Modern Jazz Voicings Ted Pease & Ken PullingDescription complète
cool book for voicings
harmonised scales
Great voicings for beginners of jazz piano!
Descripción: harmonised scales
Big Band voicings from Thad JonesDescripción completa
4 chords
Guitar VoicingsFull description
Full description
Modern Jazz Voicings Ted Pease & Ken Pulling
Descripción: harmonised scales
chapter two: fourths ne technique that gives a modern sound to a blues is the use of fourths. Blues heads such as “In ‘n Out” (Joe Henderson In ‘n Out (Blue Note CDP 724382915621 Rec. 1964), “Blues On The Corner” (McCoy Tyner The Real McCoy (Blue Note CDP 7465122 Rec. 1967) and numerous others by such jazz artists as Wayne Shorter, Miles Davis and Woody Shaw make extensive use of fourths. Fourths give an open sound to comping or to solos. With this in mind, what follows are some fourth voicings that can be used for a blues in the key of F. I’ll show you how they might be used for comping or soloing over a 12-bar blues.
O
F7 FOURTH VOICINGS Harmonize a F Mixolydian Scale in fourths F Mixolydian = Fifth mode of Bb Major Scale Ex. 10 F7 - comping fourth voicings 8fr.
& b 44 œ ?
5fr.
œ
F Mixolydian scale harmonized in fourths
# 11
3fr.
3 2 1 1
4 3 3 3
œœ œœ
b œœ œœ b & 10fr.
T A B
11 11 10 10
6fr.
6 5 5 5
œœ œœ 12fr.
13 13 12 12
5fr.
8 7 7 6
œ b œœœ
10 10 8 8
œœ œœ
6 6 5 5
8 8 7 7
6 6 5 5
11
b œœœ œ 5fr.
7fr.
7fr.
5fr.
10 8 8 8
œœ œœ 8fr.
10fr.
11 11 10 10
8fr.
8fr.
8 8 7 7
œœ b œœ 8fr.
10 8 8 8
œœ b œœ
œœ œœ
œœ œœ
b œœœ œ
œœ b œœ
œœ œœ
b œœ œœ
& b b œœœ œ
T A B
œ
œ
œ bœ
œ
œ Aœ
œ
œ bœ
œ
œ
œ
10 10 8 8
œœ b œœ œœ œœ
8 7 7 6
3fr.
5fr.
6fr.
6 5 5 5
˙˙ b ˙˙
4 3 3 3
3 2 1 1
fourths
B b 7 FOURTH VOICINGS Harmonize a B b Mixolydian Scale in fourths B b Mixolydian = Fifth mode of E b Major Scale
Ex. 11 B b 7 - comping fourth voicings ? # 12 - also use practice tracks 38 & 39
B b Mixolydian Scale (Major scale with b 7)
& 44
3fr.
œ bœ bœ œ b œ œ bœ œ b œ œ œ b œ bœ œ œ
œœ œœ
b b œœœ œ
œœ b b b œœ
6fr.
5fr.
œœ b b œœ
Harmonized in fourths
T A B
6
8
5
6
8fr.
b bb œœœ & œ T A B
9 8 8 8
5
6
8
7
8
6
8
9
3 1 1 1
4 3 3 3
6 5 5 5
8 7 6 6
8fr.
5fr.
8fr.
10fr.
6fr.
12fr.
10fr.
b œœ œœ
œœ b œœ
b œœœ bœ
b b œœœ œ
œœ œœ
b b œœœ œ
œ b bb œœœ
6 6 5 5
8 8 7 6
10 9 8 8
11 11 10 10
13 13 12 12
11 11 10 10
10 9 8 8
6fr.
5fr.
œœ & b œœ
b œœ œœ
8 8 7 6
6 6 5 5
T A B
8
5
6
6fr.
8fr.
5fr.
3fr.
b bb œœœ œ
œœ b b œœ
œœ œœ
b b œœœ œ
˙˙ b b b ˙˙
9 8 8 8
8 7 6 6
6 5 5 5
4 3 3 3
3 1 1 1
12
f
ourths
nother technique used by modern jazz players is the use of melodic minor scales and modes. One very common practice is to use a melodic minor 1/2 step above the root of dominant seventh altered chords. For example, C7alt. = Db melodic minor, D7 alt. = E b melodic minor, etc. These melodic minor scales can be harmonized in fourths just like any other scale or mode. You might also consider this seventh melodic minor mode below to be the altered scale.
