Sorsornet is a rhythm from the Boke region in Guinea. The chord progression came from harmonizing Mamady Keïta‘s version (on his album Nankama) of one of the traditional songs that go with the rhythm (AfuriKo‘s arrangement will be featured on the duo’s upcoming album).
The chords I used for comping in this video are mostly 5-note 2-hand jazz voicings. I’ve notated some of them for your consideration below:
And here’s a short explanation of how each one of the 12 notated voicings relates to its corresponding chord symbol:
C#mi7: inversion of generic “So What”/quartal voicing for minor chords;
F#13: generic voicing for dominant chords (right hand plays a 3-note quartal voicing from the 5th down while left hand plays guide tones);
D#mi7: generic “So What” voicing for minor chords with 5th as top note;
E6: inversion of generic quartal voicing for major chords down from the root “E”; can also be considered a generic quartal voicing down from the 5th “B” with the root instead of the 7th in the bottom;
F#9sus: inversion of “So What”/quartal voicing for sus chords;
F#2/A#: upper structure triad (UST II) from C# melodic minor; the parent chord scale to this F#2/A# chord is A# locrian #2 (VIth mode of C# melodic minor);
Ama7/B: inversion of “So What”/quartal voicing for sus chords;
Ama7(#11): “So What” voicing with #11th as top note;
F#mi9: generic “So What” voicing for minor chords with 5th as top note;
C#: upper structure triad (UST II) from F# melodic minor; the parent chord scale to this C# triad is C# mixolydian b6 (Vth mode of F# melodic minor).
NB: the very cool djembe part (with additional foot shakers/rattles) in the video was performed by courtesy of wonderfully grooving percussionist Akiko Horii!
The following “meditative practicing” technique comes in really handy when far away from your instrument.
All you have to do is choose a notated piece of music that you’ve got memorized and try and play it in your mind as precisely as possible, hearing it, and even feeling the touch of the piano (this also works if you play another instrument: just mentally recall the feeling you experience when playing your particular instrument). For pianists, Bach’s Inventions work well because they consist of two contrapuntal parts, which are already challenging enough to hear simultaneously with the mind’s ear. But you can choose virtually any piece of music. When a passage seems unclear, go back and “replay” it again, slower if necessary (just as you would when you practice on your instrument) until you’re able to hear each note, as well as each item of expression attached to each note, with utmost precision.
This technique certainly requires sharp concentration and thus works best in a calm environment. But if practiced correctly, its benefits are certainly to be felt as soon as you return to the piano (the following day for example – it’s always good to allow the mental exercise to fully sink in during the night…): overall, your knowledge of the piece will have been considerably strengthened; your memory won’t fail you and you’ll be able to concentrate on musicality right off the bat.
To improve rhythmic independence? Of course. But also:
it might lead you to use different voicings than the ones you usually use for comping. Sometimes a voicing might be too low and sound muddy when played with the left hand in the lower part of the keyboard, but the same voicing played higher up will sound OK due to the absence of low interval limit restrictions;
the left hand is generally weaker and slower than the right hand. Such technical restriction forces you to rely more on musicality, inner hearing and singing when improvising with the left hand. When you then go back to improvising with the right hand, it feels a lot easier! Musicality is now right at your fingertips, with the greater technical ability of your strong hand available to serve it.