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Voicing Modes Voicing Modes

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Functional vs Modal voicings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2British food, French food, Indian food

Adaptable modal voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61, b 2, 4, 5 “Phrygian” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Phrygian Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131, 2, 5, b 6 “Aeolian" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Aeolian Etudes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Modal Mothers, Modal Mothers Etude 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261, 3, 6, 7 “Magic 6th” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Magic 6th Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Modal becoming functional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Tonal thoughts, Hidden tonalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Diminished Etudes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Harmony of the Blues, Five Blues Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Diatonic Substitution: Tune examples for advanced bracketing & modal reharmonization . . . . . . . . . . . 62Stella by Starlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64All the Things You Are . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Giant Steps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Modal Mothers Etude 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Blue Bossa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Reference Material (pg 78):

Melodic voicings (functional & modal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Major 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Dom 7 (Mixolydian) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Minor 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Minor 7(b 5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Dom 7 (Alt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Dom 7 (Lydian-Dominant) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Dom 7 V sus (modal Mixolydian) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Modes with relatives, 7-position scale shapes w/ voicings embedded . . . . . . . . . . . . . . . . . . . . . . 947 Major modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 947 Harmonic Minor modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1157 Melodic Minor modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Other scales, ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Double Harmonic/Hungarian Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Harmonic Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162(Brahms) Lullaby in Harmonic Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Symmetrical Scales:Whole-Half Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Half-Whole Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Whole-Tone Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Augmented Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Voicing Modes

1

Introduction

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 always point the player to the right chord tones in relation to the sound. In other words, 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 few 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 whether or not the chord is functional in a progression or static in its modality.These essential tones are not always 1,3,5,7 (tertian harmony - stacked in 3rds).

While most chords in jazz and improv-based music are expressed in one of four tertian-voicing archetypes (Major, 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 written in the last 50 years (and in Classical music, 150 years) one must add a few other archetypes. While those indicated in this book are not exhaustive, they will open your ears to other ways of expressing harmony while still staying true to the key center.

While exploring other ways to voice the modes, keep in mind that these are not just for comping and soloing. Feel free to use them as a starting point for composition and reharmonization. The use of “pivot voicings” instead of just pivot chords can open up your understanding of harmonic relationships in multiple ways.

Enjoy exploring.

-Noel

P. S. This book is way more fun if you use a looper pedal.

Second edition notes: Typo corrections, clarifications, TAB added to all edudesThird edition notes: Additional etudes, expanded modal subs section, added blues chapter

More more info, charts, videos, and free web app: http://noeljohnston.com/voicingmodes.php

Now go eat before you turn the page...

http://noeljohnston.com/voicingmodes.php

Voicing Modes Voicing Modes

9

V. G Mixolydian♭2

D Locrian♮2 ♮6 (Dorian ♭5)

D° Dø, Dø9

D°7 D9sus (no 5th)

E Altered♮5 (Phrygian ♭4)

Em E, E+ Em7 E7, E7(♯9)

E7(♭9), E7(♯5)

Em7(♯5) (C2/E)

B Locrian ♭♭ 7

B°

B°7

B°7(♭6/♯5)

C Harmonic Major (Ionian ♭6)

C

Csus, Csus2, C+

C∆7, C∆9

C∆7(♭6) “Herbie”

Csus2(♭6) “Aeolian”

Csus(♭6), C∆7(♯5)

F Melodic Minor ♯4 (Lydian Minor)

Fm Fsus2, F° Fm∆7, Fm∆9 F°7, F°∆7

A♭ Lydian-Aug♯2 A♭+

A♭°

A♭∆7(♯5), A♭∆7(♯5♯9)

A♭∆7(♯5♯11), A♭∆7(♯9♯11)

A♭∆6 (no 5) “Magic 6”

A♭°7, A♭°∆7

A♭°7(♭6/♯5)

G Mixolydian♭2

(Phrygian-Dominant♮6)

G Gsus G7, G7(♭9),

G13(♭9) Gsus(♭9) “Phrygian”

G6

Larger size modal relative diagrams are in the reference section of this book starting pg. 94.

For interactive modal relative diagrams, download the "Voicing Modes" iOS app, or check out the "Voicing Modes" web app at http://noeljohnston.com/voicingmodes.php

Phrygian


Voicing Modes Aeolian

19

i. G Double Harmonic Minor (Hungarian Minor, Harmonic Minor #4)

A Mixolydian♭5♭9 A(b5) A7 (no 5) A7(b5), A7(b9 b5) A6 (no 5th) A13 (no 5) A13(b9)

F♯Ultralocrian ♮5 (Phrygian b4 bb7)

F#m F#, F#+ F#m6 F#6 F#°7(♭6/♯5)

B♭ Ionian ♯5 ♯2 B♭+

B♭∆7(♯5)

B♭∆7(♯9♯5)

B♭6 (no 5th)

B♭∆6 (no 5) “Magic 6”

B♭sus (♭6 ) (no 5)

B♭°7(♭6/♯5)

G Dbl-Harm Minor Am A° Am∆7, Am∆9 A°∆7 Asus2(♭6) “Aeolian”

C♯ Locrian♭♭3♭♭7 C♯sus2b5 (“bb3”)

C♯°bb3 (D#7/C#)

C♯sus2♭6 (♭5) (A7b5/C#)

C♯sus♭6 ♭2 ( D /C#)

E♭ Lydian ♯9♯6 E♭

E♭m, E♭°

E♭∆7, E♭∆7(♯9), E♭∆7(♯11)

E♭7, E♭7(♯9), E♭7(♯11)

E♭m∆7, E♭m7

E♭m7b5, E♭°∆7

E♭7(∆7)

D Dbl-Harm Major D

D+, Dsus

D∆7

D∆7#5

D∆7(♭6) “Herbie”

Dsus(♭9) “Phrygian”

Dsus(♭6)

Larger size modal relative diagrams are in the reference section of this book starting pg. 94.

For interactive modal relative diagrams, download the "Voicing Modes" iOS app, or check out the "Voicing Modes" web app at http://noeljohnston.com/voicingmodes.php


Voicing Modes

23

Aeolian

Aeolian Etude #1Noel Johnston

&TAB

44 .˙ œ œŒ .‰̇jœœœ ˙˙˙

0 0 23

002

Asus2(b6)

Afro-Cuban/Swing {m q = c 120}

.˙ œ‰ œ œ œ# ˙̇̇

23

423

24

B7 (b5).˙ œ œŒ .‰̇

jœœœ ˙˙˙

0 0 33

002

Asus2(b6)

w‰ œ# œ ˙3 œ ˙3 jœ ˙

64

5

C±#5

&5 .œ Jœ .œ Jœ

‰ ...œœœ ‰ ...œœœ#

0 0 2 2

122

423

A m B7 (b5).œ Jœ .œb Jœ‰ ...œœœ# ‰ ...œœœ

3 3 6 6

546

657

C±#5 F/Eb

.œ Jœ .œ Jœ‰ ...œœœ# ‰ ....œœœœ

0 0 0 0

959

10998

C±#5/E F±#11/E

.œ Jœ ˙‰ ....œœœœ## ‰ ....œœœœ

0 0 0

129

1311

13101412

E±7 F±7/E

&9

œœœœœ Jœ œ œ œ œ# œ œ œ#3

3

1212141512

1514

1212 11

1210

13

Asus2(b6) B(b5)

Str. 8ths ˙ ˙#œœœœ## jœ œ œ œ œ œ œ œ

3 3

06

89810 10

89

8 75

56

G#/A Am(∆9)/G#

Str. 8ths

œœœœœnb jœ œb œn œ œœœœ### œœœœbN3

3

55878

78

55

98

107

6576

F7(∆7)E±#5 F7/Eb

&12

œœœ œœœ ˙˙˙̇̇œ œ œ œ# œU

gggg œ œ œ"U

1097

543

00233

8 70

4 1 03 2

C 6 Asus2(b6) F±#11

rit.

