Brett Willmott - Mel Bay's Complete Book Of Harmony, Theory & Voicing (1994).pdf
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Table of Contents Introduction . . ...................... . . ........ . ............. . .... . ... . . .
6
I. Drop 2 type voicings .............. .. ........ . ............. . ............
8
a ) Construction of "drop 2" inversions on the middle four strings of the guitar. b ) Construction of the various four-part chords (6th and 7th chords) through chord spelling. c) Drop 2 inversion notation or "voice-leading."
2. Voice-leading ....... . ....... . ... . ...................... . . . ...........
14
Inciuded are various voice-led line patterns
3 . Voicing Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 R ules and considerations governing various voicing possibilities. Included are "Low Interval Limits."
4. Chord Symbol Notatior. .. .. ......... . ....... . .. . ....... . . . ........ .. ...
19
Problems and suggested solmions to chord symbology . ./ . 'T'1ens1ons . . . .. ..... .... ........ . ............... . ..... . . ........ . .. .. . 21. ~
a ) Theory governing tension selections including te nsion addition chart.
b ) Voicing formulas for tens ion additions and substitutions to basic four-part structures. c ) Incomplete structures formed by tension additions and substitutions.
6 . Dominant Substitute V7 Chords ...... . ................. . .......... . .. ... . 27
7. Tension 9 .... . ...................... . ..... . . .. .. ... . . . .. . ........... 29 a ) Enharmonic chordal substitutions produced by the addition of tension 9 to a four-part
harmonic structure . b ) Introduction of non-drop 2 type voicings: 9th<noS) or 9th<0 03 > chords. c ) 9th chords presented in_various II - V - I examples. d ) Tension 9 additions bY' string. e ) 9th chords presented in e xtended musical examples.
8. Tension 11 . ......... . .. . ......... .. .......... .. ..... . .. . ....... ......
45
a ) Enharmonic chordal substicutions produced by the addition of tension 11 to a four-part harmonic structure. b ) 11 th chords presented in various II - V - I examples. c ) l l th chords presented in extended musicai examples.
9. Tension 13 .. ......... .. . . . .. .. .... ....... . .. .. ... . ... . .. . ... . . .... . . 56 a ) l 3th land 6th) chords pre sented in various II - V - i examples. (enharmonic chordal substitutions included ) b 1 l 3th chords presented in extended musical examples.
10 . Two Tensions ..... .. . . .... . ..... .. ... . .......................... . ... 63 Tens ions 9 and 13 Theory I II - V - I examples I extended musical examples
Tensions 9 and 11 T heory I II - V - I exampl es I ex te nded musical examples Tensions 11and13 Theory I II - V - I example;, I extended musiccrl e xamples
3
11. Voice-leading Chord Scales ............................................
79
12. Three Tensions (9, 11, and 13) ...... .... ......... ... .... . . .. ....... . ... . 81 Theory I II - V - I examples I extended musical examples
13. Altered 9th Tensions (~ 9 and# 9) on Dom 7th Chords ........................
91
Theory I II - V - I examples I extended musical examples
14. Enharmonic Chordal Substitutions . . .. .. .. . ........ . ... . .. .. .. .. .... .. ...
99
An organized approach to the enharmonic calizarions of the various chords presented in the tension addition chapters.
15. Additional Enharmonic Chordal Substitutions .. ........ .. . .. ..... . .. ......
113
New enharmonic possibilities of chords already presented. Included at the end of this chapter is a list of the '·incomplete'' dominant-Sub V chords that were produced by their "Sub V" relation to the original dominant chords presented in the tension chapters.
16. Relative Iv1ajor - Minor ... . ..... . ... .. ....... . ..... . .. . .. .. ........... 118 a ) Examination of the relative major. minor. or minor 7b5 of selected chords. b ) Newly discovered chords and functions are liste~ and presented in various II - V - l examples.
17. Additional Substitutions in II - V - I Examples ...................... . ....
134
,-
The remaining new chordal discoveries from the "Additional Enharmonic Chordal Substitutions" chapter are presented in various II - V - I examples.
18. New Voicings . . ...... ... .... .. .... . ....... .. ...... .... ....... . . . ...
142
Completes the available voicings within this text's established framework on the middle four strings.
19. Enharmonic Substitutions of 9th Chords with omitted third or fifth
144
Examination of the various functions in these non-drop 2 type voicings.
20. Tension Additions on Di1ninished 7th Chords ........ . . .. ......... . .......
146
Syrnmetricai and diatonic approach lO the addition of tensions on diminished chords and examination of various functions.
21. Constant Structure Harmonic Motion . . .. ......... ... ....................
!49
a ) Multi-function examination of a single voicing and chord type.
b ) Musical examples including II - V - I situations.
22. Symmetncal Dominant Substitutions ................. . ... . ... . ..........
J 56
Dominant functions of whole-tone and diminished are examined.
23. Altered Dominant . . .. ... .. .. .. ... . ..... .. . .. ..... . .... ..... . . ....... Examination of harmonies derived from the "altered" scale; 1
b2
#2
3
bs
#S b7.
24. Approach Voicings ....... . . . .... ........ ........ ... ....... ...... .... In depth examination of chromatic, diatonic, and dominant approach techniques relative to four-note voicings.
4
16 1
164
25 ..Fourth Voicings . ...... .. .. ...... ...... . ..... . ... .. ........ .. .. .. .... 170 a ) Modal and diatonic approaches to quartal harmony. b ) Examination of various scales for their quartal harmonic potential. c ) 32-bar song form demonstrating the various uses of fourth voicings. d ) Different functions of fourth voicings derived from the Pentatonic scale
26. Chromatic Guide-lines ................. . ........... . . . ........ ..... . . Examination of chromatic motion in each voice or voices of four-part harmonic structures. Various parallel and/or contrary chromatic motion combinations are superimposed over different string combinations. a ) Chromatic guide-lines over a single chord: (one line) I (two lines) I (three and four lines) b ) Chromatic guide-lines over chord changes: (one line) I (two lines) I (three and four lines) c )Contrary motion: various contrary chromatic combinations are presented in II - V - I examples and some extended chord progressions.
• 184
•
27. Triad over Bass Voicings ...... . .. ......... . . ... . . ... .......... ... ... . 203 a ) Organization of major and minor triads over various bass notes. b ) Enharmonic possibilities of each srructure. c ) "Upper-structure triads" - triads over different 7th and 6th chords. d ) Triads over tensions e) Triads over bass arpeggios /) Symmetrical motion g ) Diatonic motion h ) Contrary motion i ) "Unavailable" half-steps j ) Doublings k ) Reharmonization
28. Song Examples . ........... ... ............................... . ...... 230 A combination of the voicing techniques anci substitutions presented in this text will be used to reharrnonize various chord progressions found in different songs.
29. Rhythm . ... . .... .... . . . . ... . ... . ...................... . ...........
24 1
a) Various rhythms and chord omissions (rests) are suggested to be used over the existing examples throughout this text. b ) Different rhythms and string combinations are examined.
30. Conclusion .. . ................ . ..... .... ................ .. . . .. .. ... 246 Suggestions for continued harmonic study-including different voicing sizes and string combinations.
5
INTRODUCTION • This text is a combination harmony/theory/voicing text with emphasis placed on "voice-leading." Harmonic motion and understanding are key elements for "comping" in today's jazz and pop idioms. Through knowledge and listening, students will discover and compose new voicings and sounds. •Many guitarists have a unique physical/visual approach to harmony, due to the nature of this complicated instrument and the lack of traditional music training. The material in this book will be common musical knowled!!e that can be shared by all musicians. It will not be another guitaristic approach to harmony for guitar players only. It is hoped that this text will give an approach and begin a process that will continue far beyond its pages. This text's primary focus will be that of presenting and examining four-note voicings on the middle four strings (2, 3, 4, 5) of the guitar. By eiiminatingthe ropand bottom strings (1 and 6), the voicings produced are in a relatively "safe" range for comping, conflicting less with bass lines and melodies (or solos). The initial approach to voicing construction will use what is referred to as "drop 2" type voicings, and will include tension additions and enharmonic chordal substitutions. The top note of each drop 2 type voicing will be notated and consequently always appear on the 2nd string, eliminating the need for position markings / Students will become aware of the top note of each chord voicing, whether it be a chord tone or a tension, and the different linear or voice-leading possibilities the 2nd string produces over various chord changes . This indirectly helps in a student's eventual involvement with chord melodies and chord soloing as well. In later sections, the remaining strings will receive the same voice-leading considerations as the top string. Students will learn lO recognize each note's relation to the chord l vertical) as well as each nore· s linear motion to the next chord (horizontal). Students are encouraged to transpose all applicable information presented on the middle four strings to the top four strings and, to a lesser extent, the bottom four strings. Consider further that each four-note voicing has four threenote voicings within it: Using a C7 chord:
'
II ~;
& €
3)
2)
1)
II ~ :'
II
4)
~
II
& i
II
Note that the last 11110 voicings contain the same ·'width" (or two outside notes) as the original four-nole voicing. Most guitar students will find three- and four-note voicings to be the most appropriate in jazz/pop "comping'' situations. The "width" of any voicing is determined by physical or fingering limitations. By assuming five frets as our physical limitation, the following interval widths are made available between the 2nd and 5th strings:
(b7)
' '·;:
(7)
~::
(8)
(~9)
:
I
D:
(9)
(b 10)
~
~:
,,
6
( 10)
t
( 11)
(#11)
b.o.
l:t.a.
I J
I J
1
II
The octave (8) and ~9th inte rvals can be temporarily removed since voicings containing these intervals will be initially avoided. They will reappear in later chapters where their unique sound is more appropriate. This leaves somewhat of a leap in width from the 7th intervals to the remaining intervals. producing porential voice-leading oroblems. For this reason. and again with some isolated e xceptions. voicing containing the outside width of a 7th ;nterval will generally be avoided. Conveniently. drop 2 type voicings utilize the remaining intervai widths; (9). (~ 10), ( l 0), ( 11 ), (#11). This text will also explore some substirute chords that are not drop 2 type voicings. but continue to utilize these widths, allowing them t0 voice-lead smoothly with the traditional drop 2 type voicings. In an anempt to be thorough and include most every conceivable voicing within this estabiished framework, some physically difficult and/or "strange sounding" voicings will occasionally appear. More desirable substitute voicings can be used in these cases and most cenainly should if it is felt certain isolated voicings ·'ruin·· an ornerwise pieasant sounding exercise or song. Anerations and tension addi tions on the basic four-part chords (7th and 6th chords) sometimes produce upperstructure triads or hybrid chords. When this occurs, they will be listed as such. Upper-structure triads and bvbri_d chords will be more specifically dealt with in the later chapter entitled Triad over Bass Voicings. :.\" tensions are added to the basic four-part chords. the enharmonic chordal substitution possibilities increase cr:.imaticaily. The enharmonic substi tution possibilities of each chord will be listed as they are exposed by tension additions. Students will become proficient at enharmonically realizing a group of notes
C6 = A-7
= Fmaj9 (no root) = D<:isus4rno root)= B t rel="nofollow">maj7 (131#1119) \no root) = etc.
The majority of voicing examples presented in this text will contain very little rhythmic variation and it is highly recommended that some of those ideas suggested in the Rhythm chapter toward the end of this book be applied toward musical examples contained in each chapter. The Conclusion chapter contains additional information on different string combinations and voicing sizes thm can also be applied to existing musical examples througnout the book. Coordinating information between these two chapters and the rest of this book will ultimateiy enhance its content.
