Copyright 2016, by Noel Johnston. All Rights Reserved. First Edition First Printing: July 2016 ISBN XXXXXXXXXX
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1 Voicing Modes
2 Copyright 206, by Noel Johnston All Rights Reserved First Edition First Printing: July 206 ISBN XXXXXXXXXX Front cover and other image credits: Adobe Stock images and Noel Johnston Constellation: Cassiopeia Chord shape: (All-purpose F Melodic Minor voicing) Ab Ma7## but orks ith various other roots in F Melodic Minor; E7alt, B b 7#, etc. (and it also orks over C Harmonic-Maor) Big thanks: To my ife and kids for letting me take the time to do this. To my friends, Mark Cuthbertson and Mark Lettieri for giving suggestions and feedback. To Emanuel Schmidt for catching some typos for the ebook. To my students at the University of North Texas and Lone Star Music Academy on hom I have inflicted many of these ideas.
3 Contents Introduction Functional vs Modal voicings 2 British food, French food, Indian food Adaptable modal voicings 6, b 2,, Phrygian 6 Phrygian Etudes , 2,, b 6 Aeolian" 6 Aeolian Etudes ,, 6, 7 Magic 6th 26 Magic 6th Etudes Modal becoming Functional Diminished 6 Diminished Etudes Tune examples for advanced bracketing modal reharmonization Stella by Starlight All the Things You Are 6 Giant Steps 7 Blue Bossa 2 Reference Material: Melodic voicings (functional modal) 6 Maor 7 8 Dom 7 (Mixolydian) 60 Minor 7 62 Minor7(b ) 6 Dom 7 (Alt) 66 Dom 7 (Lydian-Dominant) 68 Dom 7 V sus (modal Mixolydian) 70 Modes ith relatives, 7-position scale shapes / voicings embedded 72 7 Maor modes 72 7 Harmonic Minor modes 9 7 Melodic Minor modes Other scales, ideas Double Harmonic/Hungarian Minor 6 Harmonic Maor 0 Symmetrical Scales
4 Fundamental sound surrounded by its related sounds G Phrygian 6 Gm Gsus Gm7 Gm6 Gsus(b9) E Superlocrian E E+ Eø7 E7 (no ) E7alt E7( 9 ) E7( 9 ) F Melodic Minor Fm Fm 7 Fm 9 Fm6 A Lydian Ab+ Ab 7( ) Ab 7 Ab6 (no th) Ab 6 (no th) D Locrian 2 D Dø7 Dø9 C Aeolian-Maor (Mixolydian 6) C Csus C+ C7 C7( 6) C7sus Csus( 6) Csus2( 6) B Lydian-Dominant Bb Bb7 Bb7(#) Bb9 Bb Ho to interpret the mode/chord boxes: Scale Name Tertian triad Other triads (non-tertian or enharmonic equivalent) Tertian 7th chord Tertian extended chords Modal, other non-tertian, or extended enharmonic equivalent voicings F Lydian 9 F Fm, F F 7 F 7( 9), F 7( 9 ) F6 F6 7(no th) magic 6th F 7
5 Voicing Introduction Modes Introduction. Modes are often at first understood in relation to a parent scale. While this can be helpful as a starting point and for developing muscle memory, in practice it doesn t alays point the player to the right chord tones in relation to the sound. In other ords, it doesn t help make the changes. To use modes to make the changes, one must be able to relate the scale shape to a chord voicing - a chord voicing that outlines the essential fe tones in a sea of seven notes. These voicings can vary depending on the amount of color desired. The color desired is dependent on musical style/genre, and hether or not the chord is functional in a progression or static in its modality. These essential tones are not alays,,,7 (tertian harmony - stacked in rds). While most chords in azz and improv-based music are expressed in one of four tertian-voicing archetypes (Maor, Minor, Dominant, or Diminished) this is a false tetrachotomy. There are more than four. To capture some other sounds that many composers intend, especially in compositions ritten in the last 0 years (and in Classical music, 0 years) one must add a fe other archetypes. While those indicated in this book are not exhaustive, they ill open your ears to other ays of expressing harmony hile still staying true to the key center. While exploring other ays to voice the modes, keep in mind that these are not ust for comping and soloing. Feel free to use them as a starting point for composition and reharmonization. The use of pivot voicings instead of ust pivot chords can open up your understanding of harmonic relationships in multiple ays. Enoy exploring. -Noel P. S. This book is ay more fun if you use a looper pedal. No go eat before you turn the page...
