How To Play Block Chords
Block chords are a method of harmonising a melody line by moving all the notes of the chord in parallel, following the same rhythm as the melody.
Harmonising melodies with block chords is also known as ‘locked-hands’ so be aware that these terms refer to the same thing.
In this lesson, I’m going to explore how to play block chords, explaining what they are and where they come from. We are then going to look at some exercises for practising block chords and apply them to a couple of jazz standards.
Lesson Downloads
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Block Chords Intro File Type: pdf
Related Lessons
Beautiful Love is commonly played as both a ballad and as a medium to up-tempo tune. In this lesson we create an arrangement for both of these styles.
Misty is one of the most popular jazz ballads and the distinctive melody is immediately recognisable amongst jazz musicians.
Scales provide the basis for understanding harmony. Learning and memorising the 12 major scales is the first step in learning jazz piano.
Practice Tips
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It is a worthwhile exercise to take these voicings around a few keys but don't fret about becoming fluent with block chords in all 12.
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The most time efficient and and effective way to practice these chords is through applying them to jazz standards.
- Look out for step wise melody lines in the tunes you are playing and try to harmonise the melody with block chords.
Another jewel of a lesson. Sounds like its about time for a Misty 2 tutorial. Show us more of those sweet ideas you got going on upstairs.
Thanks Adam! Sure thing, I’ll add Misty 2 to the lesson schedule… there’s some great things you can do with that tune. Cheers.
Hi Hayden, just a quick question – in Misty when you used Block chords for Eb6 progression (Eb-F-G-Bb-C), why did not you also harmonized last note C with Eb6 and you just played octave?
Hi Martin 👋
Both would sound fine.
The C is part of Eb6 and so continuing with the block chord harmonisation would work.
The following voicing I played for the Bb-7 has a large interval in my hight hand, and so playing the octave on C set my right hand up to easily reach the following voicing. So from a technical standpoint it made the line easier to execute.
I’d recommend trying both. Follow your ears and go with whichever one you like the sound of.
Doubling notes using octaves is an effective tool to add weight and impact which is also something to keep in mind.
I hope this helps! 🙂
Cheers,
Hayden
Yes, it helps, thanks a lot Hayden.
Awesome glad to hear Martin.
Block chords, 4-way close and drop 2 harmony is a huge of study.
My biggest piece of advice would be to listen to players such as Barry Harris, Wynton Kelly, Bill Evans, and of course George Shearing who pioneered the block chord style.
You can find examples of their records in the forum… if you find any you like on YouTube or Spotify remember to share them in the PianoGroove forum for other students to discover and learn from.
Remember that you can’t play jazz music with conviction unless you spend the time to listen and so spend at least an hour a day just listening. Perhaps whilst driving or commuting to work or whilst cooking.
It will do wonders for your playing Martin 🙂
Cheers,
Hayden
Hi Hayden, this was a total revelation. I got quite excited. I never realised that we are just alternating C major or minor chords in all their inversions with a rootless Dominant 7 b9 disguised as a Diminished chord in all its inversions. Am I correct ?
Cheers, Natasha
Hi Natasha,
Hope you’re keeping well!
Yes that’s correct. It’s basically just a repeating V7 –> I resolution.
Try applying it to a step wise melody in any jazz standard, it’s a little bit of trial and error but you will get the hang of it quickly.
Here is a related lesson that covers a tune that we don’t cover in this lesson: https://www.pianogroove.com/jazz-piano-lessons/harmonising-step-wise-melodies/
We also combine the 4-way-close with passing chords which is a nice touch.
I think you will enjoy the lesson.
Cheers,
Hayden
Hayden, What scale source did you change to when demonstrating the Cmi6 progression up the keyboard…the C6 used the BeBop scale. John
Hi John,
We can look at this scale as the melodic minor scale with the additional chromatic passing tone between the 5th and 6th degree.
Notice that the only difference from the major version is that the 3rd degree of the scale is flatted, and similarly the only difference in the block chord voicings is that the minor variation has the b3 in each voicing, and not the major 3rd. In that sense the block chord voicings for both major6 and minor6 chords are very similar.
I’ve actually been playing around with these voicings today whilst recording the new cocktail piano improvisation course on the tune Misty. They are great voicings to add a punchy and upbeat vibe to our arrangements.
Let me know if i can help further with this.
Cheers,
Hayden