7
Chapter 1. Drop 2 Type Voicings By dropping the second note from the top of a four-way close voicing down an octave. a larger sounding voicing (referred to as "drop 2") is produced. These drop 2 voicings in turn produce a chord physically more accessible on the guitar than some of we original fou r-way close voicings. T his book will explore all fo ur inversions of the drop 2 type voicings and their placement on the middle four srrings of the guitar (2, 3, 4 , 5 ). Cmaj7 = C E GB
R 3 5 7
Drop 2 ~u
~",_)
Drop 2 type voicings arranged by inversions:
-&
..a.
'
~
llf
II~
II!!
3 7 5 R
5 R 7
7 3
R
3
5
e.
I
5 3 7
R
The follow ing maj7th chord forms are produced by the above voicings on the rr.tiddle four strings of the guitar: (strings vertical/frets horizontal)
strings 5
R Inv. 4 3
lstlnv.
3rd Inv.
2nd Inv.
2
Drop 2
,e R
5
7
-j
3 5 3
7
R
R
3
7
7
5
*The above forms can be transposed or moved to different keys. We now have four inversions of a Cmaj7 chord on the middle four strings of the guitar. 8
3
5
R
At this point, it should be mentioned that a b9th interval is generally consjdered an avoid interval in traditiona l "Jazz - Pop" harmony. This book will initially continue that approach, with the dom7(~9) chord being the only exception. Thus, the b9tb interval contained in the 3rd inversion of the Cmaj7 chord (between B and C) will negate use of that inversion as a maj7 type chord. Similarly, the 3rd inversions of Cmaj7b5, Cmaj7#5, and C-maj7 will be avoided. Voicings containing b9th intervals will be presented later, especially in those chapters exploring triad-over-bass structures where the 3rd inversion of Cmaj7 will be available as a C triad over a B bass; C/B.
Assignment: Construct all four inversions for each four-part chord listed. A ll of these chords can be perceived as "altered" maj7th chords . Cmaj7
(1357)
C-6
(1 b3 5 6)
C7sus4
(145b7)
C maj7\, S
(13 b5 7)
C6
(1 3 5 6)
C 07
(lb3b5bb7)
Cmaj7#5
( 1 3 #5 7)
C7
(1 3 5 b7)
C 0 maj7*
o b3
C-7
( lb35b 7)
C7#S (1 3~5b7 )
C -maj7
(l b3 5 7)
C-7bs
(l b3 b5b 7)
C 7b5 (1 3 bs b7)
C -7#5
(l b3 ~5b7)
bs 7)
Follow these three approaches in preparing the inversions of the four-pan chords: I) Prepare all 15 listed chords on the root inversion only in the key of D. Next, prepare chords on the lst inversion only in the key of C. Next, prepare chords on the 2nd inversion in the key of Bb. Finally, prepare chords on the 3rd inversion in the key of G. Include inv~.rsions containing the b9th interval for purposes of this exercise.
2) In the key of F, prepare all four inversions on one chord type, then move to the next chord type. Continue until all 15 types are completed. 3) With an established tempo, prepare the fo) lowing symmetrical chord progression using one chord type for all four chords and inversions. Continue through the entire list of the 15 chord types, following the given chordal/inversion pattern. Note that this exercise i<; ··voice-led."
l st Inv.
::nd Inv.
3rd Inv.
R Inv.
Cmaj7
Amaj7
Gbmaj7
Ebmaj7
Mixing different chord types while going through the d ifferent inversions and chords might make an interesting additional exercise.
*C0 (maj7) ( 1 b3 bs 7 ) and its available tensions will \Jc examined more thoroughly in the Tension Additions on Diminished Chords ch apter.
9
In contemporary music, upper-structure triads and fourth voicings play a major role. The following chordal inversions contain such voicings and should be noted: 1) Fourths: The root inversion of the maj7~ 5 and the 2nd inversion of the dom7sus4 are the most conunon fourth voicings used. 2) Upper-structure triads: Root Inv. Cmaj7#5 = EiC 3rd Inv. C-7#5 = A~IB~ Root Inv. C"maj7 = BIC Additional upper-structure triads will be revealed in later chapters. The examples using drop 2 type voicings throughout this text will indicate such voicings by notating only the top note or voice on the 2nd string. eliminating the need for position markings. This lead note will directly indicate the inversion of the drop 2 voicing introduced: Third of chord notated (top voice)
= root inversion
= first inversion Seventh/Sixth of chord notated = second inversion Fifth of chord notated
Root of chord notated = third inversion
Example:
(5th)
(3rd)
C7
~
(7th) ~.o.
D
"
II
Root Inv.
II lst Inv.
(Root) ~
II
II 2nd Inv.
3rd Inv.
The following chord progression examples consist of only 7th and 6th drop 2 type chords. These drop 2 chord progressions are actually substitutiems for more basic chord progressions listed directly below each voicing in parentheses. After preparing each exarnpje, students should record and play back the roots of the basic chord progression in parentheses while again playing the example. T his will allow students to "hear" the example in relation to the basic chord progression. Students should also write or realize the tensions produced on the basic chord progression by the original 7th and 6th chords.
Example:
A7sus4 Q
'
(basic chord progression)----;.. (C) ~ C6(9) (tensions)
G-7~5
b.o.
Fmaj7 -&
Bmaj7 ~5
~
E7sus4
be 11
(A7) ~ A7#5(~9)
10
(D-7)
.} D-7(9)
(G7) (C) ~ ~ G7#5(#9) Cmaj7 (6/9)
L-
#1)
,
~
' .
The following example makes use of only four different 7th chords: .!Il..£'lj7~5, .!!!_aj7# 5, min7~5, and dom7sus4. -----These chord types will prove quite useful due to their versatile enharmonic substitutit..h possibilities throughout this text.
- - :>
• ...JJ ... -
----
D7sus4
Bbmaj7#5
r
._, (Bb)
(D7~
'....i:'. b : :.
;--...,' ..
C7s us4
F-7175
C7sus4 Dbmaj7#5
~r
I
tr
17
(G-7)
(G7)
(C-7)
•
"
J
--·--:
J
...-' "'j'\A .
-
'
( : ) -"-4'
r
(~m) ~i·
I
P.a..
(D-7b5) 11
(G7 )-t;~ =
(BVi)
(Bb)
- «·
G~ rn aj 7#5
ir
1r
(F7)-
s
E bm aj7b5 Gbmaj7b5
G7su s4 Dmaj7b5
-
--
j
Amaj7#5
D7sus4
~
"
~
II (F7) .. ; - -
(C-7b 5) :>
(Bb)
#2) The following two examples are minor chord progressions.
a)
.1..
Dmaj7
Cmaj71:i5 E7ti5 ~
F-6
Fmaj7b5 Bb7 fr
1r
1·
(B-7b5) n
Cm aj7
b.a..
I
(E7)~ f:;.;. 4 ~
Dl:imaj7b5 ?
r
1*
(Am)\
(A7) ~J
.~
J
. ~'
~-
s-Ji'r-
Fmaj7
~€
E b+7
~
(I'~ )}
• ,.. I
•
(G7) ":>l"/3 #~
A7su s4
I~ CC~: f (~
. ,.
B7b5
D-maj7
~
, ~
E+7
.f i
(F7)'-' .:.
(B-7b 5)'1
11
(E7) ~
Cmaj7#5
In (Am) r,,;_ :. 7
II
-
Fmaj7b5 Abmaj7b5
Cmaj7b5
E+7
. b)
t2
'#L (Am) C ·
Bb7b5
'~
(E7 )'
't
11
- ·.
r
.a.
19"
Ii
,.
(E7) :.··
-.
(Am) .c ~
Cmaj7b5 Fmaj7b5
i
1t
I
(Am ) ~
-
Cmaj7b5
lbL
(E7 ) ..:-J ..,.
(B-7b5) ·
Abmaj7b5 F-maj7
Do7
-
r
19-
I
Ab+7
(B-7b5) \'
D-6
r- -
CB-7b5) -
' L • ."1W'
Cmaj7b5
Abmaj7b5 Bb7
I~
~
(E7) ·" ". _.
r
If
-r-
II u __,
II
(Am) -
#3) This next example uses the min7(#5) chord in si-vern 1 j jff: .-ent funct~vns and ends with a constant ..-,(ructure -.example . E-7
r
' '~
D -7
F #7
r
I ~r
#
(C )~
(A7 )
·~
(D-7)
'o \
E7
B-7~5
r
iF le (E-7)\\ (A7)"':;,
(G7)
-"
E b7
""
1:1,
D-7#5
(G-7)
F#+7
IE
F-maj7
C6
i
I~
(C7)"=:.\,
E -7#5
(F ) ,
Go7
ba
I~
I
(A7)' · .
(C) '
(Bb7'L
Db+7
E -7#5
A-7#5
1f (D-7 ) :j
r
I~r (D-7) ~.
(G7) < -. G" I
G-7#5
F #-7#5
llje
~ (G7):: :
(C )
II -r
~)
#4) The following example uses the dom7f.5 chord in several different function s. Also, note the two different dominant functions of the.. maj7 #5 chord. Gmaj7
~r
Eb+7
Ab+7 I
'F
(Em )
(C#-7b5)
D -6
F-6
t>r I
qr
(F~ -7b5 l
(B7 }
B-7#5 -9
i
1
r
(Am)
1
(Em)
Cmaj7b5 Fmaj7#5
f (E7 )
E bmaj7t>5
F #-7b5
r
(D7)
Bbmaj7b5 Ebmaj7#5
r
Bbmaj7b5 19"
(Fj;7 J
12
(B7)
-9
11
(C7 )
(B7)
C#-7b5
E b+7
I~
(G7)
F~ o 7
(Em)
i
II
,r-
#5) In the following progression, the min7#5 and dom7sus4 chords again receive multiple functions. The dom7 chords at the end of this example receive four different dominant functions in symmetrical minor thirds. D-7#5
' '(:),.
I
. ' ::,, : -· \.:-
(Bb)"
G7sus4
G-7#5
I
Ebmaj7
Gbmaj7#5 C-7\J5
Eb-7 I
t2~
(Ab7) Eb7b5
G-7#5
(2
6
G- 7~5
Do7
C.2
F7
~
I
I
1ze
I
I
Ab7
B7
-&
(F7 )
II
II
I
I
CF7)
(C-maj7)
CC-7)
!
D7su s4
1P-
1>5-
~
G
G:
(G7)
I
G
G+':'
I~
(A9maj7)
D7
1z~
(Ab7)
IG
C-maj7
G+7
I
I~
I
(A7) ·-:
:-
.,.,_,, -
o.a.
fir
!
Db71i 5
~ ~ !"..)
I
(Bb)
D7sus4
b.a.
~
I
I
G~maj7b 5
D7sus4
fr
p
E
i
A-7~5
A-7#5
". ·~
(Bb)
The foliowing two exercises complete the examination of various 7th and 6th chords and their multiple functions. lv10sr of these chords will reappear under their reiarive tension chapters. As an example:
Cm~j7~ 5 = A-6 (9l = Ab 7(#91~5) = D7(l3/9) = F~-7b5(1 n
In each appropriate chapter they will receive a chord progression example utilizing their new functions. A lis1 of all the substitutions for any one 7th or 6th chord can be found in the Enharmonic Chordal Substitutions chapter. #6a)
Dmaj7
D-7b5
~ ~
(Dmaj7)
E7sus4
~
,~
CF-6)
CE-7>
E -7
~~
~ ~
~
(~-7)
F7sus4
Bbmaj7
(G-7 )
F~-7;5
D-7
b~
I~· (B,)
(F7 ) C-7?5
~
(A'o7 )
Abmaj7~5
::a
I
h~
(A-7)
(D7)
~
-6-
I~
<E7)
E11maj7j:5
EPmaj 'I
~
I
(G7)
(E7)
Gb-6
ba.