6 Triads and basic 7th chords Everything on the plate is nutritionally functional Flavoring/spices/sauce is mostly unimportant The staple is the essence of the dish. Every note is functional - each note has harmonic purpose direction. Harmonic gravity (tension/resolution tendencies) rds (maybe ths) 7ths make up the essence of the sound 2
7 Functional vs Modal Voicing Voicings Modes Extended chords idiomatic Jazz voicings While the protein starch ( functional food) may make up the foundation of the the dish, the flavoring/spices/sauce is also essential to the recipe. The staples ith the extra stuff on top make up the essence of the dish. Notes in the loer register are functional Harmonic gravity (tension/resolution tendency) is somehat important The addition of one or more upper extensions (color tones, flavor notes) such as 9th, th, th, # are essential.
8 Modal Voicings The recipe starts ith the spices. Flavoring/spices/sauce is the foundation. The choice or omission of a staple is irrelevant to the essence of the dish. Every voicing note is for flavor. Hidden or no harmonic gravity, can vamp or stay on one sound. Non-functional - does not obey tension/resolution tendencies. rd 7th not necessary because upper extensions/color tones make up the essence of the sound.
9 Functional vs Modal Voicing Voicings Modes Some different VOICING ARCHETYPES and their essence (fundamental characteristics) Functional: Maor: Minor: Dominant: Diminished: rd, 7th b rd, th rd, b 7th b rd, b th Non-Functional: Sus: Phrygian: Aeolian: 2nd, th / th, th b 2nd, th 2nd, b 6th What's in a name? Some scales can have more than one name, but differences in name can evoke different properties. In other ords, a name can hint at a certain ay to voice a sound. One may be more interesting/useful than the other depending on the context. Take these examples: Example th-mode Melodic Minor. Interval structure: W-W-/2-W-/2-W-W (, 2,,,, b 6, b 7). It can be voiced and named these to ays: Mixolydian b 6 -- evokes a Dominant voicing:,,, b 7 ith a b ("French food" voicing) Aeolian-Maor -- evokes a non-functional, Aeolian voicing:, 2,, b 6 but ith a maor rd ("Indian food" voicing) Example 2 2nd-mode Melodic Minor. Interval structure: /2-W-W-W-W-/2-W (, b 2, b,,, 6, b 7). It can be voiced and named these to ays: Dorian b 2 -- evokes a minor voicing:, b,, b 7 ith a b 2 ("French food" voicing) Phrygian n 6 -- evokes a non-functional, Phrygian voicing:, b 2,, but ith a n 6 ("Indian food" voicing)
10 Phrygian Phrygian, the rd mode of the maor scale, has the interval structure: /2 - W - W - W - /2 - W - W ( - b 2 - b b 6 - b 7) Phrygian can be voiced functionally or modally. When voiced in rds (tertian harmony), it spells a minor triad, or a minor-7th chord. Extended tertian chords in this mode are not common. Functionally, A iii can substitude for a I chord (st inversion I chords are not true iii chords), and iii chords in a progression are often changed to be secondary dominants - altered (raised rd) to give stronger harmonic gravity to the vi; When resolving from iii to vi the rd is