REAL MUSIC

Chương trình KM nhân ngày 8/3.
Giảm 20% dành cho Học viên nữ.
Từ hôm nay đến hết ngày 31/3.

WHICH COUNTRY WILL DO THIS FIRST?
I believe this Moment is bound to happen.

Woww, what an Extraordinary, Crazy and Fantastic idea. I Thank God for enlightening my mind.

Dance is a non-verbal dialogue. Only when humans reach this point will it be the era of humans stepping into a higher frequency.

I believe that this Moment will definitely happen.

You need to remember the Truth: one of the reasons people are divided is language.

Ballroom Dance is no longer the "Kingdom of Europe".

**Europe has Standard + Paso
**North America and Latin America have included Rumba, Chachacha, Samba and Jive in the International Latin system on par with International Standard.
*And North America, the free spirit gave birth to American Smooth and American Rhythm, two new styles that exuded freedom and creativity.
**And in Asia, China has chosen the way of “integration without assimilation”: keeping international techniques, but breathing into them the national soul, spirit, softness, depth and graceful sophistication of the art of traditional dance over 5,000 years old.
**Japan, South Korea, and the Philippines are still finding their own voices.

But, I think, it's still not really dancing. It's all practice and memorization. The expressions are also memorization.

I dream of a Talent Contest, (I don't think it should be called "competition") where the man from country A will draw lots to dance with the woman from country B. That's real dancing. That's dancing with real value.
People feel each other through music. People understand each other through the language of body movements. Wow, how wonderful.

Each round of The Talent Contest (I don't think it should be called a "competition"), there must be a redraw to change partners. The man and woman are not allowed to meet or contact each other until the moment they step onto the dance floor.

The evaluation scale will be:
++Each round's performance must not be
duplicated at least 3-5 years
++Smooth connection
++Harmonious musicality
++The peak of harmony
++Most beautiful and reasonable
performance
++Most beautiful expression
++(To be continued........)

The end result will be for both countries. Joy will be doubled. People will be connected on a higher frequency and will be even higher.
Oh wow, truly Wonderful, Crazy and Delusional.

TÌNH YÊU THIÊN CHÚA
Sáng tác: Van Julia

1)Tình Chúa bao la và mãi luôn chân chính
Con vững tin, con thiết tha yêu mến Ngài
Ngài đỡ nâng con Ngài soi đường con bước
Con ngần ngại chi, hãy bình tâm theo Chúa

2)Tình Chúa mênh mang và sẽ luôn tha thứ
Con mãi ca khen chúc tụng uy danh Ngài
Ngài chở che con Ngài thấu đời tăm tối
Con trông cậy Chúa ban Hồng ân an lành.

ĐK:
Muôn ngàn dân, tạ ơn Thiên Chúa
Đấng Cứu Chuộc khắp cõi lầm than thế trần
Chúa ngự trên trời cao xanh hỡi
Xin đừng để đoàn con lạc vào u tối.

Có Chúa, con sẽ không còn bơ vơ khốn khó
Có Chúa, bóng tối tan biến trên thế gian
Ánh sáng sẽ mở ra Thiên đường hạnh phúc
Ánh sáng chứa chan ấm nồng Tình Yêu Chúa
Và bóng tối kia sẽ phai mờ tan biến
Nguyện Chúa thương ban niềm vui nơi Thiên Đàng

3) Lời kính dâng lên trọn tâm tình thương mến.
Thiên Chúa khoan dung chúng con phạm đến Ngài
Bài hát tri ân hồn trí lời thanh thoát
Dâng trọn niềm tin xin Ngài thương soi sáng

4) Lời hát hôm nay Tình Chúa đầy tâm trí
Mừng rỡ reo ca hỉ hoan Chúa nhân từ
Cùng hát dâng lên nguyện xin Ngài dẫn dắt
Đến muôn đời Chúa mở lòng thương đoái nhìn.

TÌNH YÊU THIÊN CHÚA || Sáng tác: Van Julia - Karaoke TÌNH YÊU THIÊN CHÚA Sáng tác: Van Julia (0778909414)1)Tình Chúa bao la và mãi luôn chân chính Con vững tin, con thiết tha yêu mến NgàiNgài đỡ nâng con Ngài s...

ROOTLESS VOICING ON THE PIANO

Enter: Rootless voicings.

These are the secret weapon of jazz players, gospel musicians, and anyone who wants to sound more modern, mature, and musically intelligent on the keys.

Let’s break it all the way down what rootless voicings are, why they work, and how you can start using them right now.

What Is a Rootless Voicing?

