What you know about that, Adam Manus?

Those are slick. What are those?

I don't know. Stay tuned.

I'm Adamanis. I'm Peter Martin.

And you're listening to the You'll Here at Podcast.

Daily Jazz advice coming at you.

Coming at you from our Steinway O here in beautiful Midtown St. Louis.

You almost sit downtown.

We're pretty far downtown, but technically we're in Midtown.

Midtown's happening right now, man. Midtown is where it's at. We're here. IKEA is here. You know, this is one of the only, it's right around the corner. We're going to get Uber local right now. It's one of the only, well, it's one of the first. They have some other ones now. In-city, urban, IKEA's in the United States. Did you know that? I did know that and it's dope for St. Louis that we have it right right in the heart of Midtown here.

That's right. Can I get a one? in-city urban IKEA's in the United States. Did you know that? I did know that and it's dope for St. Louis

that we have it right right in the heart of midtown here. That's right. Can I get a what, what? What, what? Yeah, what. Okay, cool. What are we talking about today? IKEA. No, we're talking about five-note voicing. We're talking about five-no voicings. And we're back at the piano, excited to be back at the piano. Yeah. And this is going to be, you know, we're talking about two-handed voicings. Of course, we could have five-note voicings, you know, in just one hand. But this is really a concept that I have, that I have, that many pianists have. How many is that? What is that? That's five notes, but, oh, five fingers, but more than five notes, actually. but yeah, this is a concept that's used a lot and, you know, kind of getting into our structured, restrictive practice. I think it's a good way. You know, it's amazing how many questions we get about what are some good two-handed voicing, comping in general. Such an important part of our job as the pianist, as pianists, but I think for all you guys out there,

instrumentalists, vocalists, drummers, anything, because we preach how, I mean everybody knows how great it is to learn some piano and how much it helps your jazz playing in general.

If you're going to learn one other instrument, get some basic piano stuff. And so two-handed voicing seems like it's super advanced and it can be,

but a little bit of basic two-handed voicings. And I think this five-note voicing is a good kind of entree point to that. It can be really nice. Now when you say five notes, you're specifically talking about two-three voicings, right? Two in your left, three in your right? Exactly. Exactly. These are some of the most useful.

I mean, and there's so many, you know, there's Two in your left, three in your right? Exactly. Exactly. These are some of the most useful.

I mean, and there's so many, you know, there's so many ways you can do it. You can do it on literally every single chord has some kind of two, three, five-note voicing. Yeah, and I mean, there's, you know, even something like this, which is almost like a modern block chord. It's all within an octave. and still, you know, this is super close because you got a second,

a couple of two, you know, fourth and a third. But a lot of the ones I kind of gravitate towards our more open fourth, thirds and fourths. The classic open fourths, yeah, yeah. Stuff that you can move around diatonically. That's the, you're playing, that's the so what voicing right there, right? So what? So what if I am playing

you. You got a problem with that? Yeah, exactly. What a great sound. I remember when I was

younger and learned those, I was like, this is great, but then I was like, I can't play it because

it's too basic. It's too overused. So what are some sort of, speaking of basic,

what are some sort of beginner ones that people can jump on if they maybe don't know these voicings at all? Yeah, well, so I think that the ones that are all force or all fourth with the triad kind of second or first inversion version on top of the best, and that's going to be your so what voicing. So you're building up.

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