often raised (making a leading tone to the root of vi) making a III vi progression. Phrygian ith a n is knon as Phrygian-Dominant or Spanish Phrygian. With traditional tertian chord nomenclature, the MODAL Phrygian sound can be ritten in a variety of ays such as Fm triad Gm over G bass (cadence or triad pair over a static bass note), or these slash chords or change-bass chords: Ab 7 # /G, Fm6/G, B b /G, or D 07/G. See Wayne Shorter's "Witch Hunt" (Last bars), and John Coltrane's "Naima" (bridge) MODAL Phrygian can be thought of as an "indian food" voicing... Where the bass note is the actual root of the sound, and ithout the rd or 7th hich are non-essential in Phrygian. (Also, ithout the b 6 - an essential Aeolian tone - because it threatens to sound more like a st inversion I chord than a true Phrygian) If e assign, b 2,, as the essential tones, Gsus( b 2) expresses that interval structure - leaving open the potential for many more types of Phrygian ill the addition of different types of rds, 6ths, 7ths. The folloing pages contain some different types of Phrygian ( their relatives) and also some shapes for voicing the essence of modal Phrygian. As you ill see, multiple possibilities can result from assigning, b 2,, as the essential tones. Essential Phrygian - made up of, b 2,, Gsus(b2) 7 Nerdy Phrygian trivia: Phrygian (rd-maor scale) in retrograde is a Maor Scale (makes maor keys a rd aay actually related ) Phrygian-Dominant in retrograde is a Harmonic Maor Scale. Phrygian n 6 in retrograde is a Melodic Minor scale. b2 6 b b
11 Voicing Phrygian Modes Essential Phrygian Gsus(b 9) Essence of non-functional Phrygian:, b2,, (These notes make up the SHELL VOICING and the basic arpeggio) The non-essential tones are: (these notes are the color tones or upper extensions) b or b 6 or 6 b 7 or 7 With those variables, there are 8 possible combinations: b b 6 b 7 * b 6 b 7 * b 6 b 7 * b b 6 7 b 6 7 * 6 b 7 * b (* indicates sounds that are less obscure and more 'useful' than the others) Here are those useful sounds that fit this Phrygian voicing:, b 2, b,,, b 6, b 7 (Basic Phrygian - rd mode of the Maor Scale), b 2,,,, b 6, b 7 (Phrygian-Dominant / Spanish Phrygian - th mode Harmonic Minor), b 2, b,,, 6, b 7 (Phrygian n 6 / Dorian b 2-2nd mode Melodic Minor), b 2,,,, b 6, 7, b 2,,,, 6, b 7 (Double Harmonic Maor - th mode Hungarian Minor / Double-Harmonic Minor) (Mixolydian b 2 / Phrygian-Dom ( n 6) - th mode of Harmonic Maor) 7
12 iii. G Phrygian V. G Phrygian-Dominant A Lydian Ab, Ab2 Ab 7, Ab 9 A Lydian 9 Ab Abm, Ab Ab 7 Ab 7(#) Ab 7( 9) F Dorian Fm Fsus Fm7, Fm9 Fm Fm6 Ab6 Ab 6 G Phrygian Gm Gsus Gm7 Gsus(b9) B Mixolydian Bb, Bb2, Bbsus Bb7 Bb9, Bb Bb7sus Bb9sus Bbsus F Dorian Fm F Fm7 Fø7 F 7 Ab 7( 9#) Ab6 Ab6 7 magic 6th Ab 7 G Phrygian-Dominant G G+ G7 G7 ( 9) B Superlocrian 7 B B+ B 7 B6 (no th) Gsus( 9) phrygian E Maor (Ionian) Eb, Eb2, Ebsus Eb 7 Eb 9 Eb6 D Locrian D Dø7 C Aeolian Cm Csus Cm7 Cm9 Csus2(b6) E Ionian Eb+ Eb 7( ) Eb6 (no th) Eb6 7 magic 6th D Locrian 6 C Harmonic Minor Cm Cm 7 Cm 9 Csus2( 6) aeolian D Dø7 D 7 ii. G Phrygian 