œ œ œ œ œ œ œœœœœ#U

03

20

00

0890

8

Asus2(b6) C±#9

freely

Aeolian Etude #1Noel Johnston

•This etude should be played chord-melody style•It only uses one parent scale - Hungarian Minor (also known as Double Harmonic Minor or Harmonic Minor #4). Asus(b6) is used often.•As an experiment, record the chord changes in a looper and improvise using A Aeolian arpeggios.•See the reference section for Hungarian Minor scale shapes, & modal relatives with voicing options.

Voicing Modes

26

Voicing Modes "Modal Mothers"

Voicing Modes

27

"Modal Mothers"

&TAB

44 œb œ œ œ œb œ œœ

6 107

7 88 10

10

F7 œb œ œ œ œb œ œ œ11 10

10 88 7

710

wb

6

&TAB

44 œ œb œ œ œ œb œ œ

10 1110 12

12 1312

10

F7 œ œ œ œb œ œ œ œb10

1012

13 1212 10

11

w

10

&TAB

44 œ œ œb œb œ œ œbœb

88 9

8 1010 11

11

F7 œ œb œb œ œ œb œb œ8

1111 10

10 89 8

w

8

&TAB

44 œ œ# œb œ# œ œ# œbœ#

5 96

6 76 8

9

F7 œ œ# œb œ# œ œ# œb œ#5

98 6

7 66

9

w

5

For example, "Modal Mothers" in a major key would be 3-4-6-7 relative to the parent key. A V7 chordproviding the context (Mixolydian) it would yield 6-b7-2-3 relative to that sound:Here's an F7 chord in the key of Bb

Modal Mothers in melodic minor would be 2-b3-5-6 relative to the parent key. A IV7 (in melodic minor) chordproviding the context (Lydian-Dominant) would, just like Mixolydian, yield a 6-b7-2-3 sound:Here's an F7 chord in the key of C melodic minor:

Modal Mothers in harmonic minor would be 1-2-5-b6 relative to the parent key. A V7 (in harmonic minor) chordproviding the context (Phrygian-Dominant) would yield a 1-b2-4-5 sound:Here's an F7 chord in the key of Bb harmonic minor:

Let's take a look at another chord in melodic minor.Modal Mothers in melodic minor would be 2-b3-5-6 relative to the parent key. A VII7 (in melodic minor) chordproviding the context (Fully Altered, aka Superlocrian) would yield a #9-3-#5-b7 sound:Here's an F7 chord in the key of E melodic minor:

Try this: Find the tonality/key center and use the 1-b2-4-5 / 1-3-#4-7 / 1-2-5-b6 / 1-4-b5-b7 interval setappropriate to the key center and try it with various voicings related to that key.

Voicing Modes

28

Voicing Modes "Modal Mothers"

&

TAB

44 œb œ œ œ œb œ œœ

6 107

7 88 10

10


10 88 7

710

œb œ œ œ œb œœ œ

6 107

7 88 10

10

œb œ œ œ œb œ œ œ11 10

10 88 7

710

&

TAB

œ œ œ œb œ œœ œb

8 1010 11

107

8 9

Bb7 œ œb œ œ œ œb œ œ8

9 87

1011 10

10


8 1010 11

107

8 9

œ œb œ œ œ œb œ œ8

9 87

1011 10

10

&

TAB

œ œb œ œ œ œbœ œ

8 98 10

10 1110

8

Eb7 œ œ œ œb œ œ œ œb8

810

11 1010 8

9


8 98 10

10 1110

8

œ œ œ œb œ œ œ œb8

810

11 1010 8

9

&

TAB

œ œb œ œ œ œb œ œ œn œ

8 9 8 7 8 11 13 11 10 11

Abmajœb œb œ œ œ œ œb œ œn œ

11 13 11 10 1110 11 10 9 10

œb œ œ œ œ œb œb œ œ œ

8 10 8 7 89 11 9 8 9


810

11 1010 8

9

Gmi7(b5) C7(b9)

using the 1-b2-4-5 / 1-3-#4-7 / 1-2-5-b6 / 1-4-b5-b7 interval set appropriate to the key center 6-b7-2-3 if mixolydian or Lyd-dom, 1-b2-4-5 if Phryg-dom, #9-3-#5-b7 if Altered (etc)

"Modal-Mothers" Etude: Sweet Georgia Brown

You may have noticed that the "Essential Phrygian" and "Essential Aeolian" structure is related as they are inversions of each other. There are two other inversions, the 1-3-#4-7 (Lydian) and the 1-4-b5-b7 (Locrian).These 4 Modal Mothers fit in many tonalities. You can use this intervallic structure on related chords.

Voicing Modes

29

"Modal Mothers"

&

TAB


6 107

7 88 10

10


10 88 7

710


6 107

7 88 10

10

œb œ œ œ œb œ œ œ11 10

10 88 7

710

&

TAB


8 1010 11

107

8 9

Bb7 œ œb œ œ œ œb œ œ8

9 87

1011 10

10


8 1010 11

107

8 9


9 87

1011 10

10

&

TAB


8 98 10

10 1110

8

Fmi œ œ œ œb œ œ œ œb8

810

11 1010 8

9

Gmi7(b5) C7(b9)


8 98 10

10 1110

8

Fmi œ œ œ œb œ œ œ œb8

810

11 1010 8

9

Gmi7(b5) C7(b9)

&

TAB

œ œb œb œ œ œ œbœ

1 21 3 5

5 65

Ab7 G7

œ# œ œ# œ# œ œbœ œ

6 76 8

7 88 10

F#7 F7 œ œ œb œ œ œb œ œ10 8

9 810

11 1010

Bb7 Eb7œ œb œ œ ˙

89 8 3

3

Abmaj(G phryg-dom because of theb2 and n4 in the melody)

Voicing Modes

38

Voicing Modes The "Magic 6th"

&TAB

&TAB

44

44

œ2

œ# œ# œ# 4 œ4 œ œ œ

76

89 12 10

910

˙̇̇˙### ˙˙˙̇

9867

710910

B±7(6) C±7(6)

œo œ2

œ1

œ1

œb4

œ œ œ

0

32

26

55

3

˙̇̇̇ ˙̇˙˙̇b4223

33556

G±7(6) Eb±7(6)

œ1 œ4 œ1 œ œ œ œb œ3 8 3

35

56

5

wwwww

œ4

œ#1 œo œo œo œ# 3 œ1 œ4

74

00

011

812

˙̇̇˙˙# ‰...œœœ#

00047

12811

G±7(6)

