bbc: I forgot to mention that, those missing chord tones not included in the left hand, are played by my RIGHT hand, to form a full sounding 'open voicing type' 2-hand comping chord. Some examples:

Upper Structure Chords:
1 (LH: E1-Bb1-D2) (RH: D3-G3-C4): C9
2 (LH: E1-Bb1-D2) (RH: D3-F#3-A3): C13#11
3 (LH: E1-Bb1-D2) (RH: A2-C#3-E3): C13b9
4 (LH: E1-Bb1-D2) (RH: Ab2-C3-Eb3): C7#9b13
5 (LH: E1-Bb1-D2) (RH: Eb2-G2-Bb2): C7#9

Yes, the C in examples #1 & #4 are doubling the root tone reserved for the bass player, but because it sits several octaves above in the register, it's not actually doubling the exact same note the bass player is playing.

The above 4 examples are all chord alterations (altered tensions) of a C9 chord and add a different flavor to it. I encourage everyone to 'take the time out' to play each of the above 4 chord voicings and listen (and appreciate) the unique sound each one produces. EVEN though they are all based on & recognized by the arranger as a "C9 chord", all played with the SAME LH 3 notes: E1-Bb1-D2, they each have a slightly different flavor, much the same as adding & mixing spices in a food recipe.

Ok. Please tell me if what I just explained makes sense to you. I'd really love to get back feedback from you guys after you've played & compared each of the above chord voicings. The cool thing is that all these chords are are possible to be utilized when playing in auto-accompaniment mode, but ONLY if your arranger supports ROOTLESS chord recognition. Do you all understand now WHY I'm so gung-ho about arranger keyboards including Rootless chord recognition?!

Guys & gals: This concludes my FREE intro lesson in Playing 'jazz piano' on the arranger keyboard. - Scott

[This message has been edited by Scottyee (edited 04-30-2005).]