Block Chords: The Super Classy Jazz Sound

► Get your FREE Top 5 Piano Tips Guide:
pianowithjonny.com/top-5-tips/
► Download this Quick Tip lesson sheet and backing track:
pianowithjonny.com/piano-less...
LESSON SUMMARY
If you've been studying jazz piano for sometime, you've probably learned some jazzy chord voicings, especially for your left hand. But what about the melody? For instance, how do you go beyond playing the melody as a single note? The answer is block chords. In today's Quick Tip, you'll learn how to harmonize a melody using block chords in 6 steps. This sound is most notably associated with pianist George Shearing (1919-2011) who popularized the sound in the 1940s and 50s. This Complete Guide to Block Chords includes:
-7 block chord voicings for major chords (1 for each note in the major scale)
-6 major chord symbols to use with block chords
-Theory & application for harmonizing a melody with block chords
► Block Chords course:
pianowithjonny.com/smartsheet...
► 6 Jazz Ballad Harmonic Approaches:
pianowithjonny.com/courses/6-...
Chapters:
00:00 - Intro
00:49 - Step 1: Melody
01:58 - Step 2: Double the Melody
02:34 - Step 3: Add 3 Inner Harmonies
07:58 - Review the exercise
08:38 - Create your own melodies
09:24 - Play with backing track
10:03 - Step 4: Chords for Major Block Chords
11:59 - Step 5: Single-Note Melody
13:21 - Conclusion
===
► Get your FREE 14-Day Trial to PWJ here:
pianowithjonny.com/
►FACEBOOK: / pianowithjonny
►INSTAGRAM: / pianowithjonny
►TIKTOK: / pianowithjonny
►TWITTER: / pianowithjonny
Happy practicing!
Jonny May

[@PianoWithJonny]

00:00 - Intro 00:49 - Step 1: Melody 01:58 - Step 2: Double the Melody 02:34 - Step 3: Add 3 Inner Harmonies 07:58 - Review the exercise 08:38 - Create your own melodies 09:24 - Play with backing track 10:03 - Step 4: Chords for Major Block Chords 11:59 - Step 5: Single-Note Melody 13:21 - Conclusion

[@billr.2210]

Hi Jonny, another great lesson. I think I'm going to have to sign up. By the way, what digital piano are you using and which one do you think is best, Yamaha, Kawai, Casio, Roland, etc?

[@A.M.Naughton]

You are by far the best teacher on KZbin - thank you from Dublin

[@PianoWithJonny]

Thank you so much!

[@JoseAlvarez-gj3qs]

You are the only KZbinr on these topics I’ve learned something to sound better from, all others seem to rather show off how good they are instead of transmitting with real honest passion something to help the others improve, my highest acknowledgement , thanks!

[@KendrickHarrisKenfinity]

Let's get swingin' and creating new "so what" possibilities. Stay safe and keep it up!

[@DV7Dave]

I'm just starting and this is one of the most helpful videos I've come across so far when learning about chords. I can't read music, so the explanations are all very handy!

[@GaryR55]

Same here. I have Developmental Dysmusia.

[@rebanelson607]

Thanks for this lesson. LOVE the sound of those chords!

[@davidparkes7977]

These are nice as arppegio runs as well😊

[@christophebrunel8875]

This is the really the best way of teaching jazz piano i ever seen on YT i am amazed about your teeching skills greetings from France

[@gu_u.]

I think block chords are so much underrated, all goes with rootless but block chords sounds sooo modern

[@jefersonvinand6059]

Hi Johnny. Great thank you for all wonderful lessons.

[@alessandrosantana3161]

Very good! I loved to learn and practice tthis exercices. Thank you so; and let's go!

[@abigailbriggs6250]

Piano with Jonny is absolutely amazing! Quality, accessible, inspiring. And taught by a humble and approachable teacher.

[@martinhlavac1657]

Thanks a lot for perfect lesson!

[@siebenmusic]

I’ve always wanted to be able to play like this. Thanks Jonny!!!

[@omelmasalunga7960]

fantastic lesson. Thank you.

