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Locked hands style is a technique of chord voicing for the piano. Popularized by the jazz pianist George Shearing, it is a way to implement the "block chord" method of harmony on a keyboard instrument. The locked hands technique requires the pianist to play the melody using both hands in unison.
In a jazz band, these chord changes are usually played in the key of B ♭ [7] with various chord substitutions.Here is a typical form for the A section with various common substitutions, including bVII 7 in place of the minor iv chord; the addition of a ii–V progression (Fm 7 –B ♭ 7) that briefly tonicizes the IV chord, E ♭; using iii in place of I in bar 7 (the end of the first A ...
PC Magazine mentioned the system as being easy to use and likely more patient than a live piano teacher though the system did not cover certain aspects of piano playing such as hand position. [2] The game was reviewed in the Oppenheim Toy Portfolio Guide Book where the authors described it as "by far the highest use a video-game machine has ...
Other chord qualities such as major sevenths, suspended chords, and dominant sevenths use familiar symbols: 4 Δ 7 5 sus 5 7 1 would stand for F Δ 7 G sus G 7 C in the key of C, or E ♭ Δ 7 F sus F 7 B ♭ in the key of B ♭. A 2 means "add 2" or "add 9". Chord inversions and chords with other altered bass notes are notated analogously to ...
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.
Example 1: Below, a common voicing used by jazz pianists is given for the chord C 7 ♯ 9 (C major chord with a minor 7th, and extended with an augmented 9th). In the lower stave the notes E ♮ and B ♭ are given. These form a tritone which defines the dominant sound, and are the major 3rd and minor 7th of the C 7 ♯ 9 chord.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
For instance a G 7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C 7, a tritone substitution chord such as D ♭ 9 or D ♭ 7 ♯ 11 is often used in which D ♭ /G whole-tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C ♭, the enharmonic equivalent of ...
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