A
F7 alt. = F# Melodic Minor Scale
b # b 9 # 9 3rd b 5 ## œ5 #bœ7 #Rœ #9œ # 9œ & #œ #œ œ œ
3r œd
b œ5 ## œ5 #bœ7 # œR #b œ9
Œ
(Letters & numbers above scale apply to F7 alt)
T A B
6
9
7
6
9
Ex. 12 ? # 13
&
2 1 1 0
4 2 3 2
# ## œœœ œ 9fr.
T A B
11 10 10 9
9
7
10
9
11
13
14
7fr.
9fr.
9fr.
11fr.
11fr. 13fr.
6fr.
œœ # # # œœ
7 6 6 6
9 8 7 8
# œœœ #œ 6fr.
7 7 6 6
7fr.
6fr.
# œœ # œœ # # œœ # œœ # œœ # # œœ # # œœ a a œœ
#œ # œœœ # # œœœ a # œœœ #œ #œ
# # œœœ #œ
4fr.
6 4 4 4
7fr.
9 9 8 7
7
F7alt. = F # Melodic Minor Scale in fourths
2fr.
# œœ # œœ
8
# œœ # œœ # # œœ # œœ # # œœ # # œœ
4 & 4 # ## œœœ œ T A B
6
# # œœœ #œ
10 10 9 9
# ## œœœ # œ 7fr.
9fr.
9 8 7 8
7 7 6 6
10 10 9 9
# œœ # # œœ
7 6 6 6
6 4 4 4
11 10 10 9
# œœ # œœ 4fr.
6fr.
13
9 9 8 7
13 12 11 11
# ## ˙˙˙ ˙ 2fr.
4 2 3 2
2 1 1 0
14 14 13 13
Ó
13 12 11 11
fourths
C7alt. = D b Melodic Minor Scale in fourths
Ex. 13 D b melodic minor - comping in fourths
T A B
&
4 3 2 3
6fr.
4fr.
2fr.
5 5 4 4
b œœ b b œœ b b œœ b b œœ
b œœ b b œœ b b œœ b œœ 11fr. 13fr.
T A B
12 13 11 11
14 14 13 13
12 13 11 11
b bb œœœ bœ
6 5 5 4
bb œœœ bœ
9fr.
11 11 9 10
6fr.
11 11 9 10
b bb œœœ bb œœœ b b ˙˙ b œ b œ b ˙˙
4 4 3 2
7 6 6 6
œœ b œœ
b b œœœ œ
& 44 b b œœœ bœ 3 1 1 1
b b œœœ & œ
4 3 3 3
œœ b œœ
11fr.
10fr.
11 11 10 10
b b œœœ œ
13 13 11 12
11 11 10 10
# 15
5 5 4 4
6 5 4 5
bb œœœ bœ 10fr.
10 9 8 8
b œœœ bœ
b œœ b œœ 6fr.
8fr.
8 7 7 6
6 6 5 4
14
b bb œœœ œ
b œœ b b œœ
4fr.
8fr.
9 8 8 8
7 7 6 6
8fr.
4fr.
6 6 5 4
9 8 8 8
œœ b A b œœ 6fr.
8fr.
7 7 6 6
4 3 2 3
b œœœ bœ
b œœ b œœ
b bb œœœ œ
6fr.
4fr.
3fr.
T A B
? b œœ A b œœ
2fr.
4fr.
6fr.
D7alt. = E b Melodic Minor Scale in fourths
Ex. 14 E b melodic minor - comping in fourths
T A B
6 5 5 4
9fr.
9 9 8 8
2fr.
4fr.
8 7 6 6
8fr.
8 7 6 6
b b œœœ b bb œœœ bœ b œ
8fr.
9 9 8 8
6fr.
4fr.
9 8 8 7
b bb œœœ œ
b bb œœœ bœ
œœ b b b œœ
b b œœœ bœ 7fr.
7 6 6 6
11fr.
# 14
b bb œœœ bœ
b bb œœœ bœ
b œœ b b œœ
bœ & 44 b b œœœ
?
8 7 7 6
œ b œœœ 6fr.
b b œœœ œ 4fr.
6 5 4 5
10 9 8 8
˙˙ b b b ˙˙ 3fr.
4 3 3 3
3 1 1 1
f
N
ourths
ow, some choruses of the blues in F using some of these fourth voicings.
Study No. 1 Blues in F - comping four-note fourth voicings ? # 16 - also use practice tracks 36 & 37
B b7
F7 6fr.
3fr.
5fr.
6fr.
8fr.
˙˙ b bb ˙˙˙ ˙˙ ˙ b B Mixolydian
˙˙ b ˙˙
b˙ & 44 b ˙˙˙ 4 3 3 3
6 5 5 5
B b7
# ## ˙˙˙ ˙
˙˙ # n # ˙˙ #
F Melodic minor
9 8 8 8
8fr.
6fr.
b ˙˙ ˙˙
B b Mixolydian
5 6 4 4
F7 5fr.
b bb ˙˙˙ ˙
6 6 5 5
8 7 7 6
B b7
˙˙ & b ˙˙
b ˙˙ ˙˙
F Mixolydian
8 7 7 6
6fr.
7fr.
4fr.
5fr.
˙˙ b ˙˙
F Mixolydian
T A B
F7alt
F7
D7alt 5fr.
˙˙ b b ˙˙
˙˙ ˙˙
B b Mixolydian
9 9 8 7
9fr.
8fr.
6fr.
˙˙ b ˙˙
b bb ˙˙˙ ˙
b ˙˙ b ˙˙
9 8 8 8
11 10 10 9
E b Melodic minor
F Mixolydian
T A B
8 8 7 6
Gmi7
7fr.
b ˙˙ ˙˙
8 8 7 7
b bb ˙˙˙ b˙
6 5 5 5
F7 6fr.
5fr.
G Dorian
T A B
8 7 6 6
C7alt
7fr.
˙˙ & ˙˙
6 6 5 5
9 8 8 8
b bb ˙˙˙ b˙
D b Melodic minor
F7
C7alt
˙˙ b ˙˙
b bb ˙˙˙ b˙
b b ˙˙˙ b˙
D b Melodic minor
F Mixolydian 6 6 5 5
9 8 8 7
7 6 6 6
6 5 5 5
8 7 7 6
15
8fr.
9fr.
7fr.
6fr.
5fr.
˙˙ ˙˙
8 7 7 6
bb www w F Mixolydian
9 8 8 7
11 9 10 9
10 8 8 8
fourths
t’s got a a thing. Some of the voicings have more weight than others. It takes some practice to improvise using these fourth voicings. It’s important to remember that no matter what the voicing, the prime directive is a solid, well-considered time feel, regardless of style.
I
Study No. 2 Blues in F - comping four-note fourth voicings ? # 17 - also use practice tracks 36 & 37
B b7
F7 12fr.
˙˙ ˙˙ 4 &4
10fr.
b b ˙˙˙ ˙
6fr.
8fr.
˙ b bb ˙˙˙
8fr.
˙˙ b ˙˙
b ˙˙ ˙˙
B b Mixolydian
13 13 12 12
7fr.
˙ b b ˙˙˙
# # ˙˙˙ ##˙
# ## ˙˙˙ # ˙ Melodic minor
F Mixolydian
11 11 10 10
10 9 8 8
B b7
8 8 7 6
6 6 5 5
B b7
10 8 8 8
9 8 7 8
F7 5fr.
8fr.
6fr.
˙˙ n ˙˙ n b ˙˙ & n n ˙˙ b B b Mixolydian
7fr.
˙˙ n ˙˙
b ˙˙ ˙˙
b bb ˙˙˙ ˙
B b Mixolydian
7 6 6 6
D7alt 11fr.
8fr. 5fr.
6fr.
5fr.
F
F Mixolydian
T A B
F7alt
F7
10fr.
b b ˙˙˙ ˙
˙˙ b b ˙˙
˙˙ b ˙˙
E b Melodic minor
F Mixolydian
T A B
6 5 5 5
8 7 6 6
Gmi7
C7alt
10fr.
b n ˙˙˙ & ˙
6 6 5 5
9 8 8 8
b bb ˙˙˙ b˙
8fr.
bb ˙˙˙ b˙
D b Melodic minor
12 11 10 10
11 11 10 10
8fr.
b ˙˙ ˙˙
˙ b b ˙˙˙
7fr.
b bb ˙˙˙ b˙
9 9 8 8
8 7 6 6
6 6 5 5
10 8 8 8
16
5fr.
6fr.
b bb ˙˙˙ b˙
D b Melodic minor
F Mixolydian 10 10 9 8
13 13 11 12
F7
C7alt 5fr.
G Dorian
T A B
10 10 8 8
F7 6fr.
8fr.
˙˙ b ˙˙
8 8 7 7
˙˙ ˙˙
Ó
F Mixolydian 9 8 8 7
7 6 6 6
6 5 5 5
f
ourths
our voices in fourths can be somewhat unwieldy so one option is to remove a voice, stacking two fourth intervals instead of three.
F
Stacking three voices in fourths F Mixolydian scale
