Today I want to show you two completely different set of left-hand voicings for
blue Bossa so that you can take it from this...
to this...
and don't forget to stick around until the end of the video, where I'll show you how
to get a PDF for today's video. The first set of voicings is pretty standard. on Cm7 we can
just play a closed voicing in first inversion like this... now, all we have to do is follow
the rules of voice leading which is: to use the closest voicings on the next chords,
and we get this Fm7 in third inversion. And I like to keep this same voicing for the Bb7,
which turns it into a Bb7sus4. And for Dm7b5, we can use the first inversion with F at the bottom.
The G7#5 sounds great as a rootless voicing with a #9, like this... then we go back to our initial
voicing on Cm7. Then we have a 2-5 targeting Dbm7, and we can use all rootless voicings. By the way,
if you're not sure how to build these rootless voicings, check out our rootless voicings course.
We explain all these voicings and give you entire workouts to practice in every key. So,
the Ebm7 is this... notice that F (the 9th) is replacing the root (Eb), and then, just move the
Db to a C. And we get a nice Ab7(9,13) rootless voicing. This is a 9 for root, and 13 for 5
voicing. We're simply replacing Ab with Bb, and Eb with F. And finally, the Dbmaj7 voicing would
be this... again, another rootless voicing 9 for root. So, the 2-5-1 sounds like this...
you can try adding the root on the bass to see how it really sounds...
and for the rest of the progression we use the same voicings
now let's take a look at the next set of voicings. These voicings are built using upper structures.
The best way to choose nice upper structures, is to first pair each with a chord-scale,
and the cool thing is that we can always use chord-scales that are not the expected ones.
for example: let's pair the Cm7 with the Dorian scale, which is not the obvious scale to use
here. The default scale would be a C Aeolian, containing in Ab. But C Dorian has an A natural
now, in the Dorian scale there are no avoid tensions, so, we can use
any structure contained inside Dorian, and use it as an upper structure. For the Cm7
(for example) we can play an F triad on top of Cm7, or a Bb triad. But I'm going to use a Gmadd9,
and the cool thing is that we're only going to play that Gmadd 9 on our left hand,
making it sound much more ambiguous. Remember, the bass player is probably playing C (and maybe a G),
so we're actually turning a Cm7 into a Gmadd9/C. Again, if you're confused at all about how upper
structures work, we have two entire series dedicated to them on mDecks.com. For the Fm7
and the Bb7, I'm going to use an Abmaj7 chord, and think of (while doing this) the Ab Lydian scale.
For the Dm7b5, we can use an Fmadd9, and for the G7#5 let's use an Abmadd 9. Now,
for the 2-5 targeting Dbmaj7 we can use: A Gbmaj7 on the Ebm7, exactly as we did before.
But we're changing the perspective. Instead of seeing it as a rootless voicing, we're now seeing
it as an upper structure. This allows us to think Gbmaj7 Lydian. And for the Ab7 I'm gonna pair it
with the symmetric diminished scale, and play an F#m7b5. Remember, the bass player is still
playing Ab, so now, we get F#m7b5 over Ab. For the Dbmaj7 we can use an Fm7 upper structure,
and since it lasts for two measures, we can use a Bbm7 structure on the second measure...
And the rest of the chords are the same. By the way, when you use these substitutions be
aware that your voicings might clash with the melody or with the guitar player's voicings
also in other words this approach is better suited for soloing and good guitar players
will know how to stay out of the way when you're using these techniques now
you can completely change your source of inspiration by basing your lines on these
upper structures or the chord scales you've used and make blue Bossa sound like this...
thanks for joining us today if you remember you will have access to a PDF that supplements
today's concepts if you're not a member yet please become one by clicking on the join
button or the link provided and if you want access to all of the exclusive content that
we've created to date go ahead and check out our music theory journal on mDecks.com. Do us
a favor and share us with your friends that really helps us make more content
like we made today YouTube seems to think that you're going to like one of these two
videos go ahead and stick around check one of those out and we'll catch you next time