&

&

5

œ# 4 œ œ œ œb 3 œ œ œ

14 1212

1213

1213

10

˙̇̇# ˙˙˙̇b

141212

10131213

G±7(6) Eb±7(6)

œ4 œ œ œb œ# 4 œ# œ2 œ# 2

1513 15

11 16 1112 11

˙̇̇̇b ˙̇̇˙̇####

15151213

1616151314

B±7(6)

œ# œ# œ2 œ# 1 œ# œ# œ œ#13 8

9 811 6

7 6

˙̇̇˙̇ ˙̇̇̇###

8667

œb2

œ œ œ œb œ œ œ1

43

3 5 65

63

˙˙̇̇b˙˙˙̇b

0334

3656

Ab±7(6)

Magic 6th Etude #1Noel Johnston

Magic 6th Etude #1 Noel Johnston

•This one sticks to only 1-3-6-7 voicings. Both chords and lines.•The chord shapes and lines are supposed to mirror each other on the same place on the neck (and are suggested fingerings/positions - feel free to come up with your own sustained arrangement). I call this the "Jim Hall Method" - where lines and chords are conceived in the same part of the brain. As with the other etudes, try to think of these lines as voicings instead of just single-line 'shred' arpeggios. Guitar as a hybrid line/chord instrument is unique in this way.•The tune, harmonically, only uses three key centers: B, G, & Eb. (Giant Steps) The Magic 6th voicing works on the I & IV chords of each key. See page 68-73 for more Giant Steps modal reharmonization examples for comping over this etude.

Voicing Modes

39

The "Magic 6th"

&

&

œ4 œb œ œ œ œb œ œ

3

65

5 7 88

8

wwwwb8556

Eb±7(6)

œ1 œ œ œ œ3 œ œ œ7

109

10 9 77

8

˙˙˙̇ ˙̇̇710910 9

78

C±7(6)

œ2 œ œ œ# œ œ œ œ#

32

2 4 54

52

˙̇̇ ˙˙˙̇#

223

2545

G±7(6)

œ4

œ# œ# œ# œ# œ3 œ œ#

76

64

48

96

˙̇˙˙̇#### œœœœœ...œœœ#

44667

698

E±7(6) B±7(6)

&

&

œ# 1 œ# 4 œ1 œ# 4 œ# œ# œ œ#1

48 4

8 66

7 6

wwww###4448

B±7(6)

œb1

œ œ œ œb œ œ2 œ2

4 88

5 65

6 8

wwwwb6534

Ab±7(6)

œ4 œb 1 œ œ œ œb œ œ

106 10

107 8

88

wwwwwb88756

Eb±7(6)

œ œ# œ# œ# œ œ œ œ

7 69

89

89

6

wwww###

6989

B±7(6)

2

Voicing Modes

40


Magic 6th Etude #2

&TAB

44wwwww ˙

1010978

10

F±7(6) ww œb œn ˙

10

86 7

F#5 - 6 wwwwb

˙

8756

5

Bb±7(6)w œ œœœ ˙̇̇

5

877

F±7(6)

&5

wwwb˙

756

8

Bb±7(6)˙˙˙̇b ˙̇b

œ œb œ

556

12

35 3 2

Eb±7(6) Gb6(no5) Gb o7wwœb œ œ œ

03

3 2 31

Gm

wwwwb ˙

3556

3

Eb±7(6)

&9 œ œ# œ# œ# œ œ œ œ

54

67 12

119

10

A±7(6) D±7(6)œ œ œ œ œ œ œ œb

87

910 15

1412

13

F±7(6) Bb±7(6) œ œ œ œ œ œ œ œ12

1514

15

1010

1014

F±7(6)

& ........

12

œ œ œ œ œ œ œ# œ

55

77

87

65

F±7(6) F±#5‰ œ œ œ œ# œ œ œ

3 77

4 54

5

G±7(6)œ# œ# œ œ œ œ# œ œ7

9 77

7 69 0

D±7(6)

Magic 6th Etude #2Noel Johnston

Noel Johnston

•This one uses mostly "Magic 6th" (1-3-6-7) voicings appropriate for the key centers of the tune, Alone Together.•Key centers used in order of appearance: F major, D harmonic minor, Bb major, G harmonic minor, A major, D major, F harmonic major, C major, F melodic minor.

Voicing Modes

41

The "Magic 6th"

&15

wwwwwb58756

Bb±7(6) wwwwwb#

57756

Eb±#11#9 wwwwwb58756

Eb±7(6) wwwwb101078

Bb±7(6)

&19

wwwwwbb11334

Db±7(6)

˙ ˙˙̇̇̇b ˙̇̇̇bb

0 0

12131211

91098

Db m±7 A Bb m±7 A ˙̇˙˙̇ ˙̇̇˙b

55778

8756

F±7(6) Bb±7(6)˙̇̇˙

˙̇̇̇#3201

5234

F±7(6) F±#5 #

&2

wwwww ˙

1010978

10

F±7(6) ww œb œn ˙

10

86 7

F#5 - 6 wwwwb

˙

8756

5

Bb±7(6)w œ œœœ ˙̇̇

5

877

F±7(6)

&2

wwwww710978

±7(6)˙̇̇ ˙̇b˙b

œb œn

653 5

64

6 7

Ab±7(6) Bb o7 Bb6(no5)wwww ˙

5778

5

F±7(6) www#

12

141014

F±#5 E12

2

Voicing Modes

42


&

TAB

44 œ œ œ œ œb œ œœ

0 32

26

55

3

G6J(omit5) Eb6J(omit5)8

œ œ œ œ œb 3 œb œb œb

33

55 8

3

98

9

Cb6J(omit5)6

œb œb œb œb œb œ œb œn

69

89

98

8 10

Db6J(omit5)8

œ œ# œ œb œ# Œ

1211

129 14

D6J(omit5)9

&

TAB

œ œ œ œ œ œb œ œb

12 1010

108

1110

11

F6J(omit5)10

Db6J(omit5)8

œb œ œb œ œ# œ# œ# œ#6

66

10

44

66

Db6J(omit5)6 E6J(omit5)

9

œ œ# œ# œ# œ œ œn œ

7 6 44 1 5

52

F6J(omit5)

œ œ œ œ œ Œ

32

3 55

&

TAB

œb œ œ œ œbœb œb œb

65

5 7 98

96

Bb6J(omit5)5 Cb6J(omit5)

6

œb œb œb œb œ œ# œ œ#

7 69

85 9

96

D6J(omit5)5

œ œ# œ œ# œ œb œ œ

77

7 9 10 6 58

Bb6J(omit5)5


8 7 55

6 5 3

&

TAB

œ# œ œ# œ œ#œ œ# œ#

22 4 5

44

22

D6J(omit5)7


65

5 7 87

85

Bb6J(omit5)5


6 1010

7 88

8 10

Eb6J(omit5)6

œ œb œ œb œ œb œ œb8

1110

11 10 88

9

Db6J(omit5)8

Using 1-3-6-7 on the I and/or IV of the Major tonalities, and on the III of the Melodic Minor tonalitiesMagic 6th Etude #3 (Countdown)