D-'2.
i
I
(F7 )
13
ltr ..,.-
(F7 )
It
II CD)
(A7)
G7sus.;
Ar7 1>5-
i~
I
(Bb)
(D7 )
D7sus4 ~
I
I
CG7 J
A6 -e-
I
G'maj?P5 Amaj7b5
~
A.7
~
(2
(C-7)
F-7b 5
E+7
I#~
(B7)
F-7b5
~
I ~
(D)
Eb-6
I~
Dmaj7b5 Abmaj7b5
D6
l ~F
~
Eb-6
CBm) B-7
(A7)
(C-7)
e,I
D1'7b5
I~
I
~ 11~
i
(F#7 )
Cmaj7
C.:2
(D)
E~+7
E7sus4
B 7sus4
, ~~
~~
(A.7 ;
Gmaj7
~ :
~
:2
, ~
(GJ
Dmaj7
F#7
Qo7
G-7b5
~
b)
E-7
(Bb )
I!
. •\· ·c§ , .
'I
Chapter 2. Voice-Leading
/
-
\
- - - ":> .
~
JJ
Voice-leading is a simple concept intended to make chords m ove smoothly from one to another. By allowing the top note (2nd string) of different chords t o move step-wise through those chords, a smooth sound is achieved over the entire chord progression. There are three basic choices when voice-ieading from one chord to the next: 1) move up a step 2) move down a step 3) stay on same note
If there is a leap of a third or more, try w resolve the leap by using one of the notes that was skipped over in the following chord:
An exception to this rule is when rwo or more voicings appear on the same chord (often different inversions). In this case, leaping is acceptable and sometimes desirable, s ince the harmony is stagnant. In contrast, voice-leading is mo=· desirable when chords change. The above example could also be viewed as indirect voice-leading, (often melodically referred to as "ind:t.. resolution"), since the "E" note does resolve step-wise to the "F" note with the "G" note temporarily delaying th<. resolution. Indirect voice-leading could be extended by two or more voices, but does begin to compromise smomh voice-leading over chord changes. In the following example, the "E" note still resolves step-wise to the "F' note although delayed by two voices:
' c:i;aj7
A7 a
D-7 e
G7 e
II
By altering chord tones or adding tensions, many different line patterns can be produced while voice-leading through a single chord progression. The following chord progression receives a variety of voice-leading ideas ranging from more traditional concepts (step-wise, chro matic. and common tones) to several line patterns that actually break basic voice-leading concepts while still offering an acce ptable comping idea through '·predictable'' patterns . Prepare the following line5 using an:v voicing that will accommodate the lead note. In some cases. drop 2 type voicings are not appropriate and a more convennonai voicing piacing the root in the bass might be more des irable . Be sure to realize what tension the lead note produces on the original chord. While all lines are intended fo r preparation on the 2nd string only, the example " Leaps" can be prepared on both the 1stand 2nd strings, allowing for less physical j umping . This broken line example serves as a good indication of when differer.t string sets are probabi y more appropriate . After preparing these lines, students should compose their own lines to the given chord progression.
14
Cmaj7 j "'
Chord Tones
D-7
G7
r,;
--
....-
I?
I?
n
n
n
n
.;o_
1.. _
-~
~-
r
-
r,;
6.
'
I
E-7b5
A7 I?
Abmaj7Db7 I?
~
n
n
'
!
tJ
j"'
Common Tones
A7
..-
I?
.
tJ
(Ab7) j'I.
Chromatic
.-'
r J
-
i
hn
~I?
tJ
'I.
Whole Tone
n
..tJ
I
-
r-
,..
(D7b9) I J
(Cmaj7)
--
Y .-
~
.I-
..,
~-
"
--
I
I
,.
Diminished
.... .,,-"
,U _
I?
19-
bp.
~
fr
.p.
b,a.
-~
~
b.p.
-
,...,
19-
tJ
Leaps
,, ...
n
....
I
I 'r,;
' ., ~
Chromatic
..."
'
' "J
I ..
J
··-
....-
..., _
I rJ
' rJ
-
.,._
~
t.l
(Ai7 6)(D~maj7) j"
Patterns
• '._i
...
-
-,9-
I?
b.a.
19-
~
,..,
Jt -
..... I
6.
,,
Chromatic
r;.
.a..
b.p.
bv
fr
-
Cmaj9
1.. _ r~
~
'
~J
15
-
Chromatic lines and sustained notes (common tones) are considered the strongest approaches to voice-leading. Although the majority of examples given in this text will be voice-led throughout the entire example, a more realistic approach would be to voice-lead by phrases (two bars, four bars. or eight bars), sometimes breaking voice-leading at the end of each phrase to start a new phrase or, as suggested in the Rhythm chapter. omitting chords or resting between phrases. Through this process students will begin to hear a group of voicings (or phrase) as one sound, much like one voicing or chord is heard. In fact. voicings that are "weak., sounding, incomplete. or contain '·wrong" notes (voicings that will appear in later chapters) might be found within a strong voice-led phrase and function as an integral part of that phrase. While many of these weak voicings could only be used in a voice-led passage and wou Id not stand well on their own. there are "strong" and "beautiful" sounding voicings that can be used with little regard for voice-leading. A combination of this vertical (single voicing) and horizontal (phrase) approach to harmony will enable students to create many different sounds and ultimately reproduce what they "hear." The following example voices-leads in two and four bar phrases. A descending chromatic line is established in the first two-bar phrase while a common leading tone is used in the second cwo-bar phrase. and the example finishes with an ascending chromatic line in the last four bars. Note the descending triads (top three voices) in the first two bars; F E E~ D (with 5th string added); FIG EIF Eb!F D/Eb A-7; 5
Fo(maj7)
I
G-7
b~
I
1~E
(B' i
F-I
Dmaj7i:>5
E bO( maj7)
bp I
E1i:>maJ1 ·~
(F7 )
I
b
l ~E
f~)
(Eb)
(Btii')
B?maj7
s
(G7)
Bmaj7" 5
#fr
I
e
(C- 7)
jj-
Q.7i.O
b~ I
I
(G7)
:f7#5
I~
F
I
(Bb)
c7sU>4
B07
{D-7)
A b13
I~
~
G7St:s4
I
.e'
I ~~(F-71
°
~
!
(07)
#~
(C-7)
n7sus4
B7
9~
-0-
I (Bb) II
(F7)
The omission of selected chords will only enhance the identity of individual phrases produced by the remaining chords. The following displays the above example with certain chords removed, helping to better define the remaining phrases. Rhythmic variety in the form cf eight-note anticipations or delays has been added to enhance the exercise. A bass line stating the original progression (above in parenthesis) should accompany this exercise as well.
~' fi;F-7
' p
~\
:
A-7~ 5 I
c
I
I
pO (maj7)
10
G- 7* 5
I II I Ebmaj7
'(
I
l'
r
E~o tma.i7'
< (
Q7SlS4
OTf
I'
r
I
A013
-·
~ Ii
0
With the addition of space and rhythmic activity. this example probably better represents what occurs in u ..real .. performance situarion. A s1milar aporoach ro each of the notated exampies throughout this text is s t rong ! ~· recommended and the followin g three-step procedure could he applied: 1) Prepare examples (slowly) as written. proceeding smoothly while attempting
10
perform in a
"legato" fashion. 2) Add rhythmic variety (predominantly eigh1-note aniicipacions and deia~':-.) \\'hile performing all voicings. A mix of long and short rhythmic attack~ should be attempted. 3) Introduce space by omitting selecr.ed chord voicings while continuing to be rhythmically active. Students should continue the process established in this chapter and compose a variety of lines over differen t chord progressions and songs. As we progress furtber, these orig i 110 / Ii nes can be haJ:mOnized by the nc \.V voi c in gs introd uced.
16
Chapter 3. Voicing Considerations There are various considerations involved in determining a voicing' s strength or weakness in a given situation. Obviously, a "good sound" is a primary consideration, and several factors can be isolated that contribute to this. Substitution possibilities and voice-leading are very important considerations in a voicing's worth and will be discussed further in later chapters. We have already discussed the avoidance of b9th intervals and will continue to avoid use of voicings containing this imerval. Whenever a chord contains two notes a half-steo from each other, one of the inversions will form a b9th interval. There are eight differem available half-steps with the potential of producing an inversion containing a b9th inrerval: (R - b9) (9 - b3)
(#9 - 3 )
01 - bs) C# 11 - 5)
(5 - b13) (l 3 - b7) (7 - R)
dom7(b9) min7(9) dom7(#9) nun7b5(11) maj7(~ 11) I dom7(# 11) dom7(~ 13) dom7(13) maj7 I maj7b5 /maj7#5 I min. maj7 I etc.
There remain two important considerations while constructing different voicings: 1) low interval limits (LIL). 2) physical difficulty in fingerings .
Low interval limits refers to the lowest possible placement of a chord tone or tension in a voicing. Below this limit, the original chord sound begins to deteriorate and lose its primary function. LIL will apply to chord tones and tensions on the 5th string. A "bright" tone and/or a light gauge string will accommodate lower placement oftensions and chord tones. while a "dark" tone ancl/or heavy gauge string will not accept lower placements quite as well. The following chart will determine generally how low a tension or chord tone can appear on the 5th string.
R b9 9
unlimited
Eb F (avoid tension 9 on 5th string)
~;
AVOID: produces b9th interval with major 3rd
c c
3 4 [ 11] bs 11) 5
[#
#5
[b 13J
D
c unlimited c
6 [13]
D
b7 7
E
c
17
These limits are slightly lower than those determined by the Berklee College of Music Arranging Department. It is the student's responsibility to know what chord tone or tension is in the bass (5th string) on each voicing and how low that voicing can be safely used. In the Approach Voicings chapter later in this text, concepts will be introduced that allow violation of Low Interval Limits on the weak harmonic rhythm of a given chord or measure. The physical difficulties involved in fingering different voicings is perhaps the largest and mosr diverse consideration in chord choice for most guitarists. There a:·e basically four factors in determining the difficulty of fingering any chord or chords:
1) range fingerings before and after a given chord 3 1tempo 4) individual abilities
2)
1) Range:
Some voicings that are difficult on the lower, wider frets become easier as they are moved up the fretboard to the higher, thinner frets.
2) Fingerings: Fingerings of chords immediately before and after a given chord will affect the difficulty of fingering that chord. A difficult fingering can lead to a similar fingered chord, requiring Ii ttle finger change and consequent physical ease of the passage. Some chords have several different ways of fingering them, while others have only one possible fingering. Use the fingering that best prepares the next chord fingering. Example:
D-7
'i! 3) Tempo:
Cmaj7
G7
ii
ii
II
Tempo is perhaps the single most important consideration in chord choice. A ballad might accommodate the time to prepare difficult fingerings of chords that could not be attempted at a quicker tempo.
4 ) Individual: Each student' s personal technical abilities will determine what is considered a "difficult fingering."
Students are reminded that diffic:ult-fingered voicings might become easier when applied to the top fou! strings ( 1 2 3 4) or when a non-essential note is removed to produce a 3-note voicing and subsequently easier fingering. As we move into the tension addition sections, we see some voicings becoming physically easier as tensions are added.
