Piano Voicing Mnemonics

Transcription

1 Piano Voicing Mnemonics I. One-anded Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords. Category (rd in the loest voice) C 7 E B D Look at root at the top and spread out (up a hole, don a half); rd in loest voice C7 E B D Look at root at the top and spread out (up a hole, don a hole); rd in loest voice C- E B D Look at root at the top and spread out (up a hole, don a hole); rd in loest voice B. Category B (7th in the loest voice) C 7 B E G Look at triad and loer root a half step C7 B E Look at triad and spread out outer voices a hole step C- B E G Look at minor triad and loer root a hole step Common L Chord Fingering: 2 1 Common R Chord Fingering: 1 (exception -- category B dominant 7 voicing: 1 2 ) II. II V I Progression in Major. Chord Qualities 1. II chord is minor 7 (II-) 2. V chord is dominant 7 (V7). I chord is major 7 (I ) B. Example in the key of C C major scale: C D E F G B C II V I in the Key of C: D- G7 C note: any chords in a ro progressing counterclockise around the circle is a II V I in the key of the rd chord, e.g., C- F7 B is a II V I in B; F- B E is a II V I in E; etc. C. Good voice-leading: rd to 7th and 7th to rd 1. the 7th moves don a half step to ecome the rd of the next chord 2. the rd stays on the same note to ecome the 7th of the next chord Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves don a half step to ecome the rd of the V7); the other to notes remain the same 1

2 Example 1: Category to B to KEY OF C II- V7 I D- D G7 C - G 7 E E D 7 C B B F F E C± KEY OF F II- V7 I G- G - C7 F G 7 F E E B B KEY OF B II- V7 I C- C F7 B - F 7 D D C 7 B E E D Example 2: Category B to to B KEY OF C II- V7 I D- D - G 7G7 C G F F E 7 C B B F± B ± C± KEY OF F II- V7 I G- F G - C7 F± D D C B B 7 F E E KEY OF B II- V7 I C- C - F7 F 7 B G G F E E D 7 B B ± 2

3 IV. One-anded Jazz Voicings for alf Diminished and Dominant 7 ltered Chords. Category (rd in the loest voice) CØ R E G B C m7 chord in first inversion ( on ottom, root on top) # C7alt # E G# B D think category dominant 7 voicing, loer th (and add # hich is a hole step elo the ) B. Category B (7th in the loest voice) CØ R B C E G m7 chord in third inversion ( on ottom, point to root) C7alt # B D E G# think category B dominant 7 voicing, loer th (and add hich is a half # step aove the root) Common L Chord Fingering: 2 1 Common R Chord Fingering: 1 2 note: for Category B half diminished chord, use V. II V I Progression in Minor. Chord Qualities 1. II chord is half diminished (IIØ) 2. V chord is dominant 7 altered (V7alt). I chord is minor (I-) B. Example in the key of C minor: DØ G7alt C- C. Good voice-leading: rd to 7th and 7th to rd 1. from the IIØ, find the hole step interval in your voicing and spread out, i.e., the higher note moves up a half step and the loer note moves don a half step (the other to notes remain the same), then you re automatically on the V7 alt chord 2. from the V7alt, the moves don a hole step; all other voices move don a half step

4 Example 1: Category to B to KEY OF C MINOR IIØ V7alt I- DØ G7alt C- R G D # C - D# D C B B G F F E Dø KEY OF G MINOR IIØ V7alt I- Ø DD7alt G- R # G # G - # F# F E E D C C B ø Example 2: Category B to to B KEY OF C MINOR IIØ V7alt I- DØ G G7alt CC- - G F F E R # D D# D C B B Dø # KEY OF G MINOR IIØ V7alt I- Ø DD7alt G- E # E D # C C B R # # G F# F ø G - 4

