This piece may sound more complicated than it is. I play chords in C Major, move to Ab Major, back to C, to Ab, then end on a C Major chord. That's all.
Here's how I create this sound. I like playing ninths in both hands. One of the benefits of not being able to reach all the major tenths (and I wish I could) is ninths have a more interesting sound to me. Tenths (with the fifth in the middle) is open thirds, which is a more consonant and arguably beautiful type sound. Ninths (with the fifth in the middle) are all fifths, which have a less-resolved sort of sound. I think of voicings of scale tones as broken down to two distinctly different sounds: The stacked thirds sound with their inversion (6ths) as the pretty sound and very easy on the ears, and the stacked fifths sound with their inversion (4ths) as the less-resolved and less-easy-on-the-ear sound. The seconds and sevenths round out the rest of the scale, and are arrived at, along with the entire scale and all above included, by continuing both these sets of intervals as you stack them out to the next octave(s). The mixture of these two interval groups is how all the kinds of sounds in between are achieved.
My above terminology is not exact and I hope not too confusing! Anyway, there you have my ramble on simply finding voicings (mainly ninths) fairly randomly, in a scale, playing around, then changing to another key. Yes, I do want to get way better at this 'cause I think it's cool!
Here's how I create this sound. I like playing ninths in both hands. One of the benefits of not being able to reach all the major tenths (and I wish I could) is ninths have a more interesting sound to me. Tenths (with the fifth in the middle) is open thirds, which is a more consonant and arguably beautiful type sound. Ninths (with the fifth in the middle) are all fifths, which have a less-resolved sort of sound. I think of voicings of scale tones as broken down to two distinctly different sounds: The stacked thirds sound with their inversion (6ths) as the pretty sound and very easy on the ears, and the stacked fifths sound with their inversion (4ths) as the less-resolved and less-easy-on-the-ear sound. The seconds and sevenths round out the rest of the scale, and are arrived at, along with the entire scale and all above included, by continuing both these sets of intervals as you stack them out to the next octave(s). The mixture of these two interval groups is how all the kinds of sounds in between are achieved.
My above terminology is not exact and I hope not too confusing! Anyway, there you have my ramble on simply finding voicings (mainly ninths) fairly randomly, in a scale, playing around, then changing to another key. Yes, I do want to get way better at this 'cause I think it's cool!