A rootless voicing is exactly what it sounds like a chord voicing that doesn’t include the root note.

For example, instead of playing Cmaj7 as C-E-G-B, a rootless version might be E-G-B, or E-G-B-D if you want to extend it to a Cmaj9.

You’re intentionally leaving out the root because:
1. The bass player usually plays it,
2. You want to create more space,
3. It sounds richer and less predictable.

Rootless voicings shift the focus from “playing the full chord” to “playing the color and function of the chord.”

Why Are Rootless Voicings So Useful?

Let’s be real once you’re playing with a bassist, a guitarist, or even just a full mix of instruments, you don’t need to be hammering that root on every chord. In fact, doing that often clutters the sound and fights with the bass player.

Rootless voicings let you:
• Sound more open and jazzy
• Use tighter, smoother voice leading
• Stay out of the bass player’s way
• Add tensions like 9ths, 11ths, and 13ths more easily
• Sound like you know what you’re doing (even if you’re just getting started)

Rootless Voicings in Jazz Where They Shine

Let’s look at a classic ii–V–I in C major:

Dm7 → G7 → Cmaj7

A beginner might play:
• Dm7 = D–F–A–C
• G7 = G–B–D–F
• Cmaj7 = C–E–G–B

But a pro might voice it like:
• Dm7 = F–A–C–E
• G7 = F–A–B–E
• Cmaj9 = E–G–B–D

Notice a few things here:
• No roots.
• Smooth movement between chords.
• The voice leading is tight — no big leaps.
• The color tones (like the 9ths) add depth.

That’s rootless voicing in action.

The Classic Rootless Voicing Shapes

Let’s focus on the dominant 7 and minor 7 rootless voicings the two most important types to get under your fingers first.

Rootless Dominant 7 (V7) Voicing:

For G7, rootless voicings often include:
• B (3rd)
• F (b7)
• A (13th)
• E (9th)

So in your right hand, you might play:
B – E – F – A

This is still a G7 chord just without the G.

Rootless Minor 7 (ii) Voicing:

For Dm7, you want:
• F (minor 3rd)
• C (7th)
• E (9th)
• A (5th or 13th depending on flavor)

Right hand plays:
F – A – C – E

Again, no D but it still functions perfectly in the progression.

These voicings are compact, modern, and designed to flow into each other smoothly.

How to Practice Rootless Voicings

1. Start with ii–V–I progressions in every key

Cycle through all 12 keys. In each key:
• Play the ii chord rootless
• Then the V7 rootless
• Then the I major or minor rootless

Get the sound and finger shapes in your hands.

2. Voice with the 3rd and 7th on bottom

For jazz comping, that’s your anchor.
• For major and minor 7 chords: 3rd on bottom, 7th on top
• For dominant 7 chords: 7th on bottom, 3rd on top

This small switch makes the voicing “flip” in a way that flows beautifully.

3. Use left hand only practice

Try playing rootless voicings with just your left hand. That way, your right hand is free for melody, soloing, or upper extensions.

This is especially good when you’re comping behind a singer or horn player.

Rootless Voicings in Gospel & Neo-Soul

Even though rootless voicings are heavily tied to jazz, they live in gospel, neo-soul, and R&B as well just voiced a little differently.

In gospel, you’ll often hear voicings like:
• LH: Shell (like 3 and 7)
• RH: Add color tones (9, #11, 13)

Example: Playing Ab13 rootless
• LH: G (7), C (3)
• RH: F (13), Bb (9), D (sharp 11)

Sounds thick. But there’s no Ab. That’s what the bass player is for.

These kinds of voicings give gospel that “floating,” “buttery,” sophisticated feel.

When Not to Use Rootless Voicings

Sometimes you should play the root. Like:
• When you’re playing solo piano and there’s no bass
• When you’re emphasizing a bass movement (like in walkdowns)
• When the arrangement calls for a strong, grounded root sound

Use your ear and context. Rootless voicings are a tool not a rule.

CONCLUSION

Rootless voicings might seem like a small thing, but they make a huge difference in how professional you sound at the piano. Once you get comfortable with them, your comping, arranging, and improvising will open up.

You’ll stop thinking, “What chord is this?” and start thinking, “How can I color this chord in the smoothest, richest way possible?”

That’s when you’re playing music, not just notes.

❤️Gọi Van Julia để hát hay hơn nhé.

