VOCAL ACCOMPANIMENT

&

CHAPTER 1/ ITEM #2A These are the root positions of the chordal sequence we are investigating

111

www

***Chapter and Menu item numbers directly correspond to the Menu***

V1

www#11

wwwV

www1

w

? E-7w

A

wD-7

wG

wCwww

6

&

In order to change the mood or feeling of a passage, it may be desirable to change the V1 chord to a minor chord or major chord depending on the situation.

111

wwwV1

ww &

It is also possible to change the 11 chord from major to minor and vice versa.

111

wwwV1

www#11

www#

(DOMINANT)V

wwww

? E-7w

A-7ww ?E-7

wA

wD7

wG7

w

12

&

Moving the flatted 7th's one octave up or downwithin a chord, also changes the color, mood, andfeeling of a chordal sequence.

111

www 11

www# >

CH1/2B - It is also important to think of melody in terms of voice leading--not only the top part, but also as a link between chords in the middle harmony parts

&111

j

...V1

wwwU

#

?E-7

w

D7

wG7

w?

E-7

A7

wU

18

&

BASIC INVERSIONS FOR AN A7 CHORD

Root position

wwww#1st Inversion

wwww#2nd Inversion

wwww#3rd Inversionwwww#

22

&

CH1/#2C - Notice how much more melodic the passage is when the notes lead into each another

ww 3

# www

Common tones from one chord to the next alsohelp chordal continuity and ease of movement

ww j . wwww

U

?E-7

A7

D-7

G7

wU

26

&

It is also possible to change the first chord of the sequence from a minor chord to a major chord as illustrated.

# w 3

#n ww j . ww

3

wwwwU

?E7

A7

D-7

G7

wU

30

&

One can also change the 11 chord of the sequence from minor to major. In fact, any of the chords below

"Let's change it a little more..."

www# www# # ww 3

are interchangeable, except the dominant (g7), which should generally be changed to minor only in specific situations

wwwwU

CH1/#3 - "Eventually I might come up with..."

& wwwwb

?E7

ww wwA7 D7

ww wUG7 ? www

2

35

&

It's a good idea to sometimes throw caution to the wind and let yopur fingers do the talking and analize what you're doing later.

"What's that?...write it down... not knowing what it was

ww J

Notes outside of the scale can be used to create musical tension.

CH1/#4 - "We need something to create some tension...Suppose we do something like..."

& wwU

# www

? wwwb# # b J ?E7

wwU E7(#9)

ww

40

&

Those notes outside the chord lead into other sections. It takes time to learn how to use these notes, but asyour technical skills improve, you will hear the difference

"Basically, how do we get to this..."

# ww 3

# www j .

in your music. These raised 9ths, 5ths and so on havecome to be called alternate chords, substitutions,chordal extensions and leading chords among others.

j . #n ww b # b #

U

?

"It's really important to knowhow to set something up..."

E7(#9)

w

A7#9(b13) D7ww# wwbw

G13#11(b9)

44

& # ww 3

# www 3

"Now we could go even further out..."

www# wwwU

? E7(#9)ww

wwA7#9(b13) www#

D13(#11) wwwU#

3

48

&

Sometimes it's a good idea to leave certain intervals out of a chord, depending on the effect you're trying to acheive.

Basic d7 chord-root position

5th left out

5th left out - 9th put in

w

?D7wwww# www#

D7 D7www#

51

&

This is a basic dominant 7th voicing that can be used in almost any key and sound great.

b # b

The last chord of an introduction is what sets the featured artist up and leads them into the song.

& w 3

?D9

#

Eb9

bb

E9

#

F9

?

F#-7

##

54

&

Generally your voicings will sound more transparent if you don't double notes. Conversely, voicings will sound more dense by doubling notes.

# 3

#w

Try moving notes around within the chord in various combinations. You will gain a wealth of knowledge with this practice. Let your ear be your guide

3

wwww##

?B-7

w E9

#

A13ww

4

5734

34

&

CH1/#4C

#

3

# wwwwwww

3 bb

?E7(#9)

wA7#9(#5)

D9

ww #3

G7#11(b9)b13

b

61

& ...

^

? # ..

E7#9(#5)

# ..

A7#9(#5) j D7(#9)# 3

64

&

And here are examples of closed or compressed voicings and sounds. The best thing to do is use a combination of both open and closed voicings

bbbb #

?E-7sus

.. j A7b5(b9)

.. j # .# ..

E6(9)/Dj

67

& #b ### nnn

?G7#11(b9)

. j # .

E7#9(#5) A13(b9) n .. j

5

70

&Practice this voicing in various keys

bbb

? .

E7(#9)

# b .

Eb7(#9)

bnb .

D7(#9)

#

7344

44

& # bb # bb

? b .

Db7(#9)

.

C7(#9)

bb .

#B7(#9)

b

Bb7(#9)

bb

44

44

77

&

CH1/#4D - The top not leading from "B" to "C" and then "B" to "B " helps to create continuity between chords

b

...you can move 1/2 step up

....

.. you can move 1/2 step down

##b ...

? w

E7(#9)

# ... w

A7#5(#9)

# ... w

E7(#9)

# ... w

A13(b9)

#n# ...