18
Chapter 4. Chord Symbol Notation Before examining tension additions to the basic four-part structures, I would like to discuss some of the approaches and difficulties involved in chord symbol notation. I must start by first stating that it is not my intent to re-organize or establish a new system of chord symbol notation. To the contrary, I would rather have avoided the need for this section altogether, but my attempt to complete a comprehensive volume of voicings and substitutions. a.Tld feedback I received from many of my colleagues, suggested I should address this topic at some level. Please keep in mind that the primary focus of this text is not that of chord symbol notation but that of discovering various four-note voicings and their enharmonic uses as different chords and substitutions, while examining different voice-leading possibiliries between those voicings . The initial approach to the discovery of new voicings in this text is based on the addition of different tension combinations to the basic four-part structures (7th and 6th chords). This is also where I received the most diverse and controversial responses from my colleagues. Opinions ranged from those favoring little or no tension addition to the basic structure (allowing more freedom of interpretation) to those who felt that tensions should dictate specific scales as well as describe their vertical placement in a voicing. The most notable and surprising differences appeared to center around the enharmonic interpretations of tensions #1 l and b13 and their melodic or harmonic implications. A majority of responses supported the assumption that tensions bl 3 and/or #11 would include or imply a natural 5th in the same dominant type voicing. Although the natural Sth could accompany one or the other tension. both tensions with a natural 5th would produce consecutive half-steps:
#11
L
s i12_J
b13
L
112 _J
While this is a melodic possibility, it has limited, if not problematic, harmonic value . When posed with a dom7(b 13/ #11) chord, responses were confusing at best. My reaction and recommendation is to avoid this particular tension combination on a dominant chord. If the same notes are desired with no natural 5th, the following symbols would suffice:
dom7#5(# 11 ) I dom7b5(b13) I dom7(#51b 5JI dom7(alt5)/ dom7#5(~5) /dom7b5(#5 JI etc .
If the natural Sth is desired in the voicing, dom7(bl31# 11) would suffice for those who responded thad 11 and bB imply natural 5 (do you guys really want this chord?). For those who would not assume the natural Sth ~as implied, it would have to be included in the chord symbol: dom7(bl31# 11) add 5. Yikes! At this point, I personally would prefer that the desired voicing be notated on a staff. Even ifl could no tread music. I'd probably produce the voicing quicker off the staff than from the abo,·e chord symbol. This segues well to another issue and personal recommendation I have. I think that tension additions are appropriate when used as suggestions to desired "colors" or sounds on basic structures or to describe melodic effects on different voicings. On the other hand, I believe that symbols that are made more complicated or confusing by attempting to communicate vertical placement of tensions or by their dictation of specific scales should be avoided. At this point, the voicing would be served better by notation on a staff.
19
Although this book will possess many complicated symbols. they are used as descriptions of specific staff notated voicings and are not implying or endorsing their use as "standard" chord symbol notation. To the contrary, most voiciIH!S introduced in this text are to be used as various available "colors" or sounds (including available tensions and ch'Ord tones) over a more basic chord symbol. A collection of many different voicings will be made available to one basic chord type. Your choice of specific voicings to use is your "interpretation" of that basic chord. Example:
Gm(addll)
C+(#ll)
Fmaj7(9/6)
The above voicings could be used to "color" or substitute the basic U-V-J cadence in the key of"F" (G-7, C7, Fmaj7). Gm( add I 1), C+(# 11), and Fmaj7(9/6) are chord symbol descriptions of the above voicings in the key of "F.'' The attempt will be made to use the "least" offensive chord symbols when notaring these complicated. and in many cases incomplete, voicings. I have tried to reach a '·compromise" in my chord symbol selections that would satisfy mosr. knowing that some (hopefully nor most) will certainly find fau lt. At this point, I should summarize some of the basic ussumprions that have been presented and will be used in this text. The foliowing suggesrions specifically deal with the~ 11/b 13 controversy introduced earlier:
I. Tensionb 13 might imply or include a natural 5th when used in a chord symbol. If the bSth is notated in the symboi, natural 5 is not a choice. Ifb 13 is desired without natural S (or b5), enbarrri0 nic #S instead ofb 13 can be used. A more complicated symbol choice could be b 13(no5).
II. Tension# 11 might impiy or include a natural 5th when used in a chord symbol. If the# 5th is notated in the symbol, natural S is not a choice. 11 is desired without natural 5 (or# 5) , enharmonic b5 instead of# 11 can be used . A more complicated symbol choice could be# [ l(no5).
If#
These suggestions make clear the need for caution when usingb 13or#11 in a chord symbol. They contain inherent controversy harmonically and melodically. 1v1y personal inclination is to avoid their use as much as possible. I prefer the enharmonic b5 and ff 5 spelling of the same notes. b 5 and #5 produce exact harmonic interpretation and retain freedom of interpretation melodically.
C , 131# 111 might impiy nawrnl 5 harmonically and "'wi10 know·s what .. meioci1caliy. C7 (b 13/~ S) to some implies the "altered.. scale. C7(# 111#5) co some implies the ··whole tone'· scale.
C7(~5tb 5), C7(alt5), C7~ 5(#5). C+7(b 5): precise harmonic description and freedom of melodic or scal e inrerpretation. *Note the C7(alt5) wmbol could be confused 'vVith the C 71 aJt) c:;vmbol which implies anv combinat iun ofb 5. ~s. b9. ~9. · · · · For organizational purposes. the first introduction of these rwo notes together in the same voicing occurs unde- the Tension 11 chapter a:. a C+ 7( ~ 11) chord. They appear again under the Tensions 9 and 13 chapter as C9b5(b L~). C7b 5(b 13/b9), and C 7b5(b 131#9) chords . In this chapter, b 5 and #5 will be noted a:: the preferred symbol c hoices: C9(#51b5), C+ 7(9/b5). or C7b5(91#5) C7(~9/alt5). C+7(b9/b5). or C7~5(b9/~5) C7(#91alt5), C+7(#91b5 ). or C7bS(tt9/~5)
20
Chapter 5. Tensions As tensions are added to the basic four-part chords (7th and 6th chords), different basic four-part chords often reappear on different roots (i.e., Bb9 =D-7b5 I F-6), beginning the enharmonic chordal substitution process that will continue throughout thi~ book. These substitute chords might sound clearer or more obvious than the original chord receiving tensions . D- 7~ 5 or F-6 is more defined or complete than the original B b9 chord, which is missing its root. For this reason, it is recommended that a bass line containing the original chord roots be recorded and played back while playing chords containing tensions. ln each tension chapter the majority of voicings produced by tension additions will most likely have been introduced enharmonically in earlier chapiers, many originating as basic four-part 7th or 6th -::hord voicings. When this occurs, the original chords introducing those vokings for the first time will be listed. For example: *Under the Tension 9 chapter. the mi117(9) {b3 5 b7 9} voicings were originally introduced as maj7 (1 3 5 7) voicings , A-7(9) = Cmaj7. *Under the Tensions 9 & 13 chapter. the dom7sus4(13/9) {4 b7 9 13} voicings were originally introduced as maj7 11 3 5 7} voicings, D7sus4(13/9) = Cmaj7. *Under the Tensions 9 & 11 chapter, the maj7(~ 1119) {5 7 9 maj7 { 1 3 5 7} voicings. Fmaj7(# l l/9) = Cmaj7.
#1 l } voicings were originally introduced as
A list of all the possible substitutions for any one voicing can be found in the Enharmonic Chordal Substitutions and Additional Chordal Substitutions chapters following the tension chapters. In these chapters, the previous examples would combine their substitutions in order of their appearancJ in this text:
Cmaj7
= A-9 = D7sus4(13/9) = Fmaj7(# 1119)
A 111inimal understanding of harmony and theory is required to make the appropriate tension selections for different chords. Some basic harmonic assumptions will be presented to allow for a choice of tensions that will sound appropriate in a common pop or jazz idiom. While tensions are usually d.ictated by chord function and/or key of the moment, a strong voice-led guide-line often can make use of tensions that might appear inappropriate or nondiatonic to the key of the moment. This is especially true of dominant chords, which can accept many different tension combinations (both diatonic and non-diatonic ), whiie mher chord types are more demanding of fewer and more: specific tensions. Tensions on diminished 7 chords will be examined separately in the Tension Additions on Diminished Chords chapter later in this book.
In the fo llowing exarnp1es, the guide-line in example #2 is not as diatonic as the# 1 example (E-9 and G7(b 13) are 1101 diatonic to the key of C ), yet example #2 sounds better due to the sirong chromatic guide-line produced by these tensions .
:::1
"? r.-
Cmaj7
-t:
.,
Cmaj7 0
E-7
A+7 e
D-9
E -9
A+7
D-9
:::e
,l!"'.lO
0
~
G13 i
J
~
G7(b 13)
Cmaj9 e
1l
Cmaj9
I
I'I
t)
\Vben a .. strong'· or effective guide-line is not present, a more conservative or diatonic approach to tension additions migh t be in order.
21
There are only seven different tensions available in the more common pop or jazz idioms: ~9 11 ~13
9
#11 13
Note the enharmonic functions some tensions might possess:
=
11 ~ 11 ~ 13
sus4 b5
=
#S
=
T he following will examine each tension's characteristics in these more common idioms . Of course, different styles a:nd concepts could condition or change these basic assumptions. For example, "modal music" often requires use of rensions that are not desirable in a more diatonic situation.
I)
Natural 9 can appear on any chord type and can be accompanied by any other tension except b9 or #9.
2)
b9 and# 9 can accompany each other and any other tension except natural 9. ~ 9 and #9 can only appear on dom7 type chords.
3)
Natural 11 can appear on any chord typeexceptmaj7 rypechords. Natural 11 can accompany any tension except ~9 and#1 1 . Natural 11 often funcbons enharmonically as a suspended 4th on dom7 and rnaj6 chords. The use
of natural 11 with the major third 4)
i,s
a more contemporary sound which will be examined later.
#11 can appear only on major type chords tmaj7 I maj6Idom7).~11 can accompany any tension except natural 11.
5)
Natural 13 can appear on any chord type except min7~5. Natural l3 can accompany any tension except~ 13.
6)
b 13 can appear on any chord type except minor chords containing a natural 5th. ~ 13 can accompany any tension except natural 13.
The following tension chart attempts to clarify and classify available tensions and chord tones on the most common chord types (excluding dim7 chords).
(
CHORD TENSION CHART CHORD
FREELY
CAREFUL
maj -;maj6 min7 min6 . 7( p); -, mm min maj7
6. () 9 9, 11
ti ll,~ 5
9
13 7,b7 , 11 9 6, 11
9, 13
3, ~ 13
9 i l. b13
dom7sus4 i
I
dom7
0
7,b7: # l l
I I
b9. 13
1I
1J 11
b13 I
~9 b13
#9
I
9. i3 9, b 13
\VEAK
I
ll
I
"')
I
!
111
9, li, 13 9, 9, 11,b l3 b9. 13 I
!
. 19
r~'f b9, p
,
F 1
I
9. 11, b13
I
•
~9, :9, I 11, 13
\..
j
2.2
.J · ~
Again, some of the tensions listed under the "weak" o r "careful" column might in fact be strong or characteristic notes in a modal setting, or appear in a common diat0nic progression were a melody or strong voice-leading could make use of an otherwise " weak., tension. In the fo llowing common chord cadence. theb9 tension is not normally available ro a min7b 5 chord. bm sounds and voice-leads quite well in this particular example . Note the A-7b 5(\, 9) chord forms a complete C-7 chord over an "A" bass note; ( C-7/A ). D7(b 9J G-6 A-7b5(b 9)
, .on I
,
I!~
v
·~
~I
i~ ~
'
II
No te that some of the above tension combinations under the dom7 chord diet me specific chord scales: Lydian b7 \vhoie tone dominant diminished altered \Vitb the exception of dom7 type chords. the tension c han accurntcly descri bes available tensions on these chord types in the majority of harmonic situations in \vhich they would appear. The dom 7 type chord nc<'ds some harmonic: cl arification in order to chose the appropriate tensions in relation Lo its function: keep in mind that the namre of a dom 7 chord can accept most any rens1o n combination. regardle ss of its functi on . The fol Io wing dcscri oes the tension tendencies of a dom7 chord in a given function. 1) V7 of major Common
1) natural tensions (9, 13)
2) ahered tensions (b9, #9, bs, #,5) 3) tension combinations: b9113, 9/b 13, e tc. 4 ) natural to altered (before resolving)
Not Common 1) (9, ~11 , 13) sub V sound 2) altere d to natural (before resoiving)
2 l \'7 of minor Common NOi Common
1) b9, ~ 9. ~ 13 and natural 5 or ~5 2 J:ens1 0r. comhinarion ...,: b0/ : 3. 91i> l3. e~.:.
