PREPACK The spreed chord voicings illustrated in this book show s few of the meny possible ways 4m which basic chord symbols ere enriched ani enlarged vhen used by Jerr pieniete ent arrengers in their pieno sccompaniments end orchestrel backgrounds. A spreed chord voicing ie the errengenent end distribution of the chordal tones from bottos to top or from top to Dottom, Esch voicing 1s shown in every key folloving the progression of the Circle of 5the in clockwise order. an c rp> gd y> pb g> Bk AD G 412 of the spread voicings shovn are besed on the choris listed in the Besic Chord Chert end the Block Harmony Votcings. The student should play each voicing on the pieno using the fingering he finds to be most comfortable for him. Technique is not importent in the study procedure for there is no rhythm element involved. The 2-note voicings of 3ris and 1l0ths should be pleyed with the left hend using the 5th end 3rd fingers end the 5th finger end thumd respectively with the 5th finger on the lovest note, of course. If @ 10th presents a reaching problem, it cen be rolled by striking ‘the lovest note first and the top note immedistely efter. Sterting vith the little finger of the left hend the fingers ere numbered 5-4-3-2-1, end sterting with the thumb the right hand numbers ere 1-2-3-4-5. ‘The fingering on 3-note chords (bess clef) 5-2-1 of the left hend vith 5-31 8 the eltemnste. lente votcings con be fingered L.H., 5-1, RH. 1-5, with the right hend alternates 1-3 or 1-4, depending on each individuel reach. Fingering on 5-note voicings can de L.H. 5-1, RH. 1-2-5 or RH. 1-3-5, with L.H. 5-3-1, RH, 1-3 es the elternste fingering. 6-note votcings can be pleyed using L-H. 5-3-1, B.H. 1-2-5, with alternate fingerings of L.H. 5-2-1, R-H. 1-2-3 RE. 1-3-5. On the Block Harmony votcings in the treble clef, use LH. 1-2-3-5 with the bass note pleyed by 5 of the left hend. Romeuber to use 5 of the L.H. on the lovest note end 5 of the R.H. on the highest note 4n the voicing vhile the other fingers move coufortably to the remsining voices in the voicing. Any four notes in the treble clef cen be fingered R.H. 1-2-3-5 usi Judgment on vhstever notes remein in:the bees clef. After a fev practice a: Fingering problems vill diseppear. Pianists should have no difficulty. The student con denefit immensely by studying the Besic Chord Chart end the inversions of these chords plus the Block Heracny Voicings, before sttempting to learn the spreed chords. Careful attention should be peid to the bess clef voicings on peges 1 end 2, for they are the bottom votcings of practicelly ell the chords shon in this book. ‘The Melodic Function chart on page ill shove how each note of the chromatic acele fits into each key 88 8 definite chordal function, This chert will enable the student to moke further elteretions on these voicings besides helping him to develop and experiment with voloings cf his own choosing. ‘The density or sound of 5 and 6 note chords 1s much heavier than a \ note chords there- fore, 9 fest moving beckgroud or accompaniment is better suited to a 3 or h note beckground. Hovever, thie 1 ¢ wetter of personel teste end is left entirely up to the individual,DRFINETION OF TERMS (Bese on Major Scele) 6th degree of scale - 6th or 13th Let degree ant degree Je degree of aoete = Teh 3nd degree Btn degree of ecole - Rost or 2 eh degree 5th degree of scale - 5th When 6th 1s edded to a Mj. or Min. tried it 1s colled 6tn, When 6th is added to 8 7th chord it becones a 13th. CRROMATIC ALTSRATION BY HALF STEP (Lovered or reised 1 tone) = ngth pth degree of scale - b5th = #9th #5th degree of acele - #5th 2 bard Dye degree of scale - b7th - uth ‘The béth degree of ecele equals b13th which 1s enhsrmonic ‘to the sugnentea Sth. It te used when downverd resolution te dectred. ‘TONES WHICH CAN BE SUBSTITUTED FOR ONG ANOTHER The 7th con be substituted for the 6th (These substitutions The 9th cen be substituted for the Root (2st) cen be worked both weys.) The 11en con be substituted for the 3x4 The 13th can be substituted for the 5th ADDLTEONS AND ALTERATIONS Type of Chora Possible Asattton Possible Alteration Major tried Gen, wag.Teh, DT - Minor tried 6th, brth moj. Teh ‘Augnonted trie vith ej. Teh Diminished triad 6th (Znhermonte aim. 7th) 7th, moj. Tee Mejor 6th chord 9th, maj. Tth or doth Minor 6th chord Sen, maj. Tea or both Mejor 7th chord Sen, 11th, 13th both, g5th, filth Dominant Teh hort Sen, 11th, 13th vstn, goth, doth, #9th, #lLth Minor Tth chord Sem, Lith, 13th v5ta, #5th, both ‘Augnonted 7th chord Sen, 11th, 13th noth, #9tn, lth Diminished 7th chord (Seo Dim. “7th chort substitution poge ‘in MOLRRN MISIC WORKBOOK) POSSIBLE COMBINATIONS ‘The dominant 7th chord 18 the most flexible of al) the chords show. Besides the edditions and el) the alterations shovn sbove, the following combinations mey be used with the dominent 7th chord: b9th end #5ths BIth ond vSth: #5ta ond #Oths #11th end vIth; BSth and #9th. Te Minor 7th chord cen have the D5th ond b9th coubined and added. ‘Tris end error is the best method in deciding what tones to use and vet tones to elter and combine. ‘The first step feciné ‘the student 1a to lean the spread chord voicings in overy key. NOTE? Yoicings varked vith en asterisk (*) may be pleyed an octave higher or Lover. aPAVED WOTIOMNE OTGOTN AidBASIC CHORD CHART Bh ch hh BE A = SS Se Bin ebm bm Dbm Chm Bm __iEm_—iAm _—sdDm iG, 7 = v le I is SF tt $4 (hin Kip AU). Ce Beer Ae De Ge Br et + Oey on z — 7 7 ot cet oF IE a Bee gbe be pho Ghee ce AS Dee Ln Kbaest Diez? Chae? Brnozt EnarT Amer? Darr? Cgiry Comer? Far? mar? Cz Fr aby ’ oF , Cnt Fmt Bar Elm Fy+s BPres Ebres Cer fee es i Cer Fer Ber eho. Cnb Fok Ln " avery 4 aE PeSSIBLE INVERSIONS} beg FD de dons SS SeFOUR PART BLocK waRMONY YoICINGS. fe peeeas eee ee j omes9 9 © min. CoS S51 Sa SSE Ss Fn atudi 1 hee ose 3-32 a Omin.22 outs Ee SS Mae == ~ be votes a: > agen chord# cen be voteed 13°39 7 Algol3 ir 9 7eri3 fl 9 T Cmej-23 as ‘Cwin.13 + a3 esha $ 5 zi rh — 3 ay = As = = z =a | + oy Be > ct a Ye ob E ae ‘The outer Voices of the block hermony structure should elvays messure the interval distance Open hermcny is the opposite of of 0 6th or 7th. Block harmony is close,tight harmony. close hermony and occurs when the 2nd harmcay note of the block structure 1s lowered en octave, | ! j yee ar aE oA pen wet trae Chords conteining intervels of ‘ths and 5ths contribute to the " Modern Sound " used in Jazz beckgrounds. Added intervals of 2nds ( MJ. or Min. ) also give ® chord en added bite or twang The edded nde ere often referred to es " Tone Clusters ". voicings may elso be pleyed chromsticelly downwerd or upwerds while lesrning them. By C3 ° Thee fis By B49 A Ab fla Baa CnWhen progressing from one chord to another, voice leading must be appliea continuity and balance. changing from one chord to another. £G 2. 