6

81

&

CH2/#5 - 4th chords, or chords based on the interval of a 4th, when not locked in with the 3rd, can lead to almost any key, which consequently makes them good to use when you're lost (smile).

bb ... n#n

j

bbb ...

Here is the same intro we have been studying using a 4th interval chord on the E-7

&j ww

3

# www j .

?C

?

wwE-7sus4

wA7#5(#9)

85

&

Here are four variations on a chord progreesion of increasing complexity

E-7 to a7 with no voice leading

www wwww# www

E-7 to A7 with top voice leading from D to E, the 7th to the 5th of each respective chord

www#? E-7

wwwA7

wwE-7

wwwA7

w

89

&more advanced voice leading based on the same progression

wwwn# wwwwn# www ww

wb## nn

? E7(#9)www

wwA7#9(#5)

wwwE-7sus4 A13(b9)ww

D7(#9)#

94

&THE HREBIE HANCOCK EXAMPLE

# # #

wn

?w w w

7

97

&HERE ARE A FEW EXAMPLES OF VOICINGS FOR THE DOMINANT CHORD AT THE END OF AN INTRODUC-TION. REMEMBER TO EXPERIMENT WITH MOVING THE MIDDLE NOTES FROM ONE OCTAVE TO ANOTHER, AND PRACTICE USING HARMONY NOTES AS LEADING TONES.

CH2/#6

www wwwb wwww

? G13wwG13(b9)

ww wwwCM9/6

10044

44

&THE FOLLOWING CHORDS, USED CORRECTLY, CAN MAKE YOUR MUSIC MORE INTERESTING. EXPERI-MENT STACKING TRIADS ON TOP OF EACH OTHER IN VARIOUS KEYS, AND USING BASS NOTES OUT-SIDE THE SUGGESTED TONAL CENTER

(E TRIAD)

wwwb(B TRIAD)

www## bb

? G13(b9)

(G7)ww

(C TRIAD)

B/C

www bb

44

44

102

& bbYOU'VE CHANGED

CH2/#9 - THIS IS A TRANSCRIPTION OF THE INTRO I PLAYED TO "YOU'VE CHANGED" WITH ANITA BAKER, FROM THE VIDEO AT THE MONTREUX JAZZ FESTIVAL

j

3

b j 3 b

nb 3

3

3 33

?bb D-7

j Db13(#11)b

C-9

F13(b9)3

105

& bb j 3 b

j b3

w 3

b 3

?bbD-7/G Db13(#11)b

C-7 F13(b9)

BbM9

8

108

& bb

CH2/#10 - Here are some alternate ways of playing the same set ofchanges. Investigate the voicings and alterations of the dominant chord

ww wwwwb www wwwn?bb

D-7ww wwG7#9(b13) C-11www ww

wbF13#11(b9)

112

& bbThink melody and how to best get from one chord to another, not just a set of chords with no relationship!CH2/#11

n n j 33 3 3

?bbD-7 G7#9(b13) C-11 F13#11

114

& bb b nn U

3

?bbD-7 D-7/F

G7#9(b13)nC-11

Gb13

nbF9sus4

bF13#11(b9)

b

116

& bb

CH2/#12 - Another chord substitution that works well in standard turnarounds is the upper neighbor to the dominant substitution

bb nb

for the 11 chord. Below are several ways to approach structuring that chord.

b n#?bb

D-7? ? G7? ? GbM9bF7(b9)

D-7? ? G7? ? Gb13nb

D/F7

b

9

120

& bbIf you want to get more daring, try substituting the upper neighbor to the root for the 11 chord, or third chord of the progression.

##n ##

nn

?bbD-7

? ?G7

? ? wnB9sus4-----3

nn

122

&

CH2/#13 A & B - This is a transcription of the piano part to "I Got It Bad," which I played with Dianne Reeves. Studying this will help

I GOT IT BAD

RUBATO

you see how an accompanist should sometimes follow, sometimes lead, sometimes be still, sometimes decorateand when to do each.

COLLA VOCE

# .

& 3 3

U

b

n 3

?E-7

? ?A7#9(#5)

? ?D9

? ?G13(b9)

UUCM9

F13(#11)

...

10

12524

24

24

& U

j j . . # 3

& J # #b .

j U

# ## n b 5

? j

GM9

A7(b9)wwA7#9(#5) D13#

n

5

24

24

24

12844

44

44

& j

.

& #b wwww

?

D9sus D13#11(b9) #

D-9

ww131

&T b # n w

& bb b

#bn

3

3

?Bb13

bbEb/A7

#Ab13

bbG7#11(b9)

E-7

? ?A7#9(#5)

? ?J3

11

13344

44

44

&

3 3

& b b 3

3

?D9(#11)

? ?Db7(#11)

? ?C

44

44

13554

54

44

44

&

CH2/#13C - Below, is a more advanced approach to playing the same changes we've been studying.

RUBATO

b

bbbb

n#

Here, I've extended the melody and the chords,pushing the bounderies of the standard 6-5-2-1-turnaround format.

b b

j

3

3

3

3

3

3

3

3

?

E-11alt

r

44

44

137

& b bb b bbb #bb

wwU

?Ab9sus4

b b b bb b

G7alt

. wU b .

12