[@allenrichards4601]

This is very good I'm new to this and I've learned so much, so much I said. Love it... Going to practice practice practice and practice 🎹🎹🎹

[@SashaPaleeva]

Amazing! Thank you!

[@soepai5594]

Thank You millions to get a chance to study Major 3-Inner- harmonised Chords with Sequence. Hoping how Minors and other related chords as well. TU Mr Jonny.

[@ospt1]

This is great!!!

[@tH4ttUs]

waiting long for this!!!

[@moonlightmelodrama]

A fantastic lesson!

[@VikkiSu]

Jonny, you are the best, as always! 💋💐Thank you

[@nilangaga]

Thank you sir... very helpful lessons...

[@lindareese4579]

Thank you young man for the very nice lessons...

[@aldogiasi6452]

Thank you very much

[@rashidghous9310]

Excellent

[@zouhirlemhaouar4384]

So fantastic

[@alexanderchakalamba7873]

Beautiful

[@kouadioangebasile8530]

Great teacher sweet lesson with piano with Jonny :° :)

[@brendaboykin3281]

Thanx, Maestro 🌹🌹🌹

[@monicaconsigliereLavieenfleur]

Hello Johnny, so many interesting lessons that I cannot even keep up😀🥰

[@PETSWORLD_]

Yes you can

[@jrcritchley]

@@PETSWORLD_ no she can't

[@reinhardheiderich1879]

Hi Jonny, a wonderful sound, I love it! Thanks. Greetings from Reinhard👍

[@PianoWithJonny]

Thanks for listening!

[@tubercelli]

You are great!!!! Thanks

[@rickkasan6907]

Love it...

[@statictantrum7614]

nice job!

[@priyanthagamage2287]

I am learning very valuable things from you, Sri Lanka, my country

[@Nshuti]

My playing changed completely 😱 thanks 😊

[@PianoWithJonny]

Great to hear!

[@murdochman]

I've learnt some much from Jonny. Hes a legend

[@GodLandon]

Was unfamiliar with block chords, stellar teaching 👍

[@PianoWithJonny]

Glad it was helpful!

[@userious]

this guy is bloody genius

[@masierra007]

thanks

[@Untryn]

Honestly so good so much quality put into these lessons

[@kcollins3451]

I'm going to try this method on "Embraceable You"...just made for block chords! It's in G in the Real book but I'll give it a go. Thanks Johnny.

[@doorknobs4484]

how did it go

[@kcollins3451]

@@doorknobs4484 OK thanks . I truncated the chords so e.g. the first bar is LH (held for full measure): G,D; RH (quarter note chords): (rest),(B,D,E), (B,D,C#),(B,D,E,G)

[@user-qp4lb3yb3i]

Джонни, ты красавчик! Это то, что надо

[@sethbartos9406]

2:13 Don't leave me hangin' bro

[@jojo-fj7lw]

C3 C4. There you go

[@theocouris9289]

wish i could like this more than once

[@robertoetojo5861]

Thank you SIR, FOR SHARING YOUR KNOWLEDGE...👌👍🥰🥰

[@chachaman4980]

Very nice succinct explanation! This resemble Partimento in a way….Do you agree?

[@tomylamar5003]

Minute 9:25 it gives a feeling to make the song 🎶 Jingle 🔔 bell jingle bell 🔔 jingle bell rock , jingle bells swing and jingle bells ring.

[@pianosouma2661]

Hi jonny please may i ask how you shoot piano, recording and computer screen at the same time ? 🙏🏼🙏🏼🙂 Love your videos… Appreciate it …❤

[@1lenzter]

Awesome!

[@scuoladimusicacollinadoro1129]

Cool. Love George Shearing. But what if I have a piano technique that allows me to play all 5 notes of the block chords with only my right hand? Like Erroll Garner did it a few times. Then I could still do some cool stuff with my left hand under that. Like a modern version of the finger exercises of Dohnányi (Hungarian composer).

[@christianbucal6933]

wow :) How about when there is a chromatic melody? :) Anyway, I noticed that I, III, V chords are same chords with different bass notes.

[@lenoatmusika1713]

I learned more from this. And I have now my own channels.