Keys: D Major . . . . . . . Bb Major . . . . . . . . . . . . . . . . . . . . . . . Gb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bb Melodic Minor . . . . . D Major . . . . . . . . . . . . . . . . . . . . .|

Keys: C Major . . . . . . . . . Ab Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|

Keys: Bb Major . . . . . . . . . Gb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|

Keys: D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bb Melodic Minor . . . . . . . . . . . . . . . . .|

Voicing Modes

44

Modal Becoming Functional

Enharmonic equivalenceSome sounds, when “modally voiced” (with upper extensions in the lower register) can actually become functional. In other words, some modes contain 2nds, 4ths, or 6ths which are enharmonically equivalent to intervals that make up common sounding triads and seventh chords. Some enharmonically equivalent intervals (written differently, but the sound is the same pitch on an equal tempered instrument): # 2 = b 3 b 4 = n 3 # 4 = b 5 # 5 = b 6 n 6 = b b 7

Chord examples:

•Example 1: F Lydian #9 (6th mode of A harmonic Minor):

1, # 2, 3, # 4, 5, 6, 7

1-3-5 triad is an F Major triad

1-# 2-5 is “Fsus # 2” which is enharmonically equivalent to an F Minor triad.

1-# 2-# 4 is “Fsus # 4 add # 2 (no 5th)” which is enharmonically equivalent to an F0 triad

Similarly,

1-3-5-7 is F∆7

1-# 2-5-7 “F∆7sus#2” (who wants to read that?!) is enharmonically equivalent to an Fm∆7

1-# 2-# 4-7 “Fsus#4∆7 add#2 no 5th” (boo!) is enharmonically equivalent to an F0∆7

1-# 2-# 4-6 “F6sus#4#2 no 5th” (yikes!) is enharmonically equivalent to an F07

Voicing Modes

45

Modal Becoming Functional

•Example 2: Super Locrian/Altered (7th mode of Melodic Minor):

1, b 2, b 3, b 4, bv 5, b 6, b 7

When voiced in 3rds, it is a Half-Diminished chord: 1, b 3, b 5, b 7

BUT... if you voice the b 4 as foundational, it’s perceived as a n 3rd - and against the b 7 it makes the dissonant tritone - the most common way to voice this sound is actually a DOMINANT 7th sound:

This scale is typically thought of as 1, b 9, # 9, n 3, b 5, # 5, b 7 (“Fully Altered”)

•Example 3: Altered b b 7 / "Ultralocrian" (7th mode of Harmonic Minor):

1, b 2, b 3, b 4, b 5, b 6, b b 7

When voiced in 3rds, it is a Fully-Diminished chord: 1, b 3, b 5, b b 7

BUT... if you voice the b 4 as foundational, it’s perceived it as a n 3rd - making it a major voicing - and the b b 7 then sounds like a n 6 making the voicing like a MAJOR 6th sound:

With that in mind, check out these 8 different diminished flavors of Harmonic Minor and Harmonic Major:

Voicing Modes

48

Voicing Modes Diminished

Diminished idea #1°7 arpeggio on B & D strings, with flavor notes on G-string

Just to let those variations sink in a bit more, check out this very guitaristic fingering of these various diminished sounds. Compare them to the symmetrical diminished. Some of these sounds are very useable in the context of blues licks.

Voicing Modes

51

Diminished

Things to consider when you see a diminished chord (or any chord, for that matter): • Is it possible that you can treat the diminished chord as part of a specific tonality (instead of automatically playing diminished scale stuff on it)?• Is it more appropriate to think of it as part of a cadence in one tonality, or as an isolated sound among shifting tonalities?• Do you find it easier when thinking of it in a tonal context to improvise longer, or more musical phrases?• Is it more interesting to your ear one way or the other (tonal vs non-tonal)?• Do you leave space on diminished chords? Is it because you want to, or because you know you won't like what you'll play?• Is it really only a passing chord? Is it an "old fashioned" sound?• Sometimes the diminished chord can be substituted for another tension chord (dom 7) based on the next chord, but many times it is not really the sound the composer intended (For example, the b3º and parallel diminished: biiiº & iº7-->IΔ )• There's no right way all the time, but there's something special about sticking to a tonality for more than just one chord.

Hidden tonalities disguised by simple chords:See if you can figure out ONE TONALITY that fits each of these chord progression examples. Keep in mind there can be some mystery in each chord - instead of a colorful chord revealing a lot of notes at once (a "jazz chord"), the tonality of the sound can be disguised amongst simple chords, thus revealing the tonality only in the full context of the progression. This simple-chord concept works well in non-jazz styles because simple chords (like triads) are familiar to people's ears, allowing other aspects of the music (such as melody, texture and timbre) to be the focal point:

1. D # º7 A/E 2. D º7 A 3. D D º7 A(no 5th)

4. B bº (triad) A b/C//C B bº/D b A b/C//E b 5. Dm C # º7 B bº7 B b Δ7 6. C *E b 6 (no 5th) G6 (no 5th) B 7. A b E b m D b m G b 8. C # 6 (no 5th) Dm B bº7 B b 6 F 6 (no 5th) A 7/C//C # 9. E b/C/2/G F/A D b 6 (no 5th) 10 . B b 6 (no 5th) D 6 (no 5th) F # 11. F F7/E b Am/E E 12. B b m A b 6 (no 5th) Gm (no 5th) E 6 (no 5th)

Option Anxiety:There are 11 possible diminished sounds (four harmonic minor, four harmonic major, two symmetrical diminished, and also blues) and an additional 5 tonal sounds if only a diminished triad is required.Is it any wonder that people freak out when they see a diminished chord?

1. A Lydian#9 (6 of C# Harmonic Minor), A Blues, or 1/2-W diminished2. A Harmonic Major3. A Ionian #5 (3 of F# Harmonic Minor)4. Ab Mixolydian b6 / "Aeolian Major" (5 of Db Melodic Minor), A Harmonic Major or Bb Blues5. B b Lydian #9 (6 of D Harmonic Minor)6. C Lydian #9 (6 of E Harmonic Minor), or C Lyd #9#6 (6 of Hungarian Minor)

7. A b Mixolydian b6 "Aeolian Major" (5 of Db Melodic Minor)8. D Harmonic Minor9. B b Melodic Minor10 . B Harmonic Minor11. F Lyd #2#6 (6 of A Hungarian Minor)12. B b Dorian #4 (4 of F Harmonic Minor), or B b Blues

*The "6(no 5th)" chord is really a 1st inversion minor triad, but it can be savored as kind of major.