1J natural 2) natural to altered 3 l altered to natural
#
4 ) (9 , 11, 13) sub V sound
?) Sub V and/or non-diatonic dom 7th. as well as IV7 and 117: (Lydian
b: 1
9 . ~ 11. 13
Upon e5tablishing some basis for tension possibilities on a given chord. it.J s now important w discuss the pl
23
When a tension is introduced to a four-note voicing, one of the basic chord tones is removed. The least needed chord tone is usually chosen. The root and fifth (unless altered) are the least needed. while the guide-tones (third and. seventh or sixth) are more important to the sound and function of the chord. Due to enharmonics, some tensions are already built jnto the basic four-part chords:
Cmaj7~5
= Cmaj7(#11);
C7~5
= C7(#11);
C7(#5)
= C7(b13).
These tensions could be considered as substituting for the fifth of the chord. Tension substitution on drop 2 type voicings follows this basic formula: any tension substitutes a chord tone next to that tension. This a11ows the substitution to take place on the same string.
9 substitutes the root or third 11 [4) subsUutes the third or fifth 13 [6) substitutes the fifth or seventh Since the guide-tones are needed, we are left with the following tension substitution formula for drop 2 type voicings:
9 substitutes the root {3 5 7 9} 11 [4] substitutes the fifth { l 3 7 1 J} I 3 [6] substitutes the fifth { 1 3 7 13} An exception to this formula which must be addressed is when the fifth is altered (b5 or #5). An altered fifth ;s an important part of the chord sound that should be included. In this case, 11 th and 13th type chords would have to substitute guide-tones instead of the fift h: 11 for3/13 for7. If the original chord sound and function are not lost, these substitutions are possible. An example would be a min 7b 5( 1 J) chord with tension 11 substitming the 3rd. A min7b5 chord is the only type of chord that will accommodate a~ 5th and an 11 th. By deduction, the minor 3rd of the chord is "heard" even though it is not played. If the chord sound is lost by removing a guide-tone on one of these altered fifth voicings, an alternative voicing to the drop 2 type voicing is required: 1 lth chord 13th chord
3 5 7 11
3 5 7 13
The fifth and the guide-tones are accommodated in these voicings and will be used when appropriate. In the following tension sections, with some isolated exceptions, the attempt will be made to retain the guide-tones in every voicing. When this is nor possible. the 7th will be retained in favor of the 3rd. This wili present some new voicings that are not drop 2 type. voicings but share the same width as drop 2. allowing compatible voice leading. More "incomplete" type voicings with various tension additions will be examined in the later Enharmonic Chordal Substitution chapters . The following tension substitution formulas will be used in thei r appropriate sections:
Tension 9
9 for 1 {3 5 7 9} 9 for 5 { 1 3 7 9} 9 for 3 { I 5 7 9}
Tension 11
11 for 3 { l 5 7 11 } 11 for 5 { l :- -; 1 : l 1i for i {3 .... 7 i 1 j
(drop 2) tdrop 21
*Tension 13 13 for 5 { l 3 7 13 }
(drop 2)
I
I
(drop 2)
I
13 for 1 {3 5 7 13) ("' With the exception of a doml3b5 chord,
Il
5 7 13 l proves too ambiguous or limited to examine.)
24
Tension 9 & 13
9 for 1 I 13 for 5 {3 7 9 13} 9 for 1 I 13 for 3 {5 7 9 13}
(drop 2)
Tension 9 & 11
9 for 1 I 11 for 5 {37911} 9 for 1 I 11 for 3 {5 7 9 ·11}
(drop 2) (drop 2)
Tension 11 & 13
11for5 I 13 for 1 {3 7 11 13} 11 for 3 I 13 for 1 {5 7 11 13 }
As more tensions are added to a four-note voicing, one or both of the guide-tones will eventually be removed, resulting in what is commonly referred to as an "incomplete" voicing. Some of these voicings can sound ambiguous or begin to lose their original chord sound, while others can define their original chord sound by use of unique rensions or a predictable chord progression. These latter chords often sound better and more "colorful" than the original "obvious" chord sound. Here are some examples of incomplete voicings being defined by their tensions: 1) b9 or #9 ~ust accommodate a dom7 type chord 2) l lth with i, Sth must accommodate a min7~ 5 or dim7 chords 3) l lth with 7th must accommodate min maj7 or dim7 type chords Here is an example of an incomplete voicing being defined by a predictable chord progression: (II)
G-7
(V)
(J)
C7
Fmaj7
t
l '~ft
l
(AP7#5) ~
~
II
The Ab7#5 is an incomplete C7(alt5) chord: Ab7#5
C7(alt5)
I
3
#S
b7
t
i
t
t
Ab
c
E
Gb
i
i
-1'
I
t
#5
I
3
~5
The Ab 7#5 chord standing alone has no particular C7 sound. When placed in the above chord progression in substitute of the normal C7 (and perhaps accompanied by a C bass note), it no longer sounds like and A~7#5 chord. By examining each tension, we can see which tensions dictate guide-tones and which do not: 1) b9 can appear only on dominant type chords, dictating their guide-tones when missing from a voicing. 2) Natural 9 can appear on any type of chord, thus cannot dictate the guide-tones of any pa.rticular chord type. 3) #9 can appear only on dominant type chords. It can dictate the~ 7th but requires the 3rd to accompany it. Without the 3rd, #9 might sound enharmonically like the third of a minor chord, #9 =~3. 4) Natural 11 can appear on any chord type except the maj7 type chord. With the exception of an 11 with natural 7 dictating a min. maj7 ( 11) chord, 11 usually dictates a ~ 7th guide-tone. Natural 11 cannot dictate a major or minor third, although it often can take the place of the third by enharmonically functioning as a suspended 4th guide-tone.
25
5) #11 can appear only on major chord types, dictating the major 3rd when missing, but not the 7th. 6) b13 can appear on any chord type except minor chords containing the natural 5th. It can dictate the b7th, with the maj7(~5 ) chord being enharmonically an exception. It cannot dictate the 3rd. 7) 13 can appear on any chord type except the min7b5 chord. It cannot dictate guide-tones. As more tensions and chordal substitutions are presented, the use of incomplete voicings will become more common. The maj7#5 and min7#5 chords have been omitted from the following tension chapters. due to their unique sound being compromised by tension additions. The min7#5 chord will reappear in theAdditionalEnharmonic Chordal Substitutions chapter with tension additions. Although tensions will not be added to the maj7 #5 and min7 #5 chords, their four-part structures will reappear as enharmonic su.bstitutions in various tension chapters. As an example, in the Tension 11 chapter, G-7~5 wili appear as C-7(11) (b3 S b7 11).
26
Chapter 6. Dominant St1b V Chords Every dominant type chord, with the exception of those containing a suspended fourth, can be substituted by another dominant chord a tritone away. This chord is commonly referred tO as a "Sub V" chord (Db 7 is the Sub V chord of G7, and vice-versa). Any tensions added to a dominant chord will appear as chord tones or different tensions on the Sub V chord. The following is a simple tension conversion model for Sub V chords that should be memorized:
i 1 1 Di
#11
5
(b5)
bl3
13
(#5)
The above model in relation to C7 and its Sub V chord:
R
b9
9
#9
t
I
t
I
c
Db
D
D#
C7
,/7 (Sub V)
I
t t t t
"')\
F#7 #11
s
b13
13
There are four dominant chords that " mirror" themselves on their Sub V chords: C7b5 C7(b9) C9(#5)
c 13(#9)
=
= = =
F~7b5
Frb9J F ·9(#5) 1
F 13(#9)
Remember the tension substituuons [9 for R] and [13 for 5] for the above examples, leaving three of the chords rootless. All the doll'jnant chords that will be introduced in the forthcoming tension chapters will also examine their Sub V chord~. The only exceptions will be dominant chords that contain both a b13 and natural 5. These notes produce b9 and natural 9 on the Sub V chord, which is not an acceptable te nsion combination, producing consecutive half-steps (R - b2 - 2). These chord types will be omitted from the tension chapters but will reappear for examination in the Additional Enharmonic Chordal Substitutions chapter. Remember to be aware of Low Interval Limils and b9th intervuls when placing dominant ten5ions on the Sth string. Tensions #9 and 13 will not be allowed on the 5th string. Both tensions are Sub V substitutes for each other and both produce b9th intervals (tension #9 over the 3rd arid tension 13 over the~ 7th ). Tensions 9andp13 [#5] are also Sub V substitutes for each other, but only the 9th (with some exceptions) will be omitted from the 5th string due to low interval limits .
27
Before beginning the tension chapters, a brief discussion of the "altered" dominants should be given. Altered (or alt) on a dom7 chord refers to the 9th and 5th being flatted and raised (b9, #9) and ( b5, #5) or enharmonicaliy ( b9, #9 , #11, bl3) . Any combination of these tensions will satisfy an "altered sound," but tensions #9 and b13 [#5) are most characterislic because they are also tensions on the Sub V chord: (#9 = 13) and (bl3 =9). Example: C7(#91#5) (altered)
=
F #7(13/9) (natural)
An additional observation of interest shows the~9 and #5 of a V7 chord to be the "blue·· notesb 7 and b 3 of the related I chord; (V7) C7(#91#5) .....................#9
#5
E~
Ab
( 1) F. ................................... b7
b3
!\fore information on altered dominants is presented in the Altered Dominant chapter later in this text.
28
Chapter 7. Tension 9 By substituting 9 for the root on all of the previous four-part drop 2 inversions, we see many of those original fourpart 7th and 6th chords reappearing on different roots. The following list contains all possible tension 9 additions to the original four-part chords and the consequent four-part enharmonic substitute chords produced: Cmaj7(9) Crnaj7b 5(9) C-maj7(9) C-7(9) C-7b5(9) C6(9) C-6(9)
= = = = = = =
E-7 I G6 refer below Ebmaj7#5 Ebrnaj7 Eb-maj7 A7sus4 Ebmaj7b5
C7(9) C7(b9) C7(#9) C7b5(9) C7~5(b9) C7b5(#9) C+7(9) C+7(b9) C+7(#9) C7sus4(9) C7sus4(b9)
= = = = = = = =
= = =
E-7b5 I G-6 Ctt 0 7 , E 0 7. G 0 7, Bb 0 7 refer below F~+7 (Sub V ) F · 7 (Sub V) refer below E7b51Bb7b5 Bb-7b5/Db-6 Emaj7b5 G-7/B b6 G-7b51Bb-6 I
Cmaj7b5(9), C7(#9). and C7b5(#9) do not produce basic four-part 7th or 6th enharmonic substitute chords, but do produce their own interesting substitute chords: C7b5(#9) C7(#9) Cmaj7b5(9)
=
=
=
Gb7(13) (Sub V) Gb 7(b9/13) (Sub V) [lstinv. ofC7(#9) = D#IE).] D6(9) { 1 3 6 9}, which is not a drop 2 voicing. This maj6(9) voicing will be discussed later in this chapter.
