To create lush piano chords like those found in the classic jazz ballad “Blue in Green,” start by focusing on playing rich, full-bodied voicings. Experiment with using extended chords, such as major 7ths, minor 7ths, and 9ths, to add depth and color to your sound. Pay attention to the spacing between the notes in each chord, aiming for a smooth and balanced sound.
Incorporate techniques like voicing the piano chords in different inversions, using pedal tones, and adding embellishments like grace notes or trills to enhance the overall texture of the chords. Practice playing the chords with a relaxed and fluid touch, allowing the notes to ring out and blend together harmoniously.
Listen to recordings of “Blue in Green” by Miles Davis and other jazz pianists to study how they approach playing lush chords in a ballad setting. Pay attention to the voicings they use, the dynamics they employ, and the overall mood they create with their playing. By studying and emulating these techniques, you can develop your own unique style of playing lush piano chords in a jazz context.
Blue in Green first appeared on Miles Davis’ album “Kind of Blue” in 1959. Many people believe jazz pianist Bill Evans actually created it. Despite this, Miles Davis officially receives credit as the composer.
In this article we’ll look at how to play this piece as a solo piano arrangement. We will go through the first few measures and discuss some advanced jazz techniques in the style of Bill Evans to help you create some beautiful, lush piano chords.
Blue In Green: The Major 7 #11 Chord
We will start by looking at the first four measures of “Blue in Green.” What do you notice in measure 1?
The ‘E’ in the melody represents the #11 on the Bb major 7th chord, an upper extension that is sometimes used on major 7th chords in jazz and produces a sound that has some inherent conflict and tension. Here’s a great way to harmonize major 7th chords with #11 – think of a major triad built a whole-step above the root of the chord.
Let’s break this down more in depth. We’ll harmonize this Bb major 7th chord by simply playing a chord shell in the left hand (root, 3rd, 7th). In the right hand, we’ll harmonize the ‘E’ by thinking of it as part of a C major triad – i.e., a major triad built a whole-step above Bb.
Notice how much beautiful, lush harmony we now have in this chord voicing. The ‘E’ = #11; ‘C’ = 9th; ‘G’ = 13th.
Blue In Green: The ‘A7’ Chord in Measure 2
Let’s look now at measure 2 in which we see an ‘A7’ chord with a ‘C’ natural in the melody. Hmm? What is the ‘C’ natural in relation to A7? The answer is that this note represents the #9.
In jazz, dominant 7th chords frequently include lots of upper extensions (things like 9ths, 11ths, an 13ths). These chords can also include altered extensions (things like #9, #11, and b13), such as the #9 we see here. So how will we harmonize this chord and create a lush, dense voicing?
Again, we start simply with a left hand chord shell – A, E, and G, the root, 5th, and 7th. In the right hand we will harmonize the chord by playing an F major triad.
Why F major? Using the 3 notes which make up an F major triad we get some great altered extensions over the A7 harmony (F = b13; A = root; C = #9). Of course, we still need the 3rd of the chord (C#) so we include this tone by playing it with our right hand.
Blue In Green: The D Minor 7 Chord in Measure 3
Here’s a quick tip for making minor 7th chords sound cool like Bill Evans – try voicing them in 4ths. Now, let’s take a look at the D minor 7 chord.
Notice the intervals of a 4th from ‘D’ to ‘G’ to ‘C’ to ‘F.’ Of course, the melody (the ‘A’) is only a 3rd above ‘F’. This particular voicing is identical to the D minor 7 voicing Bill Evans used on “So What,” another tune from Miles Davis’ “Kind of Blue.”
If you are ready for a more in-depth tutorial then be sure to check out the complete Blue in Green lesson! You will learn how to play this classic song from Miles Davis, “Kind of Blue” recording. In this advanced lesson, you will learn how to create piano chord substitutions to enhance your arrangement.
Learning proper technique at the piano is more than just learning scales and piano chord patterns. It’s also learning how to shape notes via dynamics, articulation and proper form.
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Willie Myette is a pianist, serial entrepreneur and author of over a dozen books on piano and music education. He received a scholarship to Berklee College of Music and graduated in under 4 years. Willie is the creator and CEO of online piano instruction sites Jazzedge® Academy, Jazz Piano Lessons and HomeSchool Piano.
