 All right, we've taken a look at the different chord qualities that we're using initially in jazz. And now we want to talk about the piano player's responsibility in covering some of those notes. And in this example, we're going to look at what's called three-note voicing. And in three-note voicing, in our left hand, we want to play the root of the chord. And in our right hand, we want to play the third and the seventh of the chord. So we play a B-flat chord, for example, and we'll play the B-flat in our left hand, and the D in the A-flat in our right hand. Okay, if you take a look at the three notes we just played, we played a B-flat dominant seven chord. So the B-flat, the root of the chord in the bass, the D the third, and the A-flat the seventh to give us our dominant chord. Now we're going to look at various types of voicing or different ways to play the chords, but the one we're going to start with is the three-note voicing. And basically what we want you to do is play the root of the chord in your left hand, the third and the seventh of the chord in your right hand. Now we're going to experiment with ways to do that, even different voicings within the three-note voicing, but initially we just want to play B-flat, D, and A-flat, okay? Now if we want to play other chords involved in, say, a blues piece, like the blues by five, if we go to the E-flat chord, here's our E-flat, the root of the chord, we want the third, well, what is the third of E-flat? It's G. So we're going to move the A-flat down a half-step to the G that gives us our third, and what's the seventh of the E-flat chord? It's the D-flat. Well, we were already playing D, so we just moved down a half-step and we have the seventh there. So there's our E-flat seven chord. And then the other chord that we would use in blues by five is the F chord. So we have F. Again, we want the third, the A, and the seventh, the seventh of F is E-flat. So that gives us our dominant seven on F. And again, your right hand is only going to be moving very little here, hopefully mostly half-steps as you play. So if we play the chord progression of blues by five, we get this. E-flat again. Then we have E-flat here. Notice my right hand only moved half-steps back to B-flat. Then F. So very little motion in our right hand as we change from chord to chord, but we're covering the responsibilities of making sure the chord sounds full by making sure we play the third of the chord, which determines whether it's a major or minor chord, and the seventh of the chord to determine whether it's major or dominant or minor seven. All right, experiment with that. Play some of the blues by five. And again, I always encourage you to, once you feel like you know that pretty well, to try to do that in other keys also.