6 I. G Double Harmonic Maor (th mode Hungarian Minor) A Lydian Ab+ Ab 7( ) Ab 7 A Lydian 9 6 A A m, F A 7, A 7( 9), A 7( ) Ab6 (no th) A 7, A 7( 9), A 7( ) Ab 6 (no th) F Locrian 7 A m 7, A m7 A m7b, A 7 B Ultralocrian F Melodic Minor Fm Fm 7 Fm 9 Fm6 G Phrygian 6 Gm B Lydian-Dominant Bb Bb7 Bb7(#) Bb9 Bb F sus2b ( bb ) F bb (G#7/F#) F sus2 6 ( ) (D7b/F#) F sus 6 2 ( G /F#) A 7( 7) G Dbl-Harm Maor (Phrygian b bb7) Bm B, B+ Bm6 B6 B 7( 6/ ) Gsus G Gm7 G+, Gsus Gm6 G 7 Gsus(b9) G 7# E Superlocrian E E+ Eø7 E7 (no ) E7alt E7( 9 ) E7( 9 ) D Locrian 2 D Dø7 Dø9 C Aeolian-Maor (Mixolydian 6) C Csus C+ C7 C7( 6) C7sus Csus( 6) Csus2( 6) E Ionian 2 E + E 7( ) E 7( 9 ) E 6 (no th) E 6 (no ) Magic 6 E sus ( 6 ) (no ) E 7( 6/ ) G 7( 6) Herbie Gsus( 9) Phrygian Gsus( 6) D Mixolydian 9 D(b) D7 (no ) D7(b), B7(b9 b) C Dbl-Harm Minor Cm C Cm 7, Cm 9 C 7 Csus2( 6) Aeolian D6 (no th) D (no ) D(b9) 8
13 Voicing Phrygian Modes V. G Mixolydian 2 A Lydian-Aug 2 A + A A 7( ), A 7( 9) A 7( ), A 7( 9 ) F Melodic Minor (Lydian Minor) Fm Fsus2, F Fm 7, Fm 9 F 7, F 7 E Altered (Phrygian ) Em E, E+ Em7 E7, E7( 9) E7( 9), E7( ) Em7( ) (C2/E) A 6 (no ) Magic 6 A 7, A 7 A 7( 6/ ) G Mixolydian 2 (Phrygian-Dominant 6) G Gsus G7, G7( 9), G( 9) Gsus( 9) Phrygian G6 D Locrian 2 6 (Dorian ) D Dø, Dø9 D 7 D9sus (no th) B Locrian 7 B B 7 B 7( 6/ ) C Harmonic Maor (Ionian 6) C Csus, Csus2, C+ C 7, C 9 C 7( 6) Herbie Csus2( 6) Aeolian Csus( 6), C 7( ) Larger size modal relative diagrams are in the reference section of this book starting pg. 72. For interactive modal relative diagrams, donload the "Voicing Modes" ios app, or "Voicing Modes" eb app at.noelohnston.com 9
14 0
15 Voicing Phrygian Modes
16 2
17 Voicing Phrygian Modes This etude uses mostly Phrygian voicings. Keys used: A Phrygian (F Maor), A Phrygian n 6 (G Melodic Minor), A Phrygian-Dominant (D Harmonic Minor) Measures 9-2 should be thought of as F Phrygian-Dominant n 6 (Bb Harmonic Maor).. b freely Asus( b 9). b Phrygian Etude # b. Noel Johnston b T A B C7 #. # J. 6 0 B b±# b. J # 0 Asus( b 9). b 7 8 A 7b 9 b# 6 8 b Fsus( 9) b b. F (b 9 ). b. 2 2 F 7sus(b 9 ) F s us(b 9 ) b b b.. N. ~~~~ ~~~~ 6 b b b 6 Asus( b 9). b B b± 9. b. G m b. E ø b G m/d b Asus( b 9)
18 This etude uses the "essence" of G-Phrygian (, b2,, ) as the only common thread throughout the various key centers used. It uses chords from Eb Maor (G Phrygian), F Melodic Minor (G Phrygian n 6), and C Harmonic Minor (G Phrygian-Dominant). This one can be played chord-melody style (rubato or in time). Also, try recording the changes in a looper and hear ho G-phrygian arpeggios ill sound through the changes. Œ b b B b 9sus Phrygian Etude #2. b J ~ B b 9(# ) b b± A 7(6). Noel Johnston b J b A b o 7 B o 7 b J b F m/g J. C/G b b F m/g b b ø Eø C D b. b J Fm() n b J # G/A b E 7(# 9 ) b Œ E b±# E b 6. b b ø D Œ b b b b b b U b b U Cm( 9) o B 7 B6(no) C m G/B A b 6 b Gsus( 9)
19 Voicing Phrygian Modes For performance examples:
Voicing Modes - 2nd edition Revised & updated Etudes in Standard notation & TAB
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