. Don't forget that you can also specify the height oftables and cells as well as width. . border="0" cellpadding="3" cellspacing="0" width="460"> Content goes here. Make the background color whatever color you want as anoutline of the left cell. Here's an example:bgcolor="Treadmill home fitnessFF0000"> Content goes here. Go ahead and experiment! Have fun! Try different colorcombinations. Set cellpadding to whatever youwant it to be. Set cellspacing to one.Tables are a great way to control the placement of content in yourweb page... Here's the table: border="0" cellpadding="3" cellspacing="1" width="140" bgcolor="#008000"> Content goes here.First, create a 600 pixel table with one row and two columns.A SINGLE ROW, SINGLE COLUMN TABLEInsert a table with one row and one column..Want a border for your table, but don't want to use the standard border? Need a table cell outline? Here's how todo it.We'll make the left column 140 pixels wide and the rightcolumn 460 pixels.Set: border = 0, cellspacing = 0, cellpadding = 0, alignment= center. The left column will be used for anavigation panel. They can also be used to decorate or enhance the appearanceof your pages. You will also need to embed another table in the right 460 pixelcell and set the cellpadding to 3 or more to separate the contentfrom the table cell border (included in the above example)..You can even create a row of faux *buttons* for navigation withoutusing a graphic file..Choose a background color for your table that will be theborder color you want to use. Then make the cell color whiteor other color that you want.Set: border = 0, cellpadding = 3, cellspacing = 1, width =140.Now embed a table in the left column that is 140 pixels wide.Use this technique to create a variety of table configurations.Make the cell color white, or another color you want to use,and set the vertical alignment to top, and horizontal alignmentto center.Set: left column width = 140, vertical align = top, horizontalalign = center; right column width = 460, vertical align = top,horizontal align = center. Make border equalzero. A SINGLE ROW, TWO CELL # TABLE WITH BORDERED LEFT CELLActually, to get the effect we want, we'll embed a table inanother table

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1

Always remember that any Root-3rd structure may be expanded into a Root-10th which sounds fuller.Most Jazz pianists play these kind of voicings in a relatively sparse and percussive manner on medium or up-tempo tunes. But always STOP IMMEDIATELY if you experience any hint of pain in stretching a tenth or, for that matter, while playing anything on the piano.When you apply shell voicings to tunes, it is OK to break voice leading occasionally in order to select the inversion which best complements a given melody note (i.With only two notes, they are harmonically incomplete; however, they do convey enough information to supplement many right hand melodies or improvised lines, especially those in the be-bop style where melodies are crafted walking pad manufacturers to clearly outline the harmony.You just have to experiment to decide which tenth intervals fit your hands.Shell voicings are simple but functional.g. . Play the entire melody up an octave.

Shell voicings are most effective when the top note (played by the thumb) falls between D below middle C and the D next to middle C. does not double it.) Since the voicings are likely to be somewhat rhythmically detached from each other, voice leading with shell voicings is not as critical as with other voicings. Nonetheless, it is still always best to avoid breaking voice leading within ii-V and ii-V-I progressions. Root- 3rd instead of Root-7th) which falls in a lower register;2. Break the voice leading and pick the other inversion (e. Sometimes referred to as "shell" voicings, these are commonly used as left-hand accompaniment in the piano stylings of Bud Powell, Horace Silver, Sonny Clark, and others who play primarily in the "be-bop" idiom. In a ii-V progression, it is more natural to close in from a Root-10th voicing to a Root-7th, rather than expanding from a Root-7th to a Root-10th. For that moment play only the root, a Root-5th, or nothing at all in the left hand; or3.e.Whether or not you are able to use a tenth in place of a 3rd depends upon the size of your left hand and spatial distance the 10th covers on the keyboard.Physically, minor 10ths are easier to reach than major 10ths.They make use of the root and either the third of the seventh any chord. These voicings are particularly useful in support an improvised line played in the middle range of the keyboard, which is stylistically typical of be-bop playing. If your melody or improvisation should dip lower and conflict with a voicing, here are some options:1