Shearing Block Chords

Block Chords in "Insertamental Mood"

I'm going to talk a bit now about the block chords used in this arrangement of Insertamental Mood. The most basic block chord style, which is a two-handed style, was developed by George Shearing, sometimes called Shearing block chords.

Basic Technique

In this style, you:

• Play a four-note chord in the right hand.
• Double the top note in the left hand, using just one note.

Effective Use

This technique is particularly effective with major seventh chords because you get a rich sound at the bottom. You can play F6 the same way, and alternating those two creates an iconic sound you've likely heard many times.

It also works with minor chords.

Practicing Shapes

To get these shapes under your fingers, I recommend practicing scales.

Example: F Major Scale

I'm going to play you an F major scale now from the 9th.

• Start with that F major nine you had.

Step 1: Right Hand Shapes

The first step is to work out the four-note shapes that you're going to play in the right hand. The scale note is going to be at the top.

1. First two shapes: F major to F6
2. Next: F major 7

Now comes the tricky bit because the fourth is on top now, which is an unusual note to have in the melody of an F major chord. However, it does happen, Stella by Starlight springs to mind.

So I would do that like this:

• Back to the first two, joining those up.

Step 2: Adding the Left Hand

The final step is to add the left hand, doubling the top note, giving you a five-part harmony, that could include a sixth if you prefer.

It's up to you whether you include the sixth or the major seventh there.

Note: I find it easier going down, which is why I've started on the top.

You are going to start on F major 9 and finish on F major 9.

Here we go one more time!

Example: G Minor 7

Now, what happens if the chord is G minor 7? You have to adapt it.

• Start with a G minor 9 and go to G minor 6.

Doing the right hand first will allow us to end up on the same two chords we started with, but an octave lower.

Melody and Harmony

The difference here is that it's not a problem having the fourth in the melody of a minor chord. So it's not just a question of playing the same shapes you played in F major.

While it's the same basic scale, you're trying to bring out different notes of the chord.

• I've bracketed those in pairs for clarity.

Paired Shapes

1. The first two have the same two inner notes: B flat and D.
2. The same goes for the next two: GM7 and G minor 6, sharing the same inner notes.

Then there's this odd one out, and we go back to the pair again.

It takes a while to get these under your fingers, but it's really good practice.

Remember, when you practice your scales, why not do them in block chords?

Exploring the Dominant Chord

Now, let's look at the third one of the two.

Mixolydian Scale

We're going to look at the dominant chord now, using the Mixolydian scale starting on the 9th. Here are the chords:

• We don't want to lose the seventh; we don't want to move to C6.
• We want to keep the seventh in there, so we just move the top note.

This is the odd one out because these two chords will have the same inner notes.

Putting It All Together

Join all those chords and now add the left hand notes to double the top.

Practice these up and down until they fall under your fingers.