yg eS Next, we have a busier swing sixteenth pattern in the style of “Virtual Insanity” by Jamiroquai. This British band is noted for its innovative blend of jazz, funk, soul, and pop influences. This example was recorded with an acoustic piano sound, and predominantly uses four-part-over-root voicings: Comping pattern #27 — Style of “Virtual Insanity” by Jamiroquai oo TRAX G0 TRACK fe on ea us Emo Amo bo Gmaj9 maj Fai — In this pater, the lef-hand roots are played on beats {and 3 of each measure, and the right hand voicing follows a sixteenth note later (for example, on the 2nd sixteenth of beats 1 and 3). The lett hand also ads a pickup” leading ino the chord rots sixteenth note earlier (or example, on the las 16th of beats 2 and 4), The right-hand voicings are all based on four-part upper structures, The minor th chords are voiced by building major 7th chords from the Sr, and the major Sth chords are voiced by building minor 7th chords from the 3rd. The dominant 9th chords are voiced by building minor 7&5) shapes from the 3rd, and the B7sus and B7 chords in measures 4 and 8 are voiced simply by inverting basic 4-5-7 and I-3-5-7, shapes, respectively. Starting in measure 4, we also arpeggite the four-part upper structures during beats 2 andor 4, adding tothe energy level Next up, we have a more mellow, straight sixteenths pattern in the style of “A Woman's Worth” by Alicia Keys, whose piano stylings are at the Forefront of today’s neo-soul. This example was recorded with a Rhodes-style electric piano sound and uses triad-over-rool, alternating triad, and four-part-over-root voic~ ings, together with a distinctive left hand bass line: