Today's sound is created by using a pretty simple trick take a listen
and see if you can figure out what it is...
All right, so what do you think's going on here? Did you figured it out yet? No big deal if you haven't.
I'm going to walk you through it right now. This trick relies on creating an accompaniment layer
on your left hand, using a couple of cool techniques and some acoustic properties. The
chords that we're going to use are just major and minor triads, nothing else. And to voice the chords
on our left hand, we're going to use root position open voicings, which means the third of the chord
is moved to the next octave up. For example: in a C major triad we're going to move the E - which is
usually the middle note - to the next octave higher. So now, we have this open voicing for C major...
If the chord was an A minor, we would move the C to the next octave up, and play the A minor like this...
Now, this creates huge gaps in between the notes. We end up playing a perfect fifth and a tenth.
And yes, this is a huge distance for some hands, but don't worry, because we're not going to play all
the notes together at the same time. We're breaking the chord to create a rhythmic accompaniment,
which allows any player - no matter how small your left hand is - to play these voicings. Another great
benefit of using this voicing, is that we're solving a very important acoustic problem in
music: The low interval limit. We explain this in detail in many of our other videos, So I'll
put a link in the description down below, if you want to learn more about this low interval limit.
For now, you just need to know that when you start moving lower in the register, some intervals start
sounding muddy, or blurry, except the octave and the fifth, which can go as low as we want them to,
and still sound nice and clear. So by playing these open voicings, we turn the two consecutive thirds
in the triad: C to E and E to G, into a perfect fifth: C to G and then a sixth from G to E, which
is guaranteed of being in a much higher range in the keyboard, thus solving the low interval limit
problem. We could have ended this trick by just breaking chords using open voicings like this...
But we're adding a little bit more color by introducing the ninth for both the major
and the minor chords first. As we've seen before, the ninth is an awesome tension to add and
also - because the ninth sits very conveniently a step below our top note - it's very easy to
alternate between the ninth and the third of the chord on our left hand. Just remember
for major chords the ninth is a whole step below the third of the major triad, and for minor chords
the ninth is a half step below the third of the minor triad. Now you can play a pattern like this...
And on the right hand, you can simply play single
notes from the chord, or from the chord scale, or just the key itself.
Thanks so much for watching this video and find more on this topic on the mDecks
YouTube channel. And a huge thanks to those of you who support us by getting any of our books
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visit our website mDecks.com to learn more about all of the music books and apps that we have available.
For more information, there are links in the video description
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