ma inta in a sense of mot ion. The integ ra t ion o f

texture to yo ur play ing is an importa nt s tep to w ard be coming a w el l-rounded jazz pianist .

B R O K EN C H O R D S

There are a number o f ea sy metho ds to a dd texture to your play ing b y break ing up the sol id chord

voicings you’ve played in previous cha pte rs. These te chniques w ill go a long w a y in he lping you

soun d mo re pianistic—smo ot h, connecte d, var ied, an d musica l .

Examp le 68 illustra te s fi ve specifi c broken chord te chniq ues.

E x a m p le 6 8

Bass no te ,

then chord

Pla y the p a tt erns in Exercise 48 by tra nsposing to a l l keys. Not e th a t t he exercises below a re ba sed o n

Exercise 46 from Cha pt er 8—refe r to Exercise 46 on pg s. 88–91 a s necessa ry w he n t ran sposing . You r

go a l is to b e ab le to play them per fec t ly a t q = 72. Remem ber t ha t a l l sho rt exercises sho uld be p rac-

t iced b y sta r t ing in a d i f ferent key each da y.

E x e r c is e 4 8

Outer no tes ,

then inner notes

Not e , note ,

then chord

Chord , then

ba ss not e

Roll

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