"Chromaticism destroys tonality"-Dan Haerle

"But, wait! Maybe it doesn't. Maybe it just adds intrigue and clouds everything in mystery!"-Dan Haerle

Voicing Modes

56

Voicing Modes Harmony of the Blues

& œb œb œb œn œ œb œb œb œ œb œn œ œ œb œb œ œb œn œb œn œ œ œb œb

& wwwbBb

wwwbbBbmin

wwwbbbBb`

wwwbbBbsus

wwwbBbsus2

wwwbbBb7(shell)

wwwwbbBb7

wwwbbbBbmin7

(shell)

wwwwbbbBbmin7

& wwwwbBb6

wwwwbbBbmin6

wwwwbbbbBbmin7(b5)

wwwwb∫bbBb`7

wwwwbbBb9 wwwwb

bbBb7sus

wwwwbbbBb7(ad d 4)

wwwwbbb

Bb9sus

& wwwwb#bBb7(#9)

wwwwbbb

Bb7(b5)

wwwwbbBb7(#11)

wwwwbbBb9(#11) wwwwwbb

Bb13 wwwwwbbBb13(#11)

wwwwbBb2

wwwwwbbbbBbmin9(b5)

Harmony of the Blues*(Blues in a 12-tone environment)

Blues is not necessarily major or minor, but can be either, both (held in tension at the same time) or something else entirely. Even thoughtraditional western harmony, (with its major-or-minor-key dichotomy) has a tougher time explaining it, blues is a tonality with multiple different flavors.The tension of the b3 vs the 3, and the b5 vs the 5 are some of its various defining sounds, yet this can't easily be expressed chordally.

Unless one is talking about the chords in a blues progression, the blues is uniquely melodic in nature. This because its intervals don't neatlyfit into the equal-tempered system of intonation, and why i'm a little hesitant to suggest a chordal structure using it.However, while the human voice and some instruments are capable of achieving the "in-between" notes, we make music in a 12-toneenvironment alongside others who are confined to this equal-tempered system. The adaptation of the blues to this environment is one ofthe most important roots of jazz.So I'll go ahead and talk about the commonly taught BLUES SCALES and how they can be voiced:

The blues scale (aka "minor blues scale") has the interval structure: 1, b3, 4, b5/#4, 5, b7The major blues scale has the interval structure: 1, 2, b3, 3, 5, 6 (having the same interval structure as the minor blues starting on the b3)

If you take the intervals from BOTH scales starting from the same root, you get a magical HYBRID BLUES scale:1, 2, b3, 3, 4, #4/b5, 5, 6, b7

(minor blues: 1, b3, 4, #4/b5, 5, b7) (major blues: 1, 2, b3, 3, 5, 6) "hybrid" blues scale: 1, 2, b3, 3, 4, #4/b5, 5, 6, b7

The blues sound is not tied to a specific chord quality, but it's most often associated with dominant 7th chords, however...FUN FACT: This 9-note scale contains a LOT of different CHORDS:

Voicing Modes

57

Harmony of the Blues

& œb œ œ œb œ œ œb œb

& œb œ œb œb œ œ œb œb

& œb œ œb œN œ œ œb œb

& œb œ œ œ œ œ œb œb

& œb œ œb œb œb œ œb œb

& œb w wb œn œb œn w w œb œb

& wb œ œb œn wb wn œ œ wb wb

& œb w œb wn œb œn œ w wb œb

Another fun fact: The hybrid blues scale contains the notes of these FIVE tonal scales:(100% correct - all 7 notes are one of the 9 hybrid blues scale notes)

Mixolydian

Dorian

Dorian #4

Lydian-Dominant

Locrian n2 n6

(V of Eb Major)

(ii of Ab Major)

(iv of F Harmonic Minor)

(iv of F Melodic Minor)

(ii of Ab Harmonic Major)

(Extra nerdy section)Remember the modal mother patterns (such as the 1-b2-4-5 "Essential Phrygian" set)? Let's see if that fits anywhere in the interval structure of the 9-noteHybrid Blues scale.(Yep. It does. In Three places!)

on the 2

on the 4

on the 6

This will have a Dorian flavor.Will fit in the 2nd and 3rd examples above

This will have a Locrian flavor.Will fit in the 5th example above

This will have a Dominant flavor.Will fit in the 1st and 4th examples above

↑ ↑ ↓↑

↓ ↑ ↓↑

↓ ↓↑ ↓↑

↑ ↓↑ ↓↑

↓ ↓ ↓↑

*Big Disclaimer: This stuff is NOT blues. It's how you play the notes that matters

Voicing Modes

58


& œb œb œn œb œn œb

& œb œn œb œn œ œ œ œb œb œ# œ œ œ œ# œ œb

& œb œ# œ œ œ œ œ œb œb œb œb œ∫ œ œb œb œb œb œn œ œ œ œ# œb

& œb œ œb œ œ œb œ œb œb œ œb œ œ œ œ œb œb œ œ œ œ œ œ œb

& œb œb œb œb œb œ œb œb œb œ œb œb œb œb œb œb œb œb œb œ∫ œb œb œb œb

OK, check this out: Here is something that could be called the tritone blues hexatonic scale but should really be called six really important blues notes. If we take thesenotes as a kind of blues essence (especially making use of the bent blue notes between the b3 and 3, and the b5 and 5), we can discover some additional sounds thatbecome useable in blues.

1 b3 - 3 b5 - 5 b7

(Extra Extra nerdy section)

(These two contain all 6 of the above, but have one "forbidden" note according to the 9-note Hybrid-Blues scale)

Lydian #2 #6 -VI of Hungarian minor (almost right - forbidden note = ∆7)

Honorable mention: These three almost right tonalities contain the 'sass' of min7b5Locrian n6 - ii of Harmonic minor(4 out of 6, 1 forbidden = b2)

Locrian n2 - vi of Melodic minor(4 out of 6, 1 forbidden = b6)

Altered/Superlocrian - vii of Melodic minor(5 out of 6, 2 forbidden = b2, b6/#5)

1/2-Whole diminished (almost right - forbidden note = b2)

Lydian #2 -VI of Harmonic minor(5 out of 6, 1 forbidden note = ∆7)

Altered n5 - III of Harmonic Major(5 out of 6, 2 forbidden = b2, b6)

Tritone Scale(5 out of 6, 1 forbidden = b2)

Hungarian minor(4 out of 6, 2 forbidden = b6, ∆7)

Lydian-minor - iv of Harmonic Major(4 out of 6, 1 forbidden = ∆7)

1 b3 - 3 b5 - 5 b7 1 b3 - 3 b5 - 5 b7

1 b3 b5 b7 1 b3 b5 b7 1 b3 - 3 b5 b7

1 b3 - 3 b5 - 5 1 b3 - 3 5 b7 1 3 b5 - 5 b7

More almost right sounds to try:

Lydian - IV of Major(4 out of 6, 1 forbidden = ∆7)

1 b3 b5 - 5 1 b3 b5 - 5 1 3 b5 - 5

↓ ↑ ↓ ↑ ↑

Voicing Modes

59


&

TAB

44 œœbb . ‰ jœœ Ó

86

.86

œœbb .‰ jœœ Ó

86

.86


86

.86

œœbb .‰ jœœ Œ ‰ Jœ

86

.86

8

&

TAB

œb œn œb œœb œœ œœ œœb œœb

6 76 6

968

66 8

866

œœn œb œ œb œb œb œn œ

67

88

66 4 5

8


86

.86

œœbb .‰ jœœ Œ ‰ Jœ

86

.86

8

&

TAB

œœb œb œœ œ œœ œ œœb œ

66

866

866

888

8

œœœbb œœœ œœœ œœœ œœœbb œœœb ‰ œ œb3

91011

91011

91011

91011

888

666

86

œb œ œb œ œ rœ œb . œ œ œb3

98

66 8 9.