C7sus4(#9) has been omitted, since it has become a C-7(11 ) chord. As mentioned earlier, Cmaj7#5 and C-7#5 will not be included in the tension chapters, but will appear later in this book with tension additions. C 0 7 will receive tensions in the Tension Additions on Dimin 7 Chords chapter. Realize the enharmonics involved in the above ninth chords with an altered 5th : Cmaj7b5(9) C7b 5(9 lb 9 I #9) C7 #5(9/b91#9)
=
=
=
Cmaj7(9/~ 11)
· C7(# 11/9) C# ll/b9) C# 111#9) C7(~ 13/9) (b 13/b9) (b 131#9)
If not already listed. realize the Sub V chord for each dorninam chord:
C7(9) C7(b9) C7#5(9) C+7(b9) C+7( #9)
= =
= = =
F 7(~5/b9) F 7( 9) F +7(9 ) F 7(9) F 7( 13/9)
Look at the previous enharmonic substitutions from a common four-pan cho;d root: Cmaj7 Cmaj7b5 Cmaj7#5 C-maj7 C-6 C6 C-7 C-7b5 C7 C7b5 C7li5 ,, C 07 C7sus4
= = = = =
= = = = = = = =
A-9 A-6(9) I Ab7(# 51#9) I D7(9/13) A-maj7(9) A-9b5 F9 I D7sus4(b9) I B7(#51b9) Fmaj9 / D7sus4 (9) Abmaj9 / F7sus4(9) Ab9 / F7sus4(b9) I D7( #51b9) Gb 7(b51b9~ Gb 7b5 /A 9+/ D9+ Gb9(b5) B7 (b9) I D7(b9) I F7(b9) I Ab 7(b9) Eb6(9) 29
Tensions b9 and #9 can combine to form available dom7 tensions (i.e. C7(alt9) I C7b5(alt9) IC+7(alt9)). These chords will be examined later in the Altered 9 Tensions on Dom7th Chords chapter. With the exception of the b9 tension on a dom7 chord. this text will avoid using tension 9 on the 5th string. Some isolated exceptions to this rule might appear in later chapters. The following is a convenient model which will be used to display different chord voicings and inversions:
maj7(9) {3 5 7 9}:
I
3
5
7
9
~
2nd string
7
9
3
5
~
3rd string
5
7
9
3
~
4th string
9
3
5
7 ~ 5th string
Note that the previous seventh chords that avoided their 3rd inversions due to the b9th imerval they contained (Cmaj7. Cmaj7h5. and C-maj7) are now available as 9th chords (Cmaj9. Cmaj9b5, C-maj9), since tension 9 has removed the b9th interval that was produced between the 7th and root. Although these inversions are now available, they do run the risk of violating "Low Interval Limits" since the 7th is in the bass. To avoid this problem, non-drop 2 type voicings. which contain the same basic ·'width'" as drop 2 type voicings, can be used to substitute these third inversion drop 2 ninth chords: By removing the fifth degree from a root-inversion close position ninth chord. a fo ur-note voicing comainmg lensior. 9 in the top voice is produced:
Cmaj7(9) no 5
-#Q,-1.._..- -11
C6(9) no 5
_,.,,.._1~-----+111
These voicings can effectively substitute the third inversion drop 2 ninth chords while retaining the desired tension 9 in the lead:
9
can substitute
9 5 3
7(6) 3 1
7(6)
If the 5th degree is needed in these substimte ninth chords, the third can be removed: Cmaj9(no3)
9
7(6) 5 l
30
When LIL is not an issue, voice leading, sound, and fingering will determine which voicing is best. Examine the previous list of 9th chords using the new omitted 5th or omitted 3rd ninth chords discussed: Cmaj7(9) Cmaj7b5(9) C-maj7(9) C-7(9) C-7b5(9) C6(9) C-6(9)
= = = = = = =
1 1 1 1 1
3 7 9 b5· 7 9 b3 7 9 b3 b7 9 bs b7 9 1 3 6 9 1 b3 6 9
C7(9) C7(b9) C7(#9) C7b 5(9) C7b5(b9) C7 b5 (#9) C+7(9) C+7(b9) C+7(#9) C7sus4(9) C7sus4(b9)
= = = = = = = = = =
=
1 1 1 1 I i
3 b7 9 3 b7 b9 3 b7 #9 b5 b7 '9 b5 b7 b9 * bs b7 #9*
115~79
1 5 b7 b9 * 1 5 b7 #9 * 1 4 b7 9 1 4 j,7 b9 *
*These voicings will be omitted from this chapter, due to the b9th intervals or the ambiguous sounds produced. Most will reappear later in more appropriate chapters. Note: Four of the above voicings have produced previously introduced drop 2 type voicings:
Cmaj7b5(9) ......................... { 1 bs 7 9} C-7b5(9) and C7b5(9)......... { l bs b7 9} C9sus4 ................................. { l 4 b7 9 }
=
Ab 7b5(#9) I Dl3 D+7/ A~9~ 5 D-7 #5
= =
Since the drop 2 inversions are known, they can be applied to these ninth chords: Cmaj7b5(9);
bs
9 7
1 7 9
bs 1
bs
C-7b5(9) or C7b5(9); 9 b7 b5 1 C9sus4;
9 b7 4
1 j,7 9 '
4 1
b7 9
7 9
bs
1 bs
9 7
b7 9 1 bs
1 bs 9 b7
b7 9 1 4
1 4
1
,,
9
b7
~'Common notation for the root inversion of C9sus4 is Bb/C. Two additional ninth (omit 5) chord voicings whose inversions will be examined are maj6(9) and dom7(9):
maj6(9)
dom7(9)
9
.".::.
6
6
1
9
3
3
6
1
9
I
9
3
6
9
3 l
3
3
b7
1
9
9
3
b7
*The l stinversionofthemaj9 fl 3 7 9 } and3rd inversionofrhe dom7b9 {l 3 b9 b7} willbeexaminedinlater chapters.
31
Note the C+7(9) no 3 voicing { 1 #5 b7 9} is equivalent to the Bb 7(9) no 5 voicing { 1 3 b7 9}. 1
#5
t
t
t t
c
G#
Bb
D
t
i
i
i
9
b7
l
3
C+7(9);
I
B b7(9J;
b7
9
Since t-he dom7(9) inversions will be used. they can be realized on the dom7# 5(9):
9
#5
b7
#5
#S
9
b7
9
b7
#5
9
b7
At thi s point. we shou ld summarize the substitution possibilities presented for e ach chord, including Sub V chords of the non-drop 2 dominam ninth chords with omitted 3rd or 5th:
b7
C -7"5
=
C+7
=
C7(9)
= =
Gb7(#51b9) = E-7b5 = G-6 = A7sus4(b9)
C maj7(9)
=
E-7 = G6 = A9sus4
C7b5
=
G~ 7 b5= Ab+7(9) = D+7 (9)
Cmaj7b5
=
A-6(9) = Ab7(#51#9)
Cmaj9b 5
=
D6(9) { l 3 6 9}
Cmaj7
=
A-9
C-maj7
=
A-7b5(9)
Cmaj7( ~ 5 '
A-maj9
C6(9 )
= =
C7(b9)
=
(C# 0 I E 0 i G 0 I Bb 0 ) (C7Cb 9)1F#7(b9)/A7(b9)/Eb7(b 9))
C7(#9l
=
F# 13(b9)
C7
=
F#7Cb5/b9)
C7b5(#9)
=
Gb7(13) = Emai9b5 { I
C7( ~9 J
=
F¥ 13b5 {3
C7(9) {13b79}
I 1 3· b7 #9}
Bb 9sus4 { l 4
9}
G b9b5 = Bb9b5 I Bb-9b5 { J b5 b7 9} = E (alt5 ) { 1 3 bs #S} [Sub V of Bb 9b5] D+7(9) { 1 #5 b7 9} = F#7(alt5) {3 bs #5 b7} [Sub v of C9] = Ab9(alt5) { 1 bs #5 9 } [Sub V of D+7(9)]
=
D7(9/13)
A7sus4
bs
bs
7 9)
~7 !3} [Sub VofC7]
The Sub V c hord of the C7(~9) { l 3 b7 b9} chord is F#7( # ll ) {3 5 b7 #11 }. Thi s Sub V chord will not be available to the roOL inversion C7(b9) chord becau se of the b9rh interval between the 5th and# 11 th of the F#7C# 11 ) chord. In the next chapter, f ~ 7( ~ 11 ) will reappear on the third inversion of the C7(b 9) chord. These ninth (omit 3rd or 5th) chord voicings, as well as the d:-op 2 type voicings, will have some very interesting additional substitution possibilities in later chapters.
32
Each 9th chord and applicable inversions previously examined will be presented in the following II-V-I chord cadence examples. As mentioned earlier, when a single voice is notated on the staff, it will be considered the top note of a drop 2 type voicing. If a non-drop 2 type voicing is used, all four voices will be notated. This approach will be used throughout this text.
Imaj7(9) I
drop 2 type voicings:
=
Imuj7(9) Cmaj7(9)
=
III-7
=
V6
E-7
=
06
= =
VI9sus4 A9sus4
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions with the addition of one ninth (omit 5) voicing:
7 3 9 5
5 9 7 3 D-7
4
0
G7 0
9
C maj7(9)
--~
9
_,<:
7
3 7
3 1
D-7
G7
Cmaj9
A-7
D7
Gmaj9
-&
..0.
..0.
-&
-&
-&
Ii
II
1:
[IDaj1bs(9) 1
This is a unique chord in that the drop 2 type voicings produce ninth (omit 5) enharmonic substitute voicings and the ninth (omit 3) chord produces a drop 2 type enharmonic substitute chord.
< Cmaj7b5(9) Imaj7b5(9) (drop2) (drop 2)
>
=
II6(9)no 5 D6(9)no 5 bV17(b 51#9) (drop 2) I II13 (drop 2) Ab7b5(#9) (drop 2) I Dl3 (drop 2)
=
=
=
>
A voiding tension 9 on the Sth strin 0 leaves three applicable drop 2 inversions with the addition of one ninth (omit 3) voicing. (T
bs ·9 7 ~
-· D-7
l
0
G7 0
Cmaj7b5(9\
7
9 bs 3 7
3 9 bs
Q /
7
bs 1
D-7
G7
€-
Jl
lO
II
Cmaj9b5 n
II
33
A-7
D7
-&
-&
Gmaj9b5 -&
II
Imin. maj7(9)I drop 2 type voicings: I-maj7(9) C-maj7(9)
= =
bIIImaj7#5
E~maj7'5
Three applicable drop 2 inversions with the addition of one ninth (omit 5) chord. Due to the physically awkward fi ngering produced by the 2nd inversion, its register might be limited. 7 b3 9 5
5 9 7 b3 D-7b5
C-maj7(9)
G7
--&
9 5 b3 7
9 7 b3 1
D-7b5
G7
.0.
.0.
0
0
0
C-maj9
Ii
' Imin7(9) I
A-7b5 -e-
Ao7 -&
G-maj9 -e-
II
II
drop 2 type voicings: I-7(9) C-7(9)
bTIImaj7 E~maj7
=
=
Three applicable drop 2 inversions with the addition of one ninth (omft 5) chord.
5 9 b7 b3
l
D-7(9) -e-
D0 7
oe-
b7 b3 9
5 Cmaj9
9
9 b7 b3 l
5 b3 b7
A-9
0
0
D7b 5
Gmaj 9
#o
-e-
II
A-9 ..Cl.
II
34
D7b5 -e-
Gmaj 7b5 ..Cl.
II
I min7b5(9) I
< <
>
~ Ili-maj7 (drop 2) Eb -maj7 (drop 2) II-r-7 (drop 2) lb VI9b5 (drop 2) D+7 (drop 2) I Ab9bs (drop 2)
=
l-7b,5(9) (drop 2) C-7~5(9) (drop 2) I-7~5(9)no 3 C-7b5(9)no 3
=
= =
>
Three applicable drop 2 inversions with the addition of three good ninth (omit 5) chord inversions. Due to the physically awkward fingerings produced by the 2nd and 3rd drop 2 inversions, their registers might be iimited.
bs
drop 2;
bi
9
b3
9 b7
9
bs
b3
0
~
.0. 0f
. IJ.o..
