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The A & B Forms of voicing Alberto Betancourt (albetan) John Mehegan in JAZZ IMPROVISATION, (1965) shows a practical and useful way to perform chords in left hand, that he calls the A and B Forms of voicings. ? This is the most frequent style in contemporary jazz piano.
The A form of voicing: IIm7 chord begins with third as lower note, followed by 5th, 7th and 9th. V7 chord begins with 7th, followed by 9th, 3rd , and 5th. I chord begins with third as lower note, followed by 5th, 6th and 9th. 2
D m7 9 G 7 13 3 7 9 5 7 3
˙˙˙ ˙˙˙ ?˙ ˙ II
?˙
V
b
? b ˙ bb
V
˙
E b m7 A b 7
˙˙˙ ˙˙˙ ˙ ˙ bbbbb II
bbbbb ˙
w
B 7 ˙ ˙ 8 ˙˙ ˙˙˙˙ ? bb b II
w www
9 6 5 3
I
˙ F m7
C
Eb
w www
Db
V
˙
E m7
I
II
w
nnnnn## ˙
F # m7
˙˙˙ ˙B˙˙7 nn n # # # # ˙ ˙
I
II
V
w
## ˙ nnn # #
˙
7
˙˙˙ ˙A˙˙ # ˙ ˙ nnnnn #
wwww
E
w www
D
wwww
V
I
G m7
˙˙˙ ˙C˙˙7 nnnnb ˙ ˙ II
w
nnnn ˙ b
nnbb
w
˙
I
nn b bb
V
˙
b
F
wwww I
w
The A form is used in keys from C to F. But you may play also other chords in this A form if it sounds good to you.
The B Form of voicing: IIm7 chord begins with 7th as lower note, followed by 9th, 3rd and 5th. V7 chord begins with 3rd as lower note, followed by 13th, 7th and 9th. I chord begins with 6th as lower note, followed by 9th, 3rd and 5th.
#### # # #### # #
G # m7 C # 7 9 5 7 3 13 9 3 7
˙ ? # # # # # ˙˙˙ #
15
˙˙˙˙
II
w
˙ A
˙˙˙˙ ˙˙˙˙ # ? ##
wwww
21
? ###
V
˙
˙˙˙˙
II
V
w
I
wwww
V
nnn b ˙ b
I
w
˙
V
2
A & B Forms
wwww
nn n n # # #
I
nbb b ˙ b ˙ Bb
F7 ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ nnnbb II
II
w
C m7
Ab
˙˙˙˙ ˙˙˙˙ nbb b b
wwww
nnnnn# ˙ ˙
I
˙
˙˙˙˙
B b m7 E b 7
G
6
I
E7
II
A m7 D 7
5 wwww 3 n n n # n n 9
V
? #### # # ˙ B m7
F#
nn n # # # n
w
C # m7 F # 7
˙˙ ˙ nn # # # # ˙ #
B ˙ ˙ ˙˙ wwww
II
V
nn # # # # # ˙
I
nnnn
w
˙
n
The B form is used from F# to B. You may play other chords in this B form if it sounds good to you. The reason why we use A/B form voicing is that we may play all chords in a little zone of keyboard from E2 to A3:
˙ ?˙ C in B Form
œœœœ 29 ?
II
? œ
œœœœ
V
œ
˙˙˙˙ I
˙
F in B Form
B in a Form
œœœœ b
œœœœ
˙˙˙˙
œ #n # # # œœœ #
œ œœœ
˙˙˙˙
II
V
I
II
V
I
b œ
œ
˙
## n # ## œ
œ
Practice also C and F in B form, and B in A form.
˙
A & B Forms 3
Jazz players are very familiar with these forms and they refer to it as A/B voicings. This is one of more used styles in contemporary jazz. Practice these A/B forms until mastering it. I think Maurice Ravel (1875-1937) was first using these chord forms. Duke Ellington introduced these vocings in sax sections. Horace Silver in fifties used this style of voicings in piano accompaniment. From sixties, this is a very common style in contemporary jazz, thanks to promotion made by John Mehegan in JAZZ IMPROVISATION.
nnnn
n
EXERCISE: Play all chords in all qualities in A/B form voicings:
nnnn
n
C m7 C m7b5 C dim D b D b7 C # m7 C #m7b5 C # dim œ œ b œ b œ œœ n œœœ n œœœ œ b b œœœ œœœ b œœ œœ b œœœ 36 œ œ œ b œ œ œ ? Œ œœœ Œ Œ Œ Œ œ Ó b b b b Œ œœ Œ œ n n n n # # # # Œ Œ Œ # œ Ó b n C7
C
?˙ ˙ D
˙
˙
D7
Ó bbbbb ˙ ˙
˙
D m7 D m7b5
D dim
Eb
# nnnnn## # ˙ E b7
E b m7
œœ b œœœ b œœ œœ n œœœ n œœœ b œœœ b œœœ œ œ ? # # Œ œ Œ œ Œ n œ Œ œ Œ n œ Ó n n b b Œ œ Œ œ Œ b œœ Œ b
˙ E bm7b5
42
? ## ˙ ˙
˙
˙
˙
Ó nnbbb ˙ ˙
˙
˙
Ó
˙
nn## nn##
E b dim
œ œ ∫ œœœ b n œœœ Œ Œ nnn### # Œ ˙
Ó
## nnn # #
A & B Forms F F7 F m7 F m7b5 F dim œ œ œ œ œœ œœ n œEœœ7 En œœm7 E m7b5 œœ E dim œœ b œ b œ œ œ œ œ œ b œ b œ œ œ b œ b œ ? # # # # Œ œ Œ œ Œ n œ Œ œ Œn œ Ó n n n n b Œ œ Œ œ Œ b œ Œ œ Œ b œ Ó E
48
? #### ˙
˙ F#
œ ? # # # # # Œ œœœ #
54
? #### # # ˙ Ab
˙
˙ Ó nnnnb ˙ ˙
˙
F #7
#
#
˙
˙
˙
#n # # # # # #### # n #
Ó
#
F m7 F m7b5 F dim G G7 G m7 G m7b5 G dim œ œ œ œ n œœ n œœ n œœ n b œœ œœ œœœ b œœœ b œœœ b b œœœ œ n œ œ n œ œ n # Œ Œ Œ Œ Ó n n n n Œ œ Œn œ Œ n œ Œ œ Œ œ Ó
nbb b b
Ó nnnnn# ˙ ˙
nbb b b
˙
˙
˙ # m7 #
A b7
˙
# dim
˙
˙
7
m7
Ó
˙
dim
G G m7b5 G A A A A m7b5 A œ œ œ œ œœ b œœœ n b œœœ 60 œœ n œœœ n œœœ œ œ œ œ n œ œ œ œ œ œ b œ # # n œ n ? b b Œ œ Œ n n # # # Œ œ Œ œ Œn œ ŒŒ n # # Œ œ Œ Œ œ Œ œ Œ œ Ó nn # bb n
nnn b b
### ? bb b nnnbb n n#### Ó n Ó n n #˙ ˙ ˙ n ˙ ˙ ˙ ˙ ˙ b ˙ ˙ Bb B b7 B b m7 B bm7b5 B b dim B B7 B m7 B m7b5 B dim œ œ œ œ b œ b œ œ œ n œ n 66 œ b œœœ b b œœœ œœœ b œœ œ n œœœ n n œœœ œœ n œœœ œ œ œ ? bb Œ œ Œ Œ Œ Œ œ Ó nn##### Œ œ Œ Œ Œ œ Ó Œ ? b b ˙ ˙
˙
˙ ˙
Ó nn##### ˙
˙
˙
˙
Practice these 60 chords until you get an automatic performance.
˙
Ó
4
A & B Forms 5
Altered Seventh chord: C7alt When you find an altered seventh chord, play root in bass and tritone substitute in chord. See "Substitute Chords" at Albetan's Area. Tritone substitute corresponds to a seventh chord over its flat fifth. C7
74
?Œ ? ˙.
˙˙ ˙ b˙
Œ
Œ
Œ
˙.
C 7alt b b bb ˙˙˙˙
Œ
Œ
Œ
b˙.
G˙b 7 b b b b ˙˙˙
G b7alt
Œ
Œ
Œ
b˙.
˙˙ ˙ b˙
So C7alt is Gb7 with bass C. Gb7alt is C7 with bass Gb. Please see file "Altered seventh chords" at Albetan's Area.
C Forms of voicing: Mehegan calls so this altered seventh form of voicing. Play some of your favourite tunes with this style of accompaniment. You may play chord voicings omitting bass in a "rootless" way. Or you may play bass and skip to chord. Play accompaniment of a standard with left in bass and right in chords. Good luck and enjoy A & B Forms of voicing.