8 63

rœ œb . œ œb œ rœ œb . œ œ œb5 6.

5 33 5 6.

5 31

&

TAB

œb . ‰ jœœb Ó

3.

31

œœbb .‰ jœœ Œ

œ

86

.86

9

œ œ œ œ œ

69

69

6

œ œb œ œ œ œ œb œ œ œb œ œ3 3

6 9 69

69 6 9 6

86

8

Five Blues SoundsHere are 5 different flavors of blues. 5 different tonalities imbedded in the hybrid blues scale. Changing tonalities can be shocking at first, (like drinking orange juice right after brushing your teeth) so feel free to spend more time in each sound to get used to it.This collection of blues licks is all over Bb (looper recommended)

Bb Pedal

Bb dominant blues (mixolydian)

Bb dorian blues

Bb dorian #4 blues

Voicing Modes

60


&

TAB

œb œb œ œ œ œ œ œ œ œb œ œb3

3

6 8 68

68 7 8 7

97

6

‰ œbœœœbb œœœ Jœœœ œœœ œ œ

6

666

666

555

666 2 3

œb œb œ œ œ œ œ œ œ1

œ1

œb œ œ œ œb œ

32 5 6 5 2

33 2 5 6

65 8 9 8

œ œb œb œ1 œ1 œb œ œ œ œb œb ‰ Jœ

56

6 5 6 86 9

8 9 11 9

&

TAB

œb œb œ œ œ œ œ œb œ œœb œ

3 3 3 3

11 912 9 12

9 119 12 15 (15)

œ œ rœb œb œ œ œ œb

13 13 1618 (17) 14

œb œb œb œ œ œ œb œb

1514

13 1515 14 11

13

œb œ œb œ œbœœœb

13 1313

6

665

1/2full

full

&

TAB


86

.86


86

.86

....˙˙̇̇bb

rœœœœb œœ

5766

6

6

88

55

..˙̇ œ œ œ3

8 5 8

&

TAB

œ œ œ œ œ œb œ œ œ œ œ œb œb6 5

7 56 5

8 7 58 6 4

œb ‰ Jœb œnœb œb œ œb3

6

6 76

9 119

3

rœ# œ rœ# œn œ œb œ œb Œ3

11 911

109

rœ# œœ rœ œœ œœ œb œ œ ≈ œb œ œ3

14 14 1110

12

11 1514

13 13

1/2 1/2 1/2 1/2

1/2 1/2 1/2 1/2

&

TAB

œ œb œ œ œ œb œ œ œ œ œ ≈.œ œ

12 1313

12 15 16 15 1213

13 1212 8

œb œ œ œb œ œ œb œœ œœ Œ6

99

1011 7

8 6

76

76

œbrœœœbœœœb œœœ œœœ œœ œœ œœ

3

6

656

878

878

656

55

66

55

ww

Bb dorian #4 blues (cont.)

Bb lydian-dominant blues

Voicing Modes

61


&

TAB


86

.86


86

.86

wwwwbbbb

5666

Bbmi7(b5)

wwwwbbbb

4667

Fb6J(omit5)

&

TAB

wwwwbbb

8566

Bbmi9(b5)

....˙̇̇˙bbbb ‰ jœb

11998

11

Bbº (4)

œb œb œb œb œb œbœb œb œb œb3

3 3

1211 13

13 1413

1111 16 12

œb œb œ œ œb œb œb œb œb

1612

1612

1513 16

1413

&

TAB

œb œb œb œb œ Œ œ œ œ3

1514

12 1615

9 6 9

œ œb œb œb œ œ œ œb œ œ œ œ œb œ œ œ6

9 66

9 68

9 9 68 6

68 6

œb œb œ œb œ œb œ œ œ œb œ œ œ œb œb

78 8 6

7 66

7 69

7 69 6 4

œb ‰ Jœœb œœ Œ

6

65

&

TAB

œœbb œb œœb œb œœbb œ œœ119

9 86

698

8 55

œb œb œ œ œb œ œ œb3

85

85

88 9

11

œ œb œb œ œ œb œb œ œ œ œ3

3œb œ

9 8 9 811 8

1011

108

11 11

œ œb œb œb œ œ œb œb œ œ3 3 3

1 23

2 14 1

34

&

TAB

jœ œb .˙3

31

3


86

.86


86

.86


86

.86

Bb locrian n2 n 6 blues

Voicing Modes

62

Voicing Modes

What is Diatonic Reharmonization?Simply put, it is the changing of a chord for another chord in the same key. Once you have found the tonality* of a particular chord (which the composer consciously intended or not), then you can substitute that chord for another chord in the same tonality. For example, if you are in the key of C Major** you can use any of these chord-voicing options (you can use this concept for diatonic soloing ideas and arpeggios, too). Diatonic reharmonization in C major can include any of these***:

(I) (ii) (iii) (IV) (V) (vi) (vii)C Dm Em F G Am BºCsus Dsus Esus Fsus2 Gsus Asus BØ7Csus2 Dsus2 Em7 F(add2) Gsus2 Asus2 BØ7 (add11)C(add2) Dm(add2) Em7(4) F∆7 G(add2) Am(add2) Bm7(4)(no5)C∆7 Dm7 Em(b 6) F∆9 G7 Am7 Bm7(# 5)C∆9 Dm9 Em7(# 5) F∆7(#11) G9 Am9 C 6/9 Dm11 Esus(b2) F∆13(#11) G11 Am11 C∆13 Dm7(4) F6 G13 Am7(4) C6 Dm6 F6∆7(nº5) G7sus Am(b6) C6∆7(nº5) F 6/9 G6 Am7(# 5) G9sus Asus2(b6) G13sus G 6/9(Some of the above can also be thought of as inversions)

Here are some inversions:

Am/C Bº/D C/E Dm/F Em/G F/A G/BF/C G/D Am/E Bº/F C/G Dm/A Em/B Am7/C (C6) BØ7/D (Dm6) C∆7/E (Em(b 6)) Dm7/F (F6) Em7/G (G6) F∆7/A (Am(b 6)) G7/BF∆7/C G7/D Am7/E BØ7/F C∆7/G Dm7/A Em7/BDm7/C Em7/D F∆7/E G7/F Am7/G BØ7/A C∆7/BG/C (C∆9(nº3)) G7(4)/D Dm7/E C/F (F∆9(nº3)) F/G (G9sus) G13/A F/BAm2/C (C6∆7(nº5)) C2/E (Em7(#5)) Dm2/F (F6∆7(nº5)) F2/A (Am7(#5)) G2/B (Bm7(#5))

etc.

*Not just major key & relative minor, tonality can be Major, Harmonic Minor, Melodic Minor, Harmonic Major, Hungarian Minor, or even symmetrical or synthetic sounds.

**For example, Dm7 - G7 - C∆7 (clearly a passage in C Major)

***Many of the non-inversion options are listed in the "chord-bubble" diagrams throughout this book. (Not only in Major, but also in Harmonic Minor, Melodic Minor, Harmonic Major, and Double-Harmonic, aka Hungarian Minor) The chord-bubble diagrams are also available, in any key, in Major, Harmonic Minor, and Melodic Minor via the iOS app, "Voicing Modes" - available at the Apple app store.