3. ae be 6. te 8. 9. 10. These rules may be altered to PRINCIPLES OF VOICE LEADING to The following guide rules can be used to good advantage yee Voices should nove the closest possible way. Any\tone that fe" comen to vot chords my be sustained or repeated tn the a, Voices resolve smoothly by step (Maj. 2nd, Min. 2nd) Voce, A small leap of a Sra (Na). or Min.) can be used in any votce whenever desineg, Jarge ieape (Pert. th or larger) should occur mostly in the top and bottca tii, WBlle the nner voices nove the closest possible way. Sonetines one or ty Yoictt Jeft by step is enough to bind two chards together. " ‘The bass usually moves by the following root movements or interval distance, Perf. kth, Perf. 5th, Maj. 2nd, Min. 2nd, Maj. 3rd, Min. 3rd, Dim. 5th. When the top line is not moving by step or by a smill leap of a 3rd, 1% can wtiie ine following large leaps to good advantege: Perf. th, Perf. 5th, Dim. Sta, Yad.6ty, then a chord moves either clockwise or counterclockwise around the circie of Myst. f2e two chords can be bound by moving the 7th of the first chord to the ra off, following chord or vice versa (7 to 3 or 3 to 7)+ Wen two chords of the sane quility Follow one another consecutively steprise, the Voicing can remain the same and move parallel. (Cu, Dui7) XerGe, jeape should be made only to preserve register, avoid monotony, and for axy definite intended special effect. Serve any desired purpose but they serve as an excellent guide for the beginning student.A, be ote ee as sss, brCrmb _Bmb _Emb Amb Dmb__ Gumbo Cnb Fb Bus __Ebme Nhe Dn Fmb Btmb Emo Abmé Pm __Ghmb_ Bmb mb Amb _Dmb _ Gmb | | aca Peele | | Cmb Fine BP Ebb Abe Pm GPmb Bmb Emo Amb Dmb _ Gmbya bins. oe ZT Em Eman 7. z b, mer? 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Bhabo ebabo Mabe Dhsby Ghsbe 5 ay FF Exgt¥9 Amity Dmitbs Gmitly Ebay Ahait”9 OMoiit9 Glo ilP? Bmitbo Bin ho Fra tt #9 Coot Ps a Dhar Gln? Bm? Em? Amt Dw? Gut Cut Fmt Bont Pm? AP be ro 26EXPERIMENTING WITH VOICINGS OFTEN BY MOVING ONE TONE OF A VOICING A NEW VOICING CAN BE REACHED, THESE VOICINGS CAN BE USED AS EMBELLISHMENTS OR AFTER BEAT CHORDS. ANALYZE THE MOVING TONES OF THE FOLLOWING EXAMPLES: C72 Aish Aly Ale Abgus Abss Aisha a beet, — pets 3 bi —b a? LIGHT TEXTURED LEFT-HAND STYLE MANY JAZZ PIANISTS HAVE INCORPORATED INTO THEIR PLAYING STYLES A LIGHT TEXTURED LEFT-HAND STYLE THAT IS SUPPORTED BY A BASS LINE THAT IS STRONGLY ANCHORED HARMONICALLY AND GIVES FULL SUPPORT TO THE CLOSE CLUSTER-TYPE VOICINGS THAT ARE USED BY THE PIANIST. THE CHARACTERISTICS OF THE CLUSTER- TYPE VOICINGS WHICH PROJECT A LIGHT PERCUSSIVE SOUND HAVE BEEN ENHANCED BY THE SOUNDS OF AN AMPLIFIED ACOUSTICAL STRING BASS AND THE ELECTRIC GUITAR TYPE BASS, PLAYING A WELL-CONSTRUCTED BASS LINE. Cmasy gS dot Coes sos Oreas7 C#7 Dnt Cv hes Zz z= eo e s — o. Ce Bh Amz Gr4q — eS ee Coy eb Dat ots 5 Tf 6 ether 27q TRANSPOSE THE FOLLOWING VOICINGS TO ALL KEYS: | Close ete £ te ses: oie re 28 = =, sate, | eee === ares, itis ey | = oer ¥e wa = Be a nee ee BS Vi se8a Fe a) WAI? 67 7 ‘ 7 . Clason ¢ 3, 9? 3 3 6 t,o ee ty Eee & Ion GF bs A Cros ,¢ o, bees eee be 28COMPING RHYTHMS D Bee eae eer FSS ee