5 Common To-anded Piano Voicings (to notes in the L, three notes in the R)** Symol Scale Name Scale To-and Voicings* Mnemonic C Major C D E(F)G B C R (E D G C) R pinky on the root, come don in 4ths avoid tone: 4th (F) R in oth hands ( ) avoid tone: 4th (F) 7 (E D G B) B 7 B 7 (B E D G) 7 same as aove - just loer top note! step R pinky on the th, come don in 4ths in oth hands C 7 Mixolydian C D E(F)G B C R (E B D G C) R pinky on the root, come don in 4ths th mode of maj avoid R tone: 4th (F) in R; in L avoid tone: 4th (F) ( ) B (B E D G) B R pinky on the th, come don in 4ths in R; in L C- Dorian C D E F G B C R R (E B D G C) R pinky on the root, come don in 4ths 2nd mode of maj in R ; in L RB 4 B R 4 (B E G C F) point to R in R and go up a 4th and don a 4th; in L

6 C 7 Mixolydian C D E(F)G B C R (E B D G C) R pinky on the root, come don in 4ths th mode of maj avoid tone: 4th (F) B 7 (B E D G) in RR; pinky on the in th, L come don in 4ths in oth hands C ø B (B E D G) R pinky on the th, come don in 4ths Locrian C(D)E F G B C R (C G B E ) think R; voicing inof L dominant 7 chord up a C 7 7th Mixolydian mode of maj avoid C D( E(F)G ) tone: th B (D) C R (E B D G C) raised R pinky th (C on ø the = ) root, come don in 4ths th mode of maj avoid tone: th 4th (D) (F) in R; in L C- Dorian C D E F G B C R (E B D G C) R pinky on the root, come don in 4ths 2nd mode of maj B R (B E D G) in R R pinky ; on the in th, Lcome don in 4ths in R; in L B R 4 (B E G C F) point to R in R and go up a 4th and don a 4th; in L C- Dorian C D E F G B C R 4 (G C F B E) think B voicing of dominant 7 chord up a R (E B D G C) R pinky on the root, come don in 4ths 2nd mode of maj 4 raised in R th ; (C ø = ) in L C ø Locrian C(D)E F G B C R R (C G B E ) think voicing of dominant 7 chord up a B R 4 (B E G C F) point to R in 7th mode of maj avoid tone: th (D) raised th (C ø R and go up a 4th and = ) don a 4th; in L R 4 (G C F B E) think B voicing of dominant 7 chord up a o raised th (C ø = ) C ø Diminished Locrian C(D)E D FFG G B B C ar tritone in each (Chand G B ith Ea ) start thinkon any voicing chord oftone dominant on the7 ottom; chord up a (hole-half) 7th mode of maj avoid tone: n th (D) minor rd eteen hands play raiseda th tritone (C ø aove = ) it, then skip a minor C o Diminished C D E F G B C (e.g., a tritone C G in each E) hand ith a rd start eteen on any chord hands; tone then on play the a ottom; tritone in R (hole-half) minor 4 rd (G C F B E) eteen hands the think play RB voicing of dominant 7 chord up a a tritone aove it, then skip a minor raised th (C ø = ) (e.g., C G E) rd eteen hands; then play a tritone in the R C o Diminished C D E F G B C a tritone in each hand ith a start on any chord tone on the ottom; C 7sus4 Mixolydian (hole-half) C D(E)F G B C minor 4 rd eteen (B F hands D G) think play a tritone voicing aove of minor it, then 7 chord skip aup minor a th th mode of maj avoid tone: ( ) rd (E) (e.g., C G E) rd (C7 sus4 eteen hands; then play a tritone in the R = G-) avoid tone: rd (E) 4 R (F B D G C) think B voicing of minor 7 chord up a th C 7sus4 Mixolydian C D(E)F G B C 4 (B F D G) (C7 think sus4 voicing = G-) of minor 7 chord up a th th mode of maj avoid tone: rd (E) (C7 sus4 = G-) C7 Diminished C D E E F# G B C any diminished voicing from start on any chord tone ut the root (i.e., (half-hole) any 4 chord R R tone (F B utdthe Groot C), think,, B voicing or ); play of minor a tritone 7 chord aove up it, a th e.g., (E B D G) then (C7 sus4 skip= ag-) minor rd eteen hands; then play a tritone in the R C7 Diminished C D E E F# G B C any diminished voicing from start on any chord tone ut the root (i.e., C 7alt Super (half-hole) Locrian C D E F G B C any chord # tone # ut (Ethe Broot D# G# D) think,,, voicing or ); play of dominant a tritone7 aove chordit, and 7th mode of mel min e.g., (E B D G) raise then skip R up a minor! step rd eteen hands; then play a tritone in the R C7 Diminished C D E E F# G B C any diminished voicing from start on any chord tone ut the root (i.e., B # (B E G# D G) think B voicing of dominant 7 chord and (half-hole) n # any chord tone ut the root,,, or ); play a tritone aove it, loer R don! step e.g., (E B D G) then skip a minor rd eteen hands; then Note: C 7alt In the Jamey Super Locrian eersold ooks C D ande in F Pocket G Changes, B C C7+ = C7alt # # (E B D# G# D) think voicing of dominant 7 chord and 7th mode of mel min play raise a R tritone up! in step the R * Category chords have the rd in the loest voice; Category B B chords # have (B the E7th G# ind theg) loest voice. think B voicing of dominant 7 chord and ** ll voicings have five notes ith the exception of the diminished and dominant 7 voicings hich have loer four R (todon notes! instep each hand) Note: C 7alt In the Jamey eersold ooks and in Pocket Changes, C7+ = C7alt Super Locrian C D E F G B C # # (E B D# G# D) think voicing of dominant 7 chord and 7th mode of mel min # # raise R up! step # * Category chords have the rd in the loest voice; Category B chords # have the 7th in the loest voice. ** ll voicings have five notes ith the exception of the diminished and dominant 7 voicings hich have four (to notes in each hand) 4 4 B B # (B E G# D G) # # think B voicing of dominant 7 chord and loer R don! step Note: In the Jamey eersold ooks and in Pocket Changes, C7+ = C7alt * Category chords have the rd in the loest voice; Category B chords have the 7th in the loest voice. ** ll voicings have five notes ith the exception of the diminished and dominant 7 voicings hich have four (to notes in each hand)