LỚP THANH NHẠC Kèm riêng 1:1
☎ 0.7.7.8.9.0.9.4.1.4 Khóa học 10 buổi
👍 Luyện lấy hơi và xử lý hơi
👍 Luyện mở khẩu hình
👍 Luyện nghe và nhận biết nhịp phách
👍 Luyện phát âm, nhã chữ
👍 Luyện cảm âm, cao độ
👍 Luyện vào đúng nhạc, giữ đúng nhịp
👍 Luyện nhận biết các vũ điệu khác nhau
👍 Luyện hiểu đúng nhạc lý cơ bản

Nhạc khiêu vũ-BEBOP-REMIX 1-Van Julia Cover LỚP THANH NHẠC Kèm riêng 1:1☎ 0.7.7.8.9.0.9.4.1.4 Khóa học 10 buổi 👍 Luyện lấy hơi và xử lý hơi👍 Luyện mở khẩu hình👍 Luyện nghe và nhận biết nhịp phách👍 ...

THE GRAND STAFF
🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼

The grand staff (or “great stave” as it’s called in Britain), is a combination of two staves put together, usually a treble clef and a bass clef.

This combination clef is used for a variety of instruments, including piano, organ, marimba (pictured above), harp, and more. Both staves are played by one person at the same time, so it’s important to be comfortable reading both clefs.

So what’s the point of using a grand staff?Wouldn’t it be simpler to just use a single clef, like usual?

The answer is pretty simple. Let’s use the piano as an example. Since the piano has such a huge range, one clef alone would not be enough. For example, if we chose to use the treble clef, we would need 11 ledger lines whenever we wanted to play the note C1!

Switching back and forth between clefs is also not going to work, because the piano is played with both hands. Often, the left hand needs to play down low while the right hand plays up high.

The solution is to use a grand staff, which consists of two staves, one on top of the other. Most of the time, the top staff is a treble clef and the bottom is a bass clef. This lets us play as low as we want in the left hand and as high as we want in the right hand, at the same time.

It’s the same concept for other instruments with a wide range (mostly keyboard instruments and tuned percussion). The grand staff provides full access to the entire range of these wide-ranged instruments.

The Grand Staff in Use 🎼🎼

The grand staff is very common in almost every musical situation, from classical music to jazz, rock, pop, in the studio, etc.

Some of the many instruments that use it include: piano, church organ, Hammond organ, electronic keyboards, celeste, harp, accordion, and marimba.

Here’s a look at a system of music with some of the instruments in this category:

The Overlap 🎼🎼

One area that needs specific attention is the overlap, where it can get a bit tricky.

You see, the two staves don’t literally connect with each other. Each one still acts like it’s by itself.

So, for example, the note C4 (middle C) can be written either on the upper (treble) staff, or on the lower (bass) staff. It’s not placed directly in the center, between the two staves.

There are other notes that can also be written on either staff. Specifically, the notes from around G3-F4 often appear on either one. It takes a little practice to get used to this. The following example shows how some of the notes can appear on either staff:

Note Placement 🎼🎼

The upper staff is meant for notes played by the right hand, and the lower staff is for the left hand. Depending on the context (what’s going on in each hand at the time), you would first decide which hand to use to play the notes, and then write them on the staff associated with that hand (upper for right hand, lower for left).

For example, the note E4 can be written on either staff. First we need to decide which hand is going to play it. If we want it played by the right hand, we would write it in the upper staff; if we want it to be played by the left hand (for example, because the right hand is busy playing something else higher up), then we would put it in the bottom staff.

❤Sáng tác: Van Julia (Tháng 07/2021)
❤Trình bày: Van Julia
❤Cảm xúc trong những ngày Sài Gòn đang là tâm dịch Covid.
https://youtu.be/Fws_sGsAQ-k?si=hJbnHicQWpv3SEBk

SÀI GÒN MÙA COVID Sáng tác: Van JuliaTrình bày: Van JuliaXin gửi đến các tình yêu cảm xúc của Van Julia trong những ngày Sài Gòn đang là tâm dịch Covid. Thương chúc các tình y...

🎼 Direct Modulation (Phrase Modulation)

Direct Modulation is also known as Phrase modulation. Direct or Phrase Modulation occurs when a chord in previous key is followed directly by a chord in the new key without any harmonic or melodic preparation.

It occurs between phrases, where one phrase comes to completion in one key, and the next phrase begins immediately in a different key.

There's a difference between phrase modulation and other similar types of modulations, such pivot chord modulation and sequential modulation.

In pivot chord modulation, a common chord used for the two phrases in different keys. In sequential modulation, there's sequence; the second phrase is repeated sequence in another key. But in direct modulation, the second phrase begin in another key without any harmonic or melodic preparation.

NPMI offers the best! NPMI is a home of music in theory and practice! NPMI is the right place to be!

❤