Q
ll -9\~ ,. 1
.A.07 Gmaj7b5
A-7b5(9 )
lz~
C-7b5(9 ) '
b-e.
~7 9 I
9
·b7. ,b5
-&
'!
b.o.
J
bs 9
bs
1 G+7 C-maj9
D-7P5(9)
~
ninth (omit 3);
bs b3 b7
b7
F7#5
BP6
-&
Q
: (~
8F
jj
tr -
A-7b5(9) Ao?
.0.
11
G-maj9
-&
'i
-&
II
Those rnin7b 5(9) voicings containing no third will be examined later in this chapter for their dominant quality as well : dom7b5(9). J
maj6(9)
I
<
= =
Th ree applicable drop 1 inversions and
5 9
6 3
VI7sus4 (drop '.2) A7sus4 (droo 2) bVIlmaj9b5 ·(drop 2) B ~maj9b 5 (drop 2 )
=
<
dr0p 2;
>
=
J6(9) (drop 2) C6(9) (drop 2) I6(9)no 5 - C6(9)no 5
6 3 9 5
rbre~
>
applicabie ninth (no 5 J chord inversions:
9
ninth lnO 5):
5 _1
9
6
6..,
9 l 3
.)
6
Drop 2; D-9
Ab o?
~
C6(9 ;
D-1
0
G7
..,
_1
9 6
C6(9 )
A-'7
D7
G5(9 '
B7
Bb6(9 )
-a-
b.n.
0
0
!! Ninth (no 5) Chord; D -7 ..-.TI\
.....
={t·
J'
e
Bo7 ~o
C6(9)
A-9
-&
=:
Q
II
D7~5
G6(9)
.If
-&
"
~ ':!r:.
~._,
F7sus4
b.u
211
~~
II
Imin6(9) I
drop 2 type voic ings:
=
I-6(9) C -6(9)
=
bIIIma j7 b5
E~maj7 b s
=
VII7(#51# 9) I IV7(9/1 3) B7( #51#9) I F7(9/1 3)
=
Three applicable drop 2 inversions with the addition of one ninth (no 5) chord voicing. Due to the physicaUy awkward fingerings produced by the drop 2 (2nd inversion), its register might be li mited.
5
b3
6
9 5
b3
D-7115 ~
4
b,e-
0
II
9 6
b3
b3
6
I
D-7b5
C -6(9)
G 7b5
9 5
6
9
0
Abo7 ~
A-ns
C -6(9 ) Q
0
D +7
b.o.
G-6(9 ) -e-
II
II
DOMINANT 9TH CHORDS
Idom7(9) I
drop2 {3 5
b7
Ninth no 5 {1 3
9}
b7
9} /
C9 {3 5 b7 9} = E -7b 5 I G -6 I F# ?(b 91#5) C 9 {I 3 b7 9 ) = F#7(alt5)
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and thre e applicable ninth (no 5) chord inversions :
drop 2;
Drop 2:
q
b7 ..,
9
p/
9
_)
3
5
5
D -9
¥~
G9 -e.
ninth \no 5 );
5..,
.)
9
b7 ,., .)
b7
..,
9
_;
I
9
....,
p7
b7
.)
Cmaj9
E -7 0
0
A9 0
Dmaj7
A-7
-e-
~
II
D9 -e.
G m aj9 -e-
@
II I
I
~ A h-9
SUBV
~
~..o..
D ti 7 ( ~9/f 5 ) G tnnaj 9
-e-
B~ -9
~
0
1
i
E b7(b9/#5 ) Ab6
a
~
II
II
36
E !J -9
Av 7 ( ~9/ ~5)
b..o..
-e-
D b6(9 )
~
II
Ninth (no 5); D-9
¥"
Cmaj9
G9
a
I
C9 ~..Q.
G7sus4 -e-
Fmaj 7
·:
II
F 7sus4
b.n.
-&
B!>9
E b6
b.o.
bn
h'~
I!
II
' I
I
A~ -9 I
SUB \'
~
!J..o._
I dom7(b9 J
~·
"''
Do7(alt 5) Gt1 m a,i8 -e-
C1-9
i:>-0-
v
F:l7(alt1' ' Bmaj7
z:..e.
t&
to
be-
II
1!
I'.
l
E 7(a1t5 ) &-naj9 b.o. ~
B-7
1
ninth1no51c.:i1ord!1 3 97 79 l C7(b9)
13
5 b7 ~91
=
Do. E, G. and/or Bbdim7 (Eb7(b9 ), F~ 7(b9) , anci/or .~ 7(o9 !J
Four applicable drop 2 inversions plus one additional ninth (no 5) chord inversion. T he drop 2 Sub V chords need not be presented. since transposing these exercises by a tritone (and minor thirds) will produce the same examples. T he S ub V will be avoided on the ninth (no 5) chord voicing d ue to the b9th interval produced by S over # l l. The ~9th inte rval produced by b9 over the root is availabie on dominant chords.
A-7
Drop 2:
~
0
D -.,...I
-~
e
D 7b 9
..
;;o 0
G7b9
e
Gmaj9
:±e
A-7
D7b9
Gmaj9
-&
-e-
-€>-
I!
Cmaj7
II D-9 -&
( }
G7b9
Cmaj9
·F e-
:=t'.
i
__=:Jj
Ninth 1no 3 1; D 7su s4
~Q
Q 7,9 ~ ~
C6(9 , C:-&
~~
~
37
II
ninth (no 5) chord {I 3 b7 #9 }
drop2 {3 5 b7 #9}
jdom7(#9)1
# =
C7 ( #9) {3 5 b7 9 i C7(#9) {1 3 b7 #9J
F~ l3(b9) F~ 13(b5)
=
A voiding tension #9 on the 5th string )eaves three applicable drop 2 inversions plus one ninth (no 5) chord inversion. Due to the difficult fingerings produced by the second and third inversions of the drop 2 voicings. their registers might be limited. ninth (no 5): #9 b7 drop 2; 3 ~7 3 b7 3
#9 s
F-7
G-9 C7(#9) Fmaj9 -e-
B?7rn9) G7(#9) Ebmaj7(b5) D-9 Cmaj7(b5) D-9 G7(#9) Cmaj?
~
..0.
I
'
I
!
I
I I
I
'I'
F#13(b9) C#-9 B6(9)
qo
I
,j,
B-9
#o
-&
E13(b9)
l>e-
Dt> 13(b9)
Ab-9
A6
b.o.
~
II
SUB V
\i'
'ii
b.o.
Db i3(b5) Ab-9 Gbmaj9
G~maj9
b.o.
l>e-
II
II
b.o.
l>e-
II
(Eb/E)
ldom7b5(9)
I
drop2 {3 bs b7 9)
C9(b5){3b5b79} C9(b5){lb5 b79 }
ninth (no 3) chord { 1 bs b7 9 }
= =
F~+7 D,.7 I
.
.
A~9(b 5 l
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and three applicable ninth (no 3 1chord inversions: drop 2;
b5 9
b7 3
b7 3 9
bs
9 t1 5
ninth (no 3):
9
b7
'~)1
-·
"l
~7
38
b7 9 1
!,s
l
bs 9
b7
G-9
Drop 2;
C9(b5)
Fmaj9
-a-
'4
#o
C9b5
b.o.
Bmaj9
F#+7
C#-9
D7sus4
Cmaj9
G9b5 e-
0
0
II
II
II
I
Bmaj7
F#+7
~
.0.
~e
je
Fmaj7 -e-
I
II
ii
C#-9
SUBV
0
G-7
b.o.
~ Db+7 Gbmaj7(b5)
Ab-7
~
II
r
I
!>&
().O.
~
II
II
Ninth (no 3); D-7b5 -e-
'
~
SUBV
G9b5 -e-
Cmaj7b5
D7sus4
.il
II
1
i. ...
l>e-
Db7(alt5) Gbmaj7
Ao-7
b.o..
~
G7sus4
b..ci
0
II
•
Db(alt5) Gbmaj9
f>o
!HJ I
-&
II
l
F #(alt5)
B6
I
Ire-
I
Fmaj7
~};) 1 '~J
C#-7 .il
II
ldom7b5(~9)
C9b5
-&
~
'I-
Ab -7
C6(9)
t~'·)
0
p i'') .......
G9b5
().0.
#o
II
Ii
I drop2 {3 b5 b7 b9} b5 b7
C7b5(b9) {3.
= F#7
b9}
The ninth (no 3) voicing will be omitted, due to the b9th interval produced. This voicing will reappear in a later chapter as a hybrid chord. Four applicable inversions:
3 bs b7 : b9 bs b7 b9 3
b7 3
b9 bs
I
E7(b9/b5) Amaj7 B-7 -e#o
SUBV
' '
#~
B-9
il ~e
I
,}
F7sus4 Bb7
b..o..
!>&
Ebmaj7
F-9
0
Q
3
b7
E7(b9/b5) A6(9)
~
II
A-9 0
I!
1
Bb7 (b 9/b5) D7(b9/b 5) Ebmaj7 Gmaj9 F7sus4 I b.o. ()-0-ea
~I
II
!I
i
w
E' . E b7sus Ab7 D!imaj9 Bb7 >maJ 9 ~ D-0e---e !)-&
II
II
39
w
B-7 ~
II
E7
:k· ·'
Amaj7 ~o
~
ldom7bS(#9)1 drop2 {3 b5 b7 #9 }
=
C7b5(#9)
F~ 13
Only tvvo practical drop 2 inversions will be used. The root inversion will be omitted because of the b9tb interval produced by the 3rd over the ~9th. The third inversion will be omitted because of the awkward fingering produced. The ninth (no 3) chord voicing will be omitted because it has become a rnin7b5 chord. This ninth (no 3) chord voicing might reappear in later chapters where incomplete Yoicings are more appropriate.
b5
G-9 C7(~9t:i5) Fmaj9
b7 3
t9 ~7
i
~9
(p)
....
-~
-e-
~
,.e
E-7
Q
~I
B6(9)
F#7sus4 FU3
J
4
ie
It
-&
II
BD-9
ED13
AD6
~
0
~
~0
tt1
II
9i
d om7#5(9) I drop2 {3#5 b7
Dmaj9
1 l
II
~
SUB V
A7(~9/b5)
Q
ninth (no 3) chord { 1 ff 5
9}
E7b5 / B~7b5 / F#9# 5 F#9(alt5)/ B b9(no 5) {1 3 b7 9 } I i:."tlalD)
=
C9#5 {3 #5 b7 9} C9# 5(no 3) { 1 #5 b7 9)
b7
=
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and three applicabJe ninth (no 3) chord inversions. T he Sub V chord will not be included in the drop 2 examples because, like its dom7b5 substitute. it ..mirrors" its original dominant chord: C9#5 = F#9#5.
;s
drop 2;
b7 ..,
9 b7
--.
Drop 2; G-9
C+7(9)
'
9
b7 9
.)
#5
b7
9
3
#S
#S 9
., -
~=
0
tt)
I
A9~5
E-7
Fmaj9
~
-&
ninth (no 3);
9
a
0
Dmaj9
C-9
-&
Q
\J 7
F9#5
Q
II
Q
B:imaj9
e
II
II
Ninth (no 3;; C-9
~n
F9~5
:th~
C-9
Btimaj ~I
-e-
0
I!