[@huguesduchesne7057]

Hello Jonny, thank you very much. I would like to know which musical program or appication you use in order to obtain the virtual keyboard on screen, with the appearing name of the notes you play on your master keyboard. I am lokking for this type of application. Thank you very much for your advices, kind regards.

[@craigmetcalfe1749]

I took up music because I was told there would be no math :-) This is Jonny, Ronnie's brother!

[@ernestokrapf]

C major 6 9... nice....

[@gtberg]

Great! I'm playing Miles Davis So What solo. How do I block chord that?

[@spacewalden8358]

Thanks for the lesson. Could you teach us also how to use block chords on minor or dominant chords etc ?

[@TheTralfaz]

Ive learnt a great many useful tips on your channel Jonny, but pardon me for pointing out something I picked up from Kent Hewitts channel. First, you add a flat 6 to the major scale....then, on the C E G and A, which are chord tones, you play a C6 or the appropriate inversion. On the non chord tones, you play a diminished chord.....which, as it happens is a G7b9 ...and its inversions .

[@jimmccloskey3601]

I started watching Jonny's channel after having gone through "The Jazz Piano Book" by Mark Levine. The book covers many aspects of block chord options (major/minor, 6th/7th chords, melodic minor scale chords, drop 2 etc.), and it similarly suggests using the diminished chord / V7b9 on non-chord tones. Interestingly the book doesn't seem to cover Jonny's style here, which does seem limited to maj7 chords, but which think also sounds very good. Good to know both I guess!

[@chachaman4980]

What about Dominant and minor chords?

[@jmjbestmusicstudio255]

👍👍👍

[@darlinngoma1133]

What's the name of your piano? I want to buy one like it

[@PaulieDC]

This is IT. This is the style I have been hunting for, for years. In the Cast party in White Christmas, the trio w/vocal group that's actually playing for the cocktail party is playing a version of "The Best Things Happen While You're Dancing", and I have always loved the way the pianist plays it, but I just thought it was just that guy's style! I should have LISTENED to George Shearing, lol! So basically for the movie, the pianist decided to go with a George Shearing sound because it SOUNDS so perfect for the classic cocktail parties of the time. Wow. I'll be tearing this vid apart until I get it. I need to clear room on my schedule and get going on your membership and stick to proper lessons. If anyone wants to hear this in action in 1954, here's the two-minute clip from the movie... near the end you really hear the block chord style: kzbin.info/www/bejne/oYOcZKV6ecyqi8U

[@PianoManSam2]

I love that version of when you're dancing. I pulled this up to watch later and got distracted by the comments and now I really have to watch this one.

[@alvaromorenoacosta1518]

2:22

[@kuuderepiano2988]

How do you imitate the bass like that?

[@JoaoVitor-nq1bu]

How are you picking the inner intervals? Is it arbitrary? I would have guessed the B should have been used to harmonize the C, for example. Why did you choose A in stead? It's not a part of the CM7 chord, right?

[@_cynth_wave]

It looks like they're avoiding half steps right next to each other; a lot of the time in styles like this the intervals between notes are more important than which notes they are Edit: they put b/c in another block chord, I dont really know it's probably somewhat arbitrary, having a half step at the top of the chord is pretty weird tho

[@davidwickline9710]

Because 6ths are jazzier

[@caseylockwood5512]

The rule is you can add whatever flavors you want to major and minor chords, as long as none of the extensions create a b9 interval with any of the chord tones. So specifically, in a Cmaj chord, C# is out because it creates a b9 interval with C. D is in though, because no bad tensions are formed. D# is an avoid note because this would normally make the chord minor, so it would of course clash with our major 3rd that already exists. Same reason why A# is out. It clashes with our major 7th. So what are our "available extensions"? In a Cmaj chord, they would be the 9th, the #11, and the 13. An easy way to remember this is, in a standard Cmaj7 chord, if there are two notes between any held notes, you may use the highest note. So between E and G, there is F and F#. Use the highest note as an extension, F# in this case. If there are three notes between, use the middle note. Example, C and E, you would use D. Hope that makes sense.

[@mikemclenison8200]

For minor chords with it be the same formula substituting the 3rd for a b3rd?

[@hpbeats2306]

Yes, if you do that it will be a minor sixth chord, but that will definitely sound good. If you want a minor seventh chord instead you can use the block chords of the parallel major ( so for example if you want to play A minor seventh block chords, you can just use the C Major block chords, because its the same notes.)

[@MrBlake6332]

Not exactly because you also need to flat the 6th and 7th degrees. The major scale is 1 2 3 4 5 6 7 The minor scale is 1 2 b3 4 5 b6 b7 So any time you convert major to minor you have to adjust all 3 of those degrees, not just the third. So for the Cmaj7 block chord, to convert to C minor you need to flat the 3rd and 7th in that chord.

[@polis4]

Finally seeing Ralph Fiennes playing piano! Great video, though!

[@beatrixwickson8477]

We just had to english wait and be english patient.

[@sifridbassoon]

WOW! wonderful video. But I have a question. Is there any logic about where to add the extra (the non-triad) note? For example, you build your C block chord as C-E-G-A-C (with an added sixth). Could you also build it C-E-F-G-C (with an added fourth)? I'm guessing the E-F-G might be too much dissonance since it's three notes next to each other.

[@cole_bh0373]

On a major chord, the rule is that you can use any more EXCEPT the fourth because it just doesn’t sound right. Hope that helped

[@geodude7116]

Beautiful. I seem to hear a “Fly me to the moon“ melody by Frank Sinatra

[@johnmc3862]

Block Chords = Chords!!

[@tracksbyanidiot670]

What about the minor?

[@sandronebieridze4134]

Here at 69,969 views. NOICE

[@FSFITA]

Intro Song?

[@jwferlise]

What determines the inner notes? Is it simply a choice based on the pleasant sound compared to less pleasant options? Or is there a technical/theoretical explanation for using a Maj6 vs a chord with a 2 4 and 6 but no 3rd or fifth?

[@uwu-nyaa]

Many people find the rub between 1 and 7 a bit much, so for major chords they'll often use maj6 instead of maj7. As for not having a 3rd or 5th, that's honestly easier to explain from a different angle than this video takes. Basically for every melody note, you figure out what note it is in relation to the chord. I think it's easier to think of that note as being, for example, a 9th instead of a 2nd. Talking about scale degrees you say 1 2 3 4 5 6 or 7, but for harmony you say 1 3 5 7 9 11 13, because harmony is done by stacking thirds instead of moving in steps. You might still have a 4 or a 2 or a 6 in there, though (10ths and 12ths are essentially unused). 2s and 4s appear in sus chords, and 6s appear in maj6 chords. However, in both those instances, they're replacing another note. In sus chords, the 2 or the 4 replaces the 3. In maj6 chords, the 6 replaces the 7. But if your chord voicing had the 3, the 2 is no longer replacing the 3, so the 2 is now a 9. You could think of it as like, 3 is the main note filling that slot and if it isn't there and you put in a 9, that 9 is gonna rush to that slot and become a 2.

[@uwu-nyaa]

