Elmond isaiah’s Advanced chord voicing and application

This tutorial of Advanced chord voicing is
brought to you by Elmond Isaiah of ‘The
mystery of sound’.

He is one of the finest pianist in Nigeria and we
are delighted to have him share some of his
knowledge and experience with us to make
young musicians grow.

In this tutorial he would be giving us cool
advanced chords that we can substitute for our
regular major and minor chords that we are
used to playing.

Chords are not just three or more musical
notes harmonically played or sung together,
they are the life blood of music like Jermaine
Griggs will always say.
If chords are rightly applied, they produce an
irresistible outstanding positive effects on
anything, whether living or non-living.
In this lesson we will examine three popular
chords and their application. Many musicians
have been using these kind of chords their own
way, but here, we will talk about them in many
different exciting perspectives. Hope you will
like it!

The three chords to be discussed are:

Firstly, I want to establish a fact that chords
should be voiced according to the kind of music
you are playing to at the moment.
Always listen to what music want you to play
per time. It is also good to know how to
interpret chords and name them rightly to
avoid mix up.

Chord description:
A chord like Ab (9)/C, is called A flat ninth over
C, and it means that the right hand should play
Ab(9)while the left hand should play C at the
same time.
But when there are more than one note on both
sides or on one side, then it will be for left and
right hand just as it appears.
For example: Ab+Eb/F+Ab+Bb+ C# means the
left hand will play Ab and Eb, while the right
hand play F+Ab+Bb+C# together, or if the
chord appear as Eb/F+Ab+Bb+C#, or Ab+Eb/
C#, the same method of playing is applied.
The left hand and right hand respectively
following the demarcation by the slash
between the notes.

Although forAb+Eb/C#, right hand can decide
to play the Ab+Eb, while the left hand play C#.
Chord voicing is a most know techniques. I
discovered years back that by allowing a finger
in your left hand play just a note meant for a
finger in your right hand, in the same position
is able to change the chord’s quality and give it
a different feels.

Though this does not happen all the time, but
we must know that our left and right hand does
not have the same dexterity, frequency, speed,
touch sense and task.

For example, looking at Ab+Eb/F+Ab+Bb+C#, if
you decide to have the chord as Ab+Eb+F/Ab
+Bb+C#, though the F is still on the same
position, but now played by the left hand,
possibly your tomb, you may notice a slit
change in frequency and feels of the chord
than it was when your right hand tomb played it
together with the other notes. 

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