Looking for some left-hand voicing inspiration? Peter Martin has you covered.

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What's going on? I'm Peter Martin. Those are the seven cool left-hand voicings for you. Let's hear them again. Number one, number two, number three, number four, that's number five, number six, and number seven. Okay now you hear I'm playing them all as part of a progression. I always think of voicings as coming from somewhere and going to somewhere. So whenever people are asking me about it, "Show me a cool voicing." I always like to try to put it in context.

Now I want, I want you to hear it also with the root note. These are all rootless voicings. This gives you a little more harmonic
context. Okay? Now let's just talk a little bit about them. This first, number one that's the F 13 sharp 11 flat 9. It's a nice tension. Two minor thirds, great shape. You know, I always think about how chords feel as well as how they sound. How they look a little bit but in terms of the symmetry and how it feels, you got that perfect fourth, then you got two minor thirds. So, you know, as you take this through different keys, kind of something to think about.

So a lot of tension. Now instead of kind of going where it'd be a little bit more typical: 5 to 1 resolution, we're going: but I think it
works because the voice thing is really good.

So important with your voicings. Okay? So we got so those, that bottom in the second from the top note going up and down respectively. And then these two stay the same. And then that minor sixth. this is separated by a major third a whole step and a half some kind of culture and then this one I love number four that minor eleven perfect fourth in the middle and you know this is very close to a sort of a typical C minor nine chord right just one no different sliding that fifth down to the fourth isn't that really modern sound and then this is a real atypical core but I love, I love how it sounds and you know it's like a real basic a flat major but as an F minor 11 it works even without but it works better without them with this.

You think you'd have to have the seventh in there but you know then the G7 will go back to some nice tension and we got a
minor second half step we've got a minor 3rd on top again separated by that perfect fourth.

You sort of see a theme with those perfect fourths and then instead of kind of resolving down where you'd expect we're gonna go to the E flat major. Now this chord should not work but it does. So normally, you think of that major sixth sound as being a little bit corny, but we got the sixth in the root- oh so I lied at the beginning. I said rootless voicings this one does have a root but root, the third and then the fourth. Which should give it much more tension than it does. I don't know, that's like a real pleasing sound and I think
it's because it's I guess almost like an A-flat major seventh with the root on top over the E-flat.

Okay anyway, have fun with those some cool left-hand voicings for you.
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