Reader,
For the past two weeks, we’ve been exploring My Romance. In the very first line, there’s an F7 chord that’s worth slowing down for.
Let’s take a closer look at how it functions and the different ways we might approach voicing it.
There are so many ways you could voice this chord, but this week we're focused on the 5 options I use the most:
All 5 of the chords in this example are variations of F7 (The low F is optional). In all 5 of these, your left hand is playing the shell of the chord, the 3rd and 7th. The right hand is responsible for the color notes.
- Our stock 2-hand comping voicing. This voicing is the basis for every voicing I teach which has the 9 & 5 in the right hand.
The remaining voicings are upper structure voicings.
- We find this voicing by playing a major triad which is a major 6th above the root. In this case, our right hand plays a D major triad over the 3&7 of F7 in the left. This results in an F7 with the b9 and 13.
- Similar to the last one, except the major triad is on the minor 6th. In this example, a Db major triad which gives us #9, and b13.
- This one is the only upper structure I play as a minor triad. This time, a half-step above the root. Playing Gbm gives us b9 and b13 (The Bbb is the same as A, the 3rd)
- The last one is a major chord on the 2nd. This gives us the very important #11 alteration.
Take a minute to play through each of these options. Practice inverting them, making sure to keep the hands close together.
Notice, by inverting these chords, you can control which note is on top. That gives you options for playing melodies.