22nd Feb

Bill Evans Style Voicings

A B
Major 7 – 3,5, 7, 9 7, 9, 3, 5
Min 7 – b3, 5, b7, 9 b7, 9, b3, 5
Dominant – 3, 13, b7, 9 b7, 9, 3, 13
Min7b5 – 1, 4. b5, b7

Stacked Third Voicing

LH – 1, b3, 5 RH b7, 9, 11

Reharmonisation Pole Groups.

All of the chords in these pole groups can be interchanged.

Tonic (resting chords)

I, III, IV

Sub Dominant (moving chords)

II, IV

Dominant (tension)
V, VI

Preparatory chords
Add a II or V chord before chords. Or both!

Tritone Sub
Replacing the dominant chord with another dominant chord
a tritone away.
8th March

Improvisation techniques

Modes – for major chords use Ionian or Lydian. For minor

chords use dorian or natural minor. For dominant chords
use mixolydian.

Your song:

Cm11 – Aeolian (eb)/Cm Blues

Am7 – Dorian (g)/Aeolian/Am Blues
Abmaj7 – Lydian (eb)/Cm Blues
Ebmaj7 – Ionian/Cm Blues
Dm9 – Dorian (c)/Dm Blues
Dmaj9 – Ionian

Scalar – using the modes

Arpeggios – inversions from 1, 3, 5 and others

Chromatics – lead into a note with a chromatic note. Or

“enclose” with more than one chromatic on either side

Guide Tones – using notes of the chord as resting notes or

notes to run/lead up to

Digital Patterns – 1, 2, 3, 5 and variations

Cells – 1,2,3,1 and variations

Noodling – practice messing around with these concepts

without specific timing or changing of the chords. Hang
around one chord as long as you need to explore the
options!

Remember – you control the dynamic of the band