But in this Herbie Hancock Guitar Lesson I am going to take the Herbie Hancock Voicing for a m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors. In the process you also get a Herbie Hancock Guitar Chord that you can use for maj7 chords or m11 chords and taking this further to create some other arpeggios and chord voicings for other chords. Learning things from Piano or other instruments This lesson is as much about applying material from piano than it is about this specific voicing. Learning and using material from other instruments is a very important part of Jazz. Jazz is a genre that is not dominated by one type of instrument, and different instruments have a leading role throughout Jazz history, just look at the shift from Alto to Tenor with Parker to Coltrane.
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The Mwandishi Band developed into a unique group, which created a conceptual music that mixed contemporary classical music with African textures, group improvisation and simultaneous individuality based on the varied personalities within the band. Crossings Warner Bros. The Mwandishi Band was an orchestra inside of a jazz septet. Each musician played a variety of instruments, all of them doubled on exotic percussion instruments, and in live performances an entire set of music could be one continuous suite.
Herbie expanded the group to include the synthesist Patrick Gleeson in , allowing for colors that were unheard of in music at the time.
His Maiden Voyage, a street-smart use of scales and modes, began life as a cologne advert for American TV while his Fat Albert Rotunda was a whole lot funkier. Mwandishi, though, was something else. Whether he wanted to or not, now he had to move on. The Watermelon Man formed a sextet.
He had af his disposal a host of musical experiences, from playing Mozart as an eleven year-old prodigy with the Chicago Symphony Orchestra to playing bebop, hard bop, soul jazz and free jazz. His proto-jazz-rock session for Blue Note with Eric Gale on guitar and Bernard Purdie on drums from had been shelved but Miles had bought him an electric piano for the Water in the Pond session in as the trumpeter moved his own band towards a jazz and rock synthesis.
They were all valuable lessons to help the Watermelon Man to find a new identity. It was a quiet affair, the music based on an album he made for Blue Note called Speak Like A Child, but it was music that was subject to change. Two albums later came Mwandishi, the music new, radical and quite unlike anything he had done before. Mwandishi the album was primarily concerned with free forms and collective improvisation that often used unusual time signatures.
Now it is back again; one of the great, legendary albums of the early Seventies. With the exception of the bassist and trombonist Julian Priester, the personnel was made up of younger and less familiar figures, and everyone in the band had taken a Swahili name. An affinity quickly arose among these musicians, which Hancock described with great enthusiasm during a June interview with this author shortly after the album Mwandishi was released.
We all just played beyond ourselves. I know how well each man can play, and we all played better. It was a spiritual revelation. We have come close to capturing that magic several times since. My other band had excellent nights, too, but the emphasis was more on solos. I think the group is a little more subtle now. We try not to push the music any certain way, we just let it happen the way it happens.
I think music is supposed to make you high, to give you an experience so that you can transport yourself from wherever you are and that whole physical contact with the world so that you can gain a little more consciousness-inner consciousness. None of the tunes have chords. After we play the melody, then we can go where we want to. Priester reinforces the bass line as Henderson concludes. Then Hancock enters for a typical display of how to employ voicings and odd meters for maximum drama.
Note that Maupin, originally a tenor saxophonist, is never heard on tenor sax on these recordings — one sign that Hancock was headed somewhere else with his music.
There is particularly keen interaction in the rhythm section throughout, although Henderson also blows passionately without accompaniment. After building to some gentle explosions, the theme is reprised and Maupin emerges on alto flute. Hazy cadences from Hancock bring the theme back briefly. For all of the atmospherics on this track, the melodic eloquence of Hancock the composer remains.
One of the strongest signs of the collective spirit that powered this sextet is the written contribution of its members. As the melody gains assertiveness, the horns separate and Priester emerges with a lyrical trombone solo that again leaves space for active support from Hancock and Williams. He is followed, after a reprise of the waltz, by more extended collective improvisation that ultimately yields to an abstract Maupin episode on bass clarinet.
It relates to things that are happening today, like vegetarianism, yoga, the Maharishi, organic foods, spirituality in general.
Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar
Nishakar I have this voicing now in my toolbox and am ready to play it whenever I am playing a minor 7 chord. Practice this voicing by taking it through vpicings 12 keys. Here is how I see it: Now I have, and the voicing is stuck in my fingers together with the million other combinations. Check out the video here: Leave us your email address below to get notified on the latest jazz piano lessons, learning resources and practice tips and tricks. How to approach the minor 7 voicing you should know Here is how I see it: As the top note in the voicing is the 9th — look out for minor chords with the 9th in the melody and then simply slot this voicing underneath. How can I use it the best way, and how can I practice it to get it into my playing as quick as possible.
5 Ways to Play Like Herbie Hancock
He reported that: " Clare Fischer was a major influence on my harmonic concept Grinnell also awarded him an honorary Doctor of Fine Arts degree in  . Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini , which he did for a short time in The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. Hancock was introduced to Davis by the young drummer Tony Williams , a member of the new band.
Jazz Piano Chords & Voicings
The Mwandishi Band developed into a unique group, which created a conceptual music that mixed contemporary classical music with African textures, group improvisation and simultaneous individuality based on the varied personalities within the band. Crossings Warner Bros. The Mwandishi Band was an orchestra inside of a jazz septet. Each musician played a variety of instruments, all of them doubled on exotic percussion instruments, and in live performances an entire set of music could be one continuous suite. Herbie expanded the group to include the synthesist Patrick Gleeson in , allowing for colors that were unheard of in music at the time.
Herbie Hancock Voicing all 12 Keys