Diatonic Reharmonization

Tune Examples - Diatonic Subs

Voicing Modes Tune Examples - Diatonic Subs

63

Following are some tune examples with reharmonized changes - the reharmonizations follow a strict adherence to the key center the composer intended - they are diatonic substitutions.Not only can you use diatonic subs to change the accompaniment (one type of reharmonization), you can use them to gain new ideas for soloing over the original chord changes (“Bracketing” or “Modal Bracketing”)

Reducing the changes to it’s key center is called “Bracketing”* and it’s often how beginning improvis-ers learn to solo. Changing it to other key-center related changes could be thought of as “Advanced Bracketing.” Assuming you already know and hear how to make the changes, advanced bracketing can expand your vocabulary and idea pallette over a variety of tunes.**

There are two chord-melody arrangements:1. Stella By Starlight (diatonic/modal substitutions)2. All The Things You Are (diatonic/modal substitutions)

Chord changes only, with diatonic/modal substitution options:1. Giant Steps2. Blue Bossa

It helps to play these with a loop pedal to fully grasp the sounds.

Some words of caution:1. When soloing with this concept, be sure to make the real changes if the situation calls for it.2. When comping, be sure to play the real changes if the situation calls for it... Which is almost always.

(The first rule of comping: "Do no harm.")

Standard Tune Examples

*For a primer on "Bracketing," See Dan Haerle's book, "The Jazz Language."**George Russell's 1953 jazz theory work, "Lydian Chromatic Concept of Tonal Organization" favors the Lydian equivalent of any given harmony (except Harmonic Minor). The "Advanced Bracketing" technique here is similar, in that it relates sounds to the parent scale, but doesn't favor Lydian - it allows all seven related sounds equally.

Voicing Modes

64

Voicing Modes Diatonic Subs

& 44 œb Œ Ó w

Bbma7(#11)5

œ œ œ œb

Eb7(#11)5

w

F7sus6

˙ Œ œ

F13sus

w

Ab@/C3

œ œ œ œ

Ab@673

wb

Bb9sus3

˙ Œ œ

Gbma7(#5)2

& œb œ œ œb

F13sus Bbma93

˙ ˙

Fma7(#5)/C#2

.œ Jœ ˙

DÈ(4)

5

˙ Œ œ

Dbma7(#5)4

œb œ œ œ

C9sus6

C7sus8

˙ œ œb

C13(b9)sus8

.œ Jœ ˙

Cmi11

6

˙ Œ œ

Gb@678

& wb

G7(b13)3

œ œb œ œ w

G7(b9)sus3

œ œb 3œ œ œb w

Gbma7(#5)2

œ œ œb œ w

Gaeol

˙ Œ œb

& w

Gmi9

8

œ œ œ œb

Faeol @8

w

Fmi7

6

˙ Œ œ

Ebsus(b6)26

wb

Ebmi74

œ œb œ œ

Ab7(b9)sus4

w

F2/A5

∑

Stella By Starlight (modal sub changes) Music by Victor Young (1944)

Arrangement: Noel Johnston

Voicing Modes

65

Diatonic Subs

& wb

G7(#5)

3

œ œb œ œ w

Cmi11

3

œ œb 3œ œ œb w

Ab7(#11)3

œ œ œb œ w

Bbma95

˙ Œ œb

The process of Diatonic/Modal reharmonization starts with figuring out the most correct sound the composerintended (or matching typical/conventional changes), and then substituting the chord for another tonally-related chord (another sound in the same key).

Let's take the bridge in Stella By Starlight as an example:

Typical/conventional interpretation is:|| G Phrygian-Dominant | C Aeolian | Ab Lydian-Dominant | Bb Ionian ||(not fully-altered, because of the n5 in the melody) (More 1m sounding than Dorian)

This interpretation yields these key centers/parent scales:|| C Harmonic Minor | Eb Major | Eb Melodic Minor | Bb Major ||

Our choices then become any chords in these sounds (Just mix & match - pick a cool bassline or pedal toneand the amount of chordal color desired. Of course you want to make sure the melody sounds good withyour choices:

| Eb Ionian

| F Dorian

| G Phrygian

| Ab Lydian

| Bb Mixolydian

| C Aeolian

| D Locrian

| Eb Melodic Minor

| F Phrygian n6| Gb Lydian-Augmented

| Ab Lydian-Dominant

| Bb Mixolydian b6| C Locrian n2| D Altered

| Bb Major

| C Dorian

| D Phrygian

| Eb Lydian

| F Mixolydian

| G Aeolian

| A Locrian

||

||

||

||

||

||

||

1. || C Harmonic Minor

2. || D Locrian n63. || Eb Ionian #54. || F Dorian #45. || G Phrygian-Dominant

6. || Ab Lydian #27. || B Altered bb7

How to pick modal substitutions:

For performance examples: http://noeljohnston.com/voicingmodes.php


Voicing Modes

66

Voicing Modes Diatonic subs

& 44 wbEb9sus

6

.˙b œb œ œ œ œ

Faeol

8

œ ˙ œ œ œ œ œ

Db lyd

6

œ ˙ œ

Dmi9

6

w}œ

G2/B6

w

& wb

Bb9sus4


Caeol

3

œ ˙ œ œ œ œ œ

D|7

3

œ œ œb œ œ

Ab lyd

3

C|9

3

w}œ

G2/B2

Œ œ œ œ

&.œ Jœ ˙

D 9sus8

Œ œ œb œ

D7(b9)sus8

w

D 13sus5

Œ œ œ œ .œ Jœ ˙

Bphryg

7

B7(b9)sus7

Œ œ œ œ w#

B13sus7

w

Ema7(#5)

7

& wb

Eb9sus6


Faeol

8

œ ˙ œ w

G|7

2

..˙̇bb œœbb

Ema7(#5)

4

œb œ œ œ

Faeol

8

˙ œ œ

Ebma7(#5)

6

œb œ œb œ

Eb9sus6

˙ ˙

Db lyd

8

wb

All the Things You Are (modal sub changes) Music by Jerome Kern (1939)Arrangement: Noel Johnston

Key: Ab C

Eb Eb Mel.Min G

(G)G Harm. Min.or C Mel.Min. G G E Harm.Min E Db Mel.Min

* (or E Harm-Maj)

Ab Db Mel.Min Ab C Harm.Min Ab

Voicing Modes

67

Diatonic subs

& .œ Jœ ˙

F#mi7(b5)10

Œ œ œ œ

B7(b9)1

w#

Ema7

7

w

* Most of the time, the tonality the composer intended is very clear and bracketing the correct key centeris easy. Sometimes it's a struggle.A little note about that section at the end of the bridge:

This is a "minor ii-V to major I" progression and can be interpreted several ways.

