Hey Peter. Hey, what do you know about this?

Ooh, that sounds like magic.

Oh, that sounds like magic. I'm Adam Manus.

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

Music advice coming at you when we want it to come at you which is right now it's

coming at you hard it's coming at you right at this second hey what's up to youtube today too that's right

hey youtube we're up on youtube why are we talking about magic today though well because there's some

exciting magical things happen around here at open studio there is the magic voicing system oh yeah

that is the brainchild that you have cooked up in your

cauldron of jazz education over on the south side and this course just came out and

I thought it would be the appropriate time for us to get together and talk about this because

I don't really understand it. So I figure if you can explain it to me, that'll be the first step.

And then folks can see what they think and check it out. Yeah, so I'll drop this knowledge on you. I mean, this is one of those things, too, is really funny to me because you do this already. Like I kind of got some of this from transcribing you, but it's a system that we put together over on the daily guide of practice session. And by the way, you can go to open studio jazz.com, become a piano access past member, check out the daily guide of practice session. Yes. But this is a, it's a journey that I've been on for like five years. Like, okay, let me tell you a story about a 26 year old. No, 36 year old. Were you still listening to Journey when you were 36? Don't stop believing, but... No, no, no, I was kind of at a wall. I hit a wall with my comping. Let's give you a little background. Thank you. With my chords. I love those. Where I wasn't really happy with, like, my top note options for all the chords. Yeah, you're great at it. I was not. And I was clashing with horn players. I was clashing with singers. I wasn't able to play melodically with my chords. And I was like, I need to fix this big time. So I kind of went on this journey to find a system that I can play any chord with any note on top. And one of the first things I discovered was this penitonic system that

we're calling in a very corny way, the magic voicing system. But I developed this and we started

working on it in the daily got a practice session. And that's what we'll talk about now. It's a

super simple way to think about voicings and to get so many options on the top notes. You can play

melodically. Like that. Awesome. All right. Well, let's break it down now. All right. Let's systematize it. So I'm going to do two different voicing for abracadabra. Okay. We're going to do the one, kind of the main one, which is the pentatonic five-note voicing. Okay. And then I'll do a little diminished voicing, which will be kind of a bonus bob.

Okay.

But this is based off of the major pentatonic scale.

So if we're in the key of B-flat, and we have a B-flat major pentatonic, that's B-flat, C, D, F, and G, right? Yeah. So we have this pentatonic scale. Now, if we want to form a chord with just these five notes, we can.

If we start from B flat and we skip a note going down, so we skip the G, and then we skip the D, and then to right hand, then we skip B-flat, and we hit G, and we skip F, we hit D. Right, we have this chord from the top down, because that's how we're going to think about these. B-flat, F, C, G, D. Now, this is a B-flat major 6-9 chord, right? And what's so cool is this is all the notes, again, of that B-flat major pentatonic scale. Now, this isn't even the magic part. That's a pretty bog-standard voicing, correct? Yes, it is, but already what you've done, and you you went through it because you understand it so well. I think there's a pretty bog standard voicing correct yes it is but already what you've done and you you went through it because you understand it so well i think there's a lot of nuance to how we get

there as opposed to say we're going to build up or down right forth which is of course what it is

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