Dramadiddy:
elepian cp-20

Feelingfree:

I stay in calabar. I'd like to buy something like what you have. 50k is available. Is it possible? How is the piano sound and are the keys weighted? Pls respond

Loluores:
Interesting thread. Loluores in the house.


What kinds of problems do you have in your piano playing, learning, practising, and learning music in general?

Shoot me a reply, guys, lemme know how I can help.

Feelingfree:


How do u use tritones while playing gospel.

Loluores:



Choi, such a wide question, where do I even start?! I will provide both theory and practice, with some balance, I hope.

Aiit, first of all, a tritone is an interval inside the basic dominant 7th chord (1 3 5 b7)... the distance between 3 and b7 (or b7 and 3, which is the same thing). The short answer to your question is, use the tritone wherever you use the dominant 7th. Most common places in a song you can use it, is in any form of 2-5-1 progression, major or minor (mostly at the 5, sometimes at the 2 or at the 1 position.)

The next thing you wanna then know is, how do you VOICE a 7th chord with your two hands? It is the VOICING that is key, that's what will make your playing sound cool. So I'll give it to you, here's the formula.

I'll first explain how to play it when you're playing solo (without a bassist), which will include playing the root note.

The left hand (LH) plays root (1) and 3, 1 and b7, or 1 and tritone, as follows:

1 3 (or 1 10 if you can stretch your LH that wide. Hint: stretching is the real secret to phatness ) e.g. C E

1 b7 e.g C Bb

1 and tritone:

1 3 b7 e.g. C E Bb

1 b7 10 e.g. C Bb E

These LH shapes are technically called shells (some people call them power chords, na dem sabi.) They are the foundation or skeleton of your chord voicing. Practise them on all 12 keys.

You can also play tritones without the root (e.g. with a bassist, or when playing LH strides.) You just play the two notes: 3 b7 or b7 3, and your RH plays other things. There is more to this though, talking about LH 'comp' chord voicings (called types A and B rootless voicings.) I'll talk about this later, with some pictures of my hand holding the notes.



Once you have all of this down, your RH is then free to complete the chord voicing in various ways, which I'll also explain in my next post (talking about upper structures and stuff).


Hope this helps a little... lemme get your feedback, cuz I'm not sure of how much to include in here, it's a vast topic. Depends on how much you already know or what specific area you want to know. It seems some people have posted on this in earlier posts also.

Feelingfree:


Thanks for the xplanation. I would appreciate specific examples. I want the practical use. I know a lil abt them theoretically but wanto know how u use them. What type of triad do u choose to play on the right hand since virtually any major tirad can be played. I'd love sweet sounding examples i can apply. Thanks a lot

Loluores:




Aiit. To begin, you have to master the 2-5-1 progression. Specifically the minor 2-5-1, where the 1 is some kind of a minor chord. Examples would be:

7-3-6 (t m l)
3-6-2 (m l r)
#4-7-3 (fe t m)
Even 6-2-5 (l r s) which leads up to a 5-1-4 (s d f, a major 2-5-1 in this case) e.g. l r s d f.

In all these minor 2-5-1s, the 5s can be played with a tritone, or a tritone-based rootless voicing, on the left hand, and an upper structure on the right hand. The most popular chord here in gospel piano is by far, the altered 7th (specifically 7#9#5 chord), analysed below.

LH / RH

1. Tritone / Triad of the #5.
A. 3 b7 / #9 #5 1 (2nd inversion triad)
B. 3 b7 / #9 #5 1 #9' (2nd inversion, octave)
C. b7 3 / #5 1 #9 (root triad)

2. Extended tritone / Triad of the #5.
A. 3 b7 #9 / #5 1 #9
B. b7 3 #5 / #9 #5 1
C. b7 3 #5 / #9 #5 1 #9'

Note, 1B and 2A are the same, just different fingerings. The RH triads are specifically built on the #5 as the root. Notice there is no 1st inversion of any triad there, just the root and 2nd inversions. It's not wrong to play the 1st inversion, it's just not as sweet.

Another thing: the extended tritone LH voicings have 3 notes. A fourth note could be added at the second position from the bottom to complete the chord, as follows:

2A. 3 b7 #9 + #5 = 3 (#5) b7 #9
2B/2C. b7 3 #5 + #9 = b7 (#9) 3 #5


Now, on to examples of minor 2-5-1s, in solfa notation for ease of understanding. I highlighted the tritones in bold.

Bass / LH / RH

1. 7-3-6 (practise on keys Bb to E, as in Bb,B,C,C#,D,Eb,E)

t / l r f / l r f (m7b5)

m / se (d) r s / d m s (compare 2A above)

l / s t d m / t r (m11)

OR (practise on keys F to A)

t / re l / r f (another kind of tritone 7th chord, 7#9b5)

m / r se / d m s (1C above)

l / d m s t / r s t (m11)

2. #4 7 3 (play this song on keys F to A, melody in italics.)

f / d m s l / r m l (M9(13)) In

d Your

fe / m se r / m t pre-

fe / m t d / m l d (m7b5(add11)) -sence

t / re l / r s t r' (1B above) there

t is

m / r (fe) s t / r fe l (m11) lii-...

s -iife

(The #4 chord on the 'pre-' is actually a passing chord based on the Locrian #2 mode, if you understand the theory.)

3. 3-6-2 (keys F to A)

m / r fe s t / r fe l (m11)

l / de s / d f l (d') (1B above)

r / d m f l / d m s (m11)

OR

m / r fe s t / r fe l (m11)

l / de f s d/ f l d (2A above)

r / d m f l / d m s (m11)

(These 3-6-2 voicings are very, very common in gospel piano. Even the m11 chords have triads, in this case root triads, in their upper structure.)

OR (keys Bb to E)

m / s t r fe / l r fe l' (m11)

l / s (d) de f / d f l d' (2C above)

r / f l d m / m l m' (m11)

(Notice the octave RH upper structures, which give very good sounds.)

4. 6-2-5-1-4 on keys F to B

l / de s / d f l (1A above)

r / d fe / t m se t' (13#11)

s / ta r f l / d f l d' (m11)

d / ta r m l / r s l r' (13)

f / d m s l / r s d m' (M9(13))

(Note that the 2 chord is NOT a 7#9#5 really, but it has the same shape. I'll leave it for you to figure out the theory, but it's easy to understand if you see it as a tritone substitution, or if you recognise the relationship between the super-locrian and the lydian dominant as tritone subs. One hint: the bass could be b6 (se) instead of 2 (r)).

Okay, hope this lil' introduction goes a long way in clearing up tritones and their use. So, practise the examples and lemme know what you think.

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Mightyguy:
Dat kul bro, @,wat, price??

Pianistsegz200:

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Pianistsegz200:

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#Freshest Post
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Loluores:
Ask your musical questions, guys, I'll provide tips, guidelines and exercises.

From time to time I'll drop in a few lessons.

Happy music making.

Loluores.

ozi16:
pls what is d voicing u used 4 d highlife sound

EzePromoe:

Please post links to more of your lessons on Key F. I'll appreciate.