F#m7(b5) ii0 B7(b9) V7(b9) EMaj I∆

1. vii of G major V of E Harmonic Minor I of E Major2. ii of E Harmonic Minor V of E Harmonic Minor I of E Major3. vii of G Major VII of C Melodic Minor I of E Major4. ii of E Harmonic Major V of E Harmonic Major I of E Harmonic Major (avoid maj 6)5. vi of A Melodic Minor ii of A Melodic Minor (sus, avoid 3rd) V of A Melodic Minor (avoid maj 6 and maj7)

Which one is the most correct? Context context context (Historical, Musical, Situational)

What did the composer intend? (Cole Porter may have loved option 4 above, but he didn't write this tune)What kinds of sounds did Jerome Kern write?What do the great recordings have?What does the chart say?Is the chart right?Does the melody allow a more advanced interpretation?What sounds good?Who are you playing with? What is the band expecting you to play?What is the audience expecting you to play?Is it ok to not do that?Is the band sensitive enough to hear/accompany you if you play the less common interpretation?Maybe the more advanced way IS easier.Are you good enough to play it convincingly?

Delivering tonality to an audience is an art.

You see how a looper pedal is really handy here?

For performance examples: http://noeljohnston.com/voicingmodes.php


Voicing Modes

68

Voicing Modes Diatonic Subs

Giant Steps (original changes, and modal relatives)

Composed by John Coltrane, 1959

44 ’ ’ ’ ’BJ D7Original Changes

’ ’ ’ ’GJ B!7 ’ ’ ’ ’E!J ’ ’ ’ ’Amin7 D7

’ ’ ’ ’GJ B!7 ’ ’ ’ ’E!J F#7 ’ ’ ’ ’BJ ’ ’ ’ ’Fmin7 B!7

’ ’ ’ ’E!J ’ ’ ’ ’Amin7 D7 ’ ’ ’ ’GJ ’ ’ ’ ’C#min7 F#7

’ ’ ’ ’BJ ’ ’ ’ ’Fmin7 B!7 ’ ’ ’ ’E!J ’ ’ ’ ’C#min7 F#7

44 ’ ’ ’ ’B GParent Keys: I chords (Ionian)

’ ’ ’ ’E! ’ ’ ’ ’ ’ ’ ’ ’G

’ ’ ’ ’E! ’ ’ ’ ’B ’ ’ ’ ’ ’ ’ ’ ’E!

’ ’ ’ ’ ’ ’ ’ ’G ’ ’ ’ ’ ’ ’ ’ ’B

’ ’ ’ ’ ’ ’ ’ ’E! ’ ’ ’ ’ ’ ’ ’ ’B

John ColtraneGiant StepsGiant StepsGiant StepsGiant Steps

Voicing Modes

73

Diatonic Subs

&

TAB

44 œ# œ# œ# œ œ œ œ# œ

4 66 7 3 7

44

œ œ œ# œ œ œb œ œ

55 7

7 8 48

7

œ œb œ œ œ œb œ œ

56 5

58 4 8

5

œ œ# œ œ œ œ#œ œ

7 99 10

97

7 12

&

TAB

œ œ# œ œ œ œb œ œ

77

910

10 1110

7

œ œb œ œ œ# œ# œ# œ

8 98 10 11 6

99

œ# œ# œ# œ œ# œ# œ œ

88 6

7 66

6 7


8 1010 11

107

8 9

&

TAB

œ œb œ œ œ œ œ œ

89 8

710 8

9 8

œ œ œ# œ œ œœ# œ

8 129

9 109 11

12

œ œ œ# œ œ œ œ œ

812

11 912 8

1211

œ# œ œ# œ# œ# œœ# œ#

11 1211 13

13 1413

11

&

TAB

œ# œ# œ# œ œ œ œ œ

1111

1314

12 1111

13


15 1313 12

1215 11


1511 15

1212 13

13 15

œ# œ# œ# œ œ# œ# œ# œ11

1113

14 1313 11

0

using the 1-b2-4-5 / 1-3-#4-7 / 1-2-5-b6 / 1-4-b5-b7 interval set appropriate to the key center "Phrygian" / "Lydian" / "Aeolian" / "Locrian"

"Modal Mothers" Etude: Giant Steps

Keys: B Major . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . Eb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . .|

Keys: (G Major) . . . . . . Eb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eb Major . . . . . . . . . . . . . . . . . . . . . .|

Keys: (Eb Major) . . . . . . . . . . . . . . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|

Keys: (B Major) . . . . . . . . . . . . . . . . . . . . . . . . . . Eb Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|

Options: B = D# Phr, E Lyd, G# Aeol, A# Loc G = B Phry, C Lyd, E Aeol, F# Loc Eb = G Phry, Ab Lyd, C Aeol, D Loc

Try this "Modal Mothers" example with ANY of the previous Giant Steps chordal examples.Does it sound like it makes the changes?

Voicing Modes

166

Voicing Modes Other Scales

&TAB

44 43œ œb œ œ œb œ œAœb œb œ œ13 11 10 8

11 10 711 8

10 7

ã80 (freely, rubato ballad)

intro: œ œb œ œ œb œ œAœb œb œ œ10 8 7 5

8 7 49 6

8 5

wwwwwbU œ œ13241

F13(b9)

&TAB

434

˙̇̇̇˙#b œ œ13241

3 3

Bbmaj7(b6)

˙̇̇˙#

œ œ

6545

3 6

A`7 (b6)4

œœœœbbbb

....œœœœ

jœA

11118

11

10108

10

7

Ebmin8

Bbma7/D8

œœœœbb œœœœb œ œ7776

6585

5 7

Eb` (J)

6Bb2/D

5

&TAB

8

˙̇̇bb œ œ

888

5 7

F7sus8

˙˙̇̇bb œ œ

4776

54

Eb` (J)

4

œœœœb œb œœœœ#œœœœnbb

5654

7 6545

10888

D7(#9)

4F7(ad d 4)

8Gb` (J)

4

˙̇˙˙̇bbbb œb œb œb œ66889

21

1 3

Gb6J(omit5)

6

œb œb œb œ œ œ œ œ

43

41

43 3 3

Lullaby in Harmonic MajorOriginal melody by Brahms

arr: Noel Johnston

Voicing Modes

167

Other Scales

&

TAB

13

˙̇̇˙b

œ

œ

œ

œ

b

b

b

œ

11101010

7888

8

Bb2/D10

C|7

7

˙̇̇̇#

#œ

œ

œ

œb

b

n

œ

6545

3332

3

D7(#9)

4Gbma7(#5)

œ

œ

œ

œ

b

b

b

œ

œ

œ

œ

#

œ

œ

œ

œb

#

4343

6545

7776

C|7 D7(#9)

4Eb` (J)

6

.

.

˙̇ œœb œ œ

1

5

12 3 3 3

Dmin2

Bb/D3

&

TAB

17

˙̇̇˙bb

bœ

œ

œ

œb

#

œ

11888

7776

7

Cmin7(omit5)

8Bbma7(#5)

6

œ

œœb

˙̇̇#

œ

œ

œ

b

n

œ

55 2

654

333

3

D7(#9)

4A`7 (b6)

4Gbma7(#5)

˙œ

œ

œ

b

b

b

œ

œ

œœ

œ

œ

1

434

33

1341

F7(b9)sus Bb/F F (b9)

sus

.

.

.

˙̇̇b

U

·b

U

011

13O

Bb/F

5th str. harm.

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