However, it's simpler to just talk about 1 3 5 7 9 11 13. What notes you include in your voicing are based on a lot of factors. But basically some notes are necessary to express the sound of the chord, and that's 3 and 7. Everything else is kiiiiiiiiinda optional, IF you have a bass player or you're playing root notes with your left hand or something. However, in this case we don't have a bass player and this is a 2 hand voicing technique so we need the root in there. Kinda. KINDA. Pretty hip to just leave it out honestly. You get some cool rootless substitution sound that has a sick vibe to it. Anyway, 3 and 7 are necessary. Root can be optional depending on situation. If the 5th is a Perfect 5th, it really doesn't need to be in the voicing at all. It really adds no substance. But if you have an empty slot in your arranging style (ie, you're doing 4 voice harmony and you only have 3 notes right now) and you don't want to add more color, the 5th is good to stick in there and beef it up without adding color. 9, 11, and 13 are extensions, and just add color to the sound. Also note that I'm talking generically about these; alterations to all of these notes are possible, for example, b3 in a minor chord. Actually I'll just write em out lol 1 (Root) 3 - b3 - sus2 - sus4 5 - b5 - #5 7 - b7 - bb7 - 6 9 - b9 - #9 11 - #11 13 - b13 - #13 Forget about melody for a second, and let's talk about just voicing chords. Let's say we're doing 4-note voicings. That means we have 4 slots to put notes. One of those slots will be taken by the 3rd, whether it's a major 3rd, a minor 3rd, a sus2, or a sus4. Another slot will be taken by 7th, whether it's a major 7th, a minor 7th, a diminished 7th (like in a full diminished chord [1 b3 b5 bb7], as opposed to a half-diminished chord [1 b3 b5 b7], or a major 6th (see above with maj7 chords and maj6 chords being functionally identical). That leaves two slots left. Now, when you're starting off, you should be doing these voicings with just the root and 5th taking those slots. And this is the first way of voicing 7th chords we generally learn, just 1 3 5 7 in closed position, inverting the chords for nice voice leading. Play that in the right hand, play the melody in the left hand, baby you're readin lead sheets and improvising. The next step would be looking at those 1s and 5s and thinking about replacing them with spicier notes. Again, especially if you have a bass player, that root doesn't need to be in there. If you're playing the root somewhere else on the piano than in this voicing, the root doesn't need to be in there. If you're playing the root and then the next beat playing a voicing with the same hand, the root doesn't have to be in there, because the ear remembers the root, you just played it. The 5th can get the heck out of here it's boring. Unless it's not a perfect 5th, then we want it in there and it's juicy. When replacing 1 and 5, we use tensions. Generally speaking, 9 replaces the root and 11 and 13 replace the fifth. If you want 11 and 13 at the same time, whatever, bend the rules, who cares its just a system to help you limit the infinite options of the piano a bit. But with these replacing rules applied to 4 voices, saying that one voice is the "root" slot, one voice is the "3rd" slot, one voice is the "5th" slot, and one voice is the "7th" slot (not in a set vertical order of course, can be inverted or spread out or octave displaced or doubled or dropped into a drop voicing, whatever) we get these lists of notes for each slot: 1 - b9 - 9 - #9 3 - b3 - sus2 - sus4 5 - b5 - #5 - 11 - #11 - b13 - 13 - #13 7 - b7 - bb7 - 6 And we kind of pick and choose. Now, when you're harmonizing a melody note and the melody note is one of the 4 voices, one of the slots has been chosen for you. When it's the perfect 5th, that sucks because all those other notes on that list can't be selected (if you're strictly adhering to this system, again you can bend it or break it any way you want if you wanna get that goddamn #13 in there). When it's the 3rd, you're stoked because you probably weren't gonna change the 3rd anyway and you have a lot of freedom. So to do block chords, also called locked hands, when harmonizing a melody, you figure out what slot that melody note is taking up, and then pick whatever you want for the other 3 slots. Then you organize the slots in closed position below the melody note, and your left hand plays the melody note an octave down, closing in the whole voicing. Note you can always unlock your hands and have your left hand play a root note centered bass part so you can replace the root in the voicing. Start off with no replacements, though. Honestly progression should be: No melody, 1357 in closed position Locked hands with melody, 1357 in closed position No melody, replace system in closed position Locked hands with melody, replace system in closed position It's hard to arrange for 4 voices in this style harmonizing a melody without first being able to just play a chord progression in this system. So it's important to get good at these voicing styles by, say, voicing the chords in the left hand while just playing melody on the right hand (to practice this voicing system in the left hand) or playing root notes in the left hand while playing these chords in the right hand. Locked hands is f*ckin hard lmao, i think it's important to be able to voice chords without having to worry about the melody taking up space in your voicing. Should learn how to harmonize a melody in this style with the melody being "outside" the voicing first, ie, the melody may influence the voicing used but it isn't eating up a slot, and you're not having to apply these voicing rules to a melody note in real time when you can't quite yet apply those voicing rules in real time just playing the chords and not worrying about melody. That applies to both doing this improvised AND doing this by arranging and then practicing. But your skills can be at different places in both of those. My skills in locked hands are NOT at the point that i can sit down with a lead sheet i've never played before and play it in this style, and i definitely can't improvise a melody while also harmonizing it in locked hands style. But I can pretty quickly arrange locked hands in, say, sheet music, and then practice it until i can do it cleanly, say, for the head. and then i don't locked hands at all in the solo lol. should mention i would not learn locked hands and melody stuff immediately after getting good at 1357 closed position. get good at 1357 in all sorts of arrangements, like 1 + 5 in left hand, 3 + 7 in right hand. Play through progressions in that style, flipping from 1 + 5 to 5 + 1 to 1 + 5 for voice leading, and notice how when it's all root-5th movement in the chord progression the voice leading is automatic. Then learn 3 + 7 in left hand, 9 + 13 in right hand, and play progressions with those, maybe with a bass track either you find or just make real quick. Learning how to make really quick drum + bassline tracks that follow a lead sheet is actually really handy for practicing voicings cuz you can practice rootless voicings. ok sorry this was long hope it helps lmao

[@jwferlise]

@@uwu-nyaa thanks for taking the time to give a helpful answer!

[@uwu-nyaa]

@@jwferlise great, i hope it helps! its a little long and rambly and is hard to explain in just text. i also kinda rushed through stuff that if you don't understand already youre gonna have a hard time understanding the rest. but hopefully this gives a general roadmap of what to learn.

[@jwferlise]

@@uwu-nyaa so essentially we're harmonizing the melody notes with "chords" inside of the main chord of the bar. Ex. The song has a progression I IV V etc in C. We're creating block chords inside of the C bar around the melody on top/within the Cmaj?

[@ImmaculateConcussion]

Does anyone know how to apply these to other chords? This all focuses on a melody over the I chord. What if the melody is over a ii, IV, V in the key of C? If the melody were over a d minor in C would the same chord arrangements still be pulled from C or would they be pulled from the D Dorian scale to fit the chord underneath?

[@manliopalmieri4703]

I was wondering the same thing... Plus, if there are some borrowed chords in the harmony how can we apply these concepts?

[@davidwickline9710]

When possible, make the chord. Otherwise use a chord that sounds nice. In the same way, you don’t need to be married to the voicings he sets out in this video. These are a starting point so you can see how the chords are built so you can build them yourself

[@ImmaculateConcussion]

@@davidwickline9710 thanks!

[@gooshnpupp]

Is this what they call chord melody? Or is it a different concept?

[@VictorIbelles]

It’s a different concept

[@gooshnpupp]

@@VictorIbelles now I'm curious. Can you elaborate?

[@VictorIbelles]

@@gooshnpupp in this video you harmonise every note on the melody, chord melody on the other side you just make sure that every time you change the chord, the highest voice is part of the melody

[@gooshnpupp]

@@VictorIbelles thanks! So that would be the difference between chord melody, and what presented in the video, which is block chords?

[@Arycke]

I hear Barry in here also:)

[@geodude7116]

Who’s Barry?

[@user-ms8rr7ev8k]

You are fucking awesome

[@user-je8dg4ev5k]

5:49 Those 'th's....

[@watashiwa7623]

What software does he use to show what he is pressing in the virtual screen in sync with what he's pressing irl

[@RD-jr8nv]

Microsoft paint

[@magistermundi2882]

Can confirm, it's Microsoft Paint

[@normalizedaudio2481]

Mr. Shearing can do any of these with his eyes closed.

[@jfvs1988]

@Josh Speed lmao

[@alexpianotwists256]

How are you supposed to play a cmaj7 on left while doing the block melody on right at the same time? You would need 4 hands😂

[@hellishlycute]

you're not! the cmaj is already implied in your right hand, although sometimes its cmaj6

[@bherber]

Basically just a lot of 7th chords

[@davidwickline9710]

7ths and 6ths

[@mirabolo6138]

1234

[@mirabolo6138]

non so se ti

[@candacewhite8874]

To you it's easy But for starter no

[@codetech5598]

The problem with the "octave melody" is that none of the "proper finger techniques" are used: you are playing scales up and down with your thumb!

[@rebanelson607]

jazz ain't proper!

[@joanwoods181]

I find the lesson too fast to comprehend for an 85 year old.

[@sandyswambo]

i struggled and then slowed it down .. and so worth it! This is amazing Johnny! Thank you x