7 Jazz Piano Pedagogy Voicings Teaching/Learning Sequence* I. Major. One-and Voicings 1. Category : L root / R chord 2. Category B: L root / R chord. lternate -B eginning ith : L root / R chord 4. lternate B- eginning ith B: L root / R chord. ll of the aove: chord in L (R tacit) B. To-and Voicings 1. Category 2. Category B. lternate -B eginning ith 4. lternate B- eginning ith B II. Dominant 7. Repeat I ith dominant chords B. Play B Blues (first alone, then ith play-along recording) 1. L root / R chord (start ith oth and B; use est voice leading) 2. Chords in L (R tacit). Chords in L / head in R 4. To-anded Voicings (start ith oth and B; use est voice leading). Chords in L / related chord scales in R (not in tempo). Chords in L / improvise in R C. Play atermelon Man: follo steps II B 1- aove III. Minor. Repeat I ith minor chords B. Play Song for My Father: follo steps II B 1- aove C. Play Impressions: follo steps II B 1- aove (also learn So hat voicing) D. Play Maiden Voyage: follo steps II B 1- aove E. Play Cantaloupe Island: follo steps II B 1- aove (also learn to-handed Cantaloupe Island accompaniment figure) IV. II V I in Major (II- V7 I). lternate -B- eginning ith : L root / R chord B. lternate B--B eginning ith B: L root / R chord C. and B aove: chord in L (R tacit) D. and B aove: to-handed voicings E. Play Satin Doll: follo steps II B 1- aove V. alf-diminished - Repeat I ith half-diminished chords VI. Dominant 7 ltered - Repeat I ith dominant 7 altered chords VII. II V I in Minor ( IIø V7alt I-). repeat IV -D ith minor II V I B. Play Blue Bossa: follo steps II B 1- aove C. Play Summertime: follo steps II B 1- aove D. Play Footprints: follo steps II B 1- aove E. Play utumn Leaves: follo steps II B 1- aove VIII. Diminished. Repeat I ith diminished chords B. Play Doxy: follo steps II B 1- aove IX. Dominant 7. Repeat I ith dominant 7 chords B. Repeat VII, sustituting V7 for V7alt (IIø V7 I-) C. Play F Blues: follo steps II B 1- aove * ll tunes aove can e found in Jamey eersold s Play-long Volume 4: Maiden Voyage and can e ordered from.jazzooks.com