~
po ~ .":";
--~
!~
Btimaj 9 e
G-9
C9~ 5
-&
b..o. !I~
II
'
~·
,;
SUB V
l
B9Calt5> Emaj7 Q
cto
Fi:! -9 '!:Q
C #-7 ..0.
i;o
F#9(alt5 ) Bmaj7
it.a-
(Eb9) 40
~
II
II
II (E!>9)
t
B9(alt5) Emaj7
b.e
J
II
I F:-7 -e-
F6 -e-
(B b9)
Idom7#5(~9) I drop2 {3 #5 C7(b91#5)
b7 b9 }
=
Db -6 I Bb-7b5 I F#9
The ninth (no 3) chord voicing will be omitted, due to the awkward fingering and the b9th interval produced. The drop 2 Sub V chord produced is a dom9 chord, and although all four inversions are available to the dom7# 5(b9) chord, the inversion producing tension 9 on the 5th string on the dom9 Sub V chord will be omitte d. There are four applicable inversions: b7
3 b9
#S
3
G-9
-e-
' SUBY
C +7(b 9 ) Fmaj9
~
B b7(b9/#5 )E , F-7 '6
D-e-
0
'fo
,·
I!
I C~-9
b-e-
J
F~9
b.o.
:So
61
I!
l
E7(b 9/~5 )
F7#5(b 9) B b6(9)
0
-e-
0
II
I
.jr
B9
F #-9
;o
Emaj 9
#o
:[¥0
II
II
Arnaj9
B-9
I
Sub V not applicable (9 on 5th srring)
Bmaj9
~o
C-9
F-7 iJ.e. I
;I II B"'b9
±to I
II E bm aj7
~
0
II
II
,,
ldom7#5(#9)1 drop2 {3 #S b7 #9} C7(#91#5)
=
Emaj7b5
The ninth (no 3) voicing will be omitted. due to its incomplete nature. It forms a complete min7# 5 chord, which will be examined later for its dominant qualities. · Avoiding tension #9 on the 5th string leaves three applicable drop 2 voicings:
!~
b7 ,.., ::>
g
7 3
E-7 0
SUBV
' '
#9 #5 3
b7
A+7(#9) Dmaj7b 5
G-9 ~-e-
~
1
C7 l #9/~5 )
~
F6(9)
D-9 -e.
0
II
ie-
.a.
·3
II
I
I
~
Sub V not applicable (9 on 5th string)
G7(#9/#5 ) Cmaj7b5
C#-9
±to
II"
"'
F~7 ( 13/9)
±to
41
-ii
B6(9)
....a
G#-7 ~o
Ii
C tt7(13/9) F#maj 9
ie-
~o
II
J
dom7sus4(9)
I
b7
drop2 {4 5
b7 b7
C9sus4 {4 5 C9sus4 {l 4
ninth (no 5) { 1 4
9}
=
9} 9}
b7 9}
G-7 I Bb 6 D-7#5
=
A voiding rension 9 on the 5th string leaves three applicable drop 2 inversions and rhree applicable ninth (no 5) chord inve rsions: drop 2;
b7
9
b7 9 l 4
4
9 5
b7
9
4
4
4
5
b7
I
5 9
ninth (no 5);
b7
l
4 9 b7
Drop 2;
G-7
4
e
C9(sus4) 0
F-9
Fmaj9
Bb9sus4
~
0
0
E~ maj 9 I Dn
G9(sus4)
-&
-e-
II
1: (F-7 )
(G-7)
D-9
Cmaj9
a_=$,
(D-7)
Ninth(noS ): D7sus4
~
0
G9sus4
Cmaj7
-&
..0..
G7sus4 C9sus4
-e-
Fmaj7
b..o..
D7sus4
-&
I dom7sus4(b9) I
C6(9 )
0
0
0
II
II (D-7#5)
(A-7#5) (F/G)
G9sus4
II (A-7#5)
drop2 {4 S b7 b9) C7sus" ,9;
=
G-7h5 I B'7-6
The ninth t no 5) c hord voicing will be omitted due to theb9th interval. It will reappear later as a hybrid chord. There arc four applicable drop 2 inversions: 5
4
b7
s
b9
i 7
b9
4
5 4
/},
b9 b7
b9
4
_,.:;
b7
F7sus4 Bb7sus4(b9) E11maj7 I
t
D.O..
@
~
Q
-e-
______,
G7sus4(b9 J Cmaj9 p.e..
0
I~
I (F-7b5 )
G-7
-~
o-e-
D-7
e
(D-7b5)
C7sus4(b9J Fmaj9 0
CG-7b5)
C-1 0
0
i 42
F7sus(b9 1
b..a. (C-7b5)
B ~maj9
-e-
II
TENSION ADDITION BY STRING In the following chord progression, voice tension 9 on the 2nd string only. Use drop 2 type voicings first, then repeat using the ninth (no 5) chord voicings only. This is a good example of the ninth (no 5) voicings being more appropriate since the drop 2 voicings, having the 7th in the bass, travel below the recommended Low Interval Limits. E7(~9)
Fmaj7(9)
G7(9)
D-7(9)
D~7(9)
Cmaj7(9)
G~7(9)
Fmaj7(9)
Now voice tension 9 on the 3rd string only in the abMe chord progression. Finally, voice tension 9 on the 4th string only in the below chord progression. B~maj7(9)
B7(~9)
C7(9)
A7(~9)
G-7(9)
Tension 9 on the 5th string will be avoided.
In the following chord progression, tension 9 alternates between the 2nd, 3rd . and 4th strings. After preparing this progression, the student should compose his or her own line on the same progression using a 9th tension on each chord. Cmaj9
'
F
A7(b9)
r
D-9
G9
1r
r
E-7P5(9)
A7(b5/~9)
D-9
a
1#r
-611
F-6(9)
r
C6(9) 0
!!
1;
The following examples will use various ninth chords over a typical "Jazz" or "II-V" blues form. Remember to try both drop 2 and ninth with omitted 3rd or 5th voicings when tension 9 is in the lead. Inversions of the ninth (no 3) or ninth (no 5) chord voicings beyond the root inversion with 9 in the lead will be completely notated. \.'- ~ 1 ._
-... :
-
\ I '
f
G-9
~-:--:::>
'
G7(b9)
D-9
tr
E b9 ~p.
1f
A-9
#j
D7b5(b 9)
1* tr
'I
C7b5(#9) C7#5(b9)
l#f
F+7(#9)
C-9
~
Bb-9
G9sus4
. ,
bf
Bb9
'
,,wr-.
\ ,..._>(
E-7b5(9 )
Fmaj9
G
l -~
r . •.
:;-:/.'--) \_rQ.nt?YJ
F6(9)
~
D7#5(#9)
b~
1F
G-9
A~ -9
Dli7D5(9) bo
!bF
I
•
C9#5
F9
~
I' 43
#r
0
II
II
This next example makes use of several different ninth chord inversions with the omitted third or the omitted fifth. Note the chromatic voice-leading in bars two, three, and four into bar five. Also note the voice-led scale pattern in the last three bars before the e nd. The same "II-V" blues form used above has been transposed to the key of ''B ~" for this exampie.
/),'
~ ~Bbmaj9
Bb6(9)
A-7b5(9) D7(#5/ti9)
j'
l"f
e
I
11m
I D-9
be-
-6-
Df
G7::5(b9)
~
, ~
'DO
Iw'2 Db-9
G9#5
I Bb9
B b9#5
I
I
Ab 9
F7tt5(b9) F7 sus4(b 9 ) 1
C-9
F9sus4
~
I
I
I:
'.
C7(tt5/#9)
?-
Eb-9
o.a.
-6-
&'f
or
!?
Eb7b5(#9J
G-6(9)
r
I
C9
F7sus4(b9 )
lr
I
Gb7#5(#9)
b-e
ba.
. ~
§a&: Bb9
b.n
llfrfl
11
The following dominant "turnaround" example uses all four of the inversions of the dom9(no 5) chord. Bb9
G9
I
~ ~~
~§,;;
Gb9
F9
1t
!z~E~! §
Bb9
b.o..
II 1><~
II
Tension 9 on the 5th string for the above F9 chord has been included for demonstrative purposes. It is above the L.I.L. for tension 9.
44
Chapter 8. Tension 11 There are three basic substitution approaches to adding tension 11 to basic four-part 7th & 6th chords: 11 for 5 { 1 3 7 11 } 11 for 3 { 1 5 7 11 } 11 for R {3 5 7 I I }
11 for 3 or 5 is the traditional drop 2 substitutional approach. while 11 for the ram can oflen produce a new drop 2 or ninth c hord with omitted 3rd or 5th. 11 for the root or Sth , subsequently retaining the guide tones, is in most cases preferable. If the 5th is needed, the root would be the preferred note ro omit with the 3rd being the last choice. The addition of tension 11 to some oflhe basic four-part chords can produce both physical and harmonic difficulties wiihin certain inversions. This in itself might dictate which note the 1.lth should substitute. As these probiems arise rhey will be addressed and appropriate recommendations wi 11 foll.ow. Some of these difficult inversions will become quite useful as addilional tensions are added.
By use of enharmonics, the previous four-part 7th & 6th chords and 9th chords produce some of the mosr useful J 1th chord structures: Cmaj7(~11 )
C6(#11) C -7(11)
C-7 b5(11) C 7(#11)
( l I for 5] l 11 for 5] [llfor5] [llfor3] [11 for R] [11for3) [11 for 5)
C +7(# 11) I C7(alt5)/ C7(b5/b 13) [11 for R] r11 for 3]
Cmaj7b5 C6b5 I A-6 I F #-7b5 F7sus4 ,, C7sus4
= =
= = = =
G~7 # 5 G~maj7b5
=
C7b5
= =
Gb9(no 5 ) Ab9(no 5J
\'ote the unique s ubstitutions arising from the [11for3) C+7(~ 11) chord. Since this voicing is the same as Ab9 { l 3 ~ 7 9), the past Ab9 substitutions can be added to C+7(# 11) and its Sub V chord Gb9b5 { 1 3 b5 9 ). When 1bis j::, done. a domi nant type chord appears 011 each note of a whole tone sea.le:
c C+7(#11J
D7(alt5) E9ialt5) F!9(b 5)
Ab9 Bb9
[ 11 for 5) [ l l for 3] f l ! for RJ *C-maj7(1 1) [ 11 for R] *C-6(11 l
~-The
I
G~
Gb bs
~5
Bb b7
'
-. _..,
p)
~5
b7
·'
bs -. ..)
9 l b7
9
li5 ,,
= =
F7 A-7#5 F9(no 5 ) G+7
~:
:.
=
,~
0
3
.;
(F~maj9b5 )
9
i ...., DI
inversions containing the 11 thin the bass are weakest.
The tritonc produced by the notes Band r (on the C -maj7(1 I) chord) forms an ambiguous or weak sound, since ir is the guide Lones of G7, C minor's V7 chord . The two inversions placing the tritone in the bottom of the voicing ar1; weakest.
45
Seven new voicings will be introduced in this chapter:
Cmaj7(#11) C6(#11)
C-7bS(ll) C7(#11)
C-maj7(11)
[11 [11 (11 [11
for 3] for R] for3] for R] (11 for R] (11 for 3] [1 1 fo r R] [ 11 for 3) (11 for5]
{15 7#11} {357 !11 } {156#11 } { 356~ 11 1 {b 3 b5 b711} {1 5 b7 #11) {35b7#1I} {l 5 7 11 } {lb37 11 }
Note the above voicings that function for two differenl chords:
Cmaj7(# 11)
C7(#11 )
[11 for R] -7 3 E b3
[1 1 for 3]
-7 1
c
7 B
5 G
bs
b7
5 G
#11 F# llf-C# -7b5(1 1) [11 forR]
#11
Fff
11
7 f - G-maj7(1 l) [11for5]
Many of these new voicings create physical and harmonic problems within certain inversions. Consideration should be given to the desired sound and the appropriate context when using these inversions. The tritone can produce a unique, if not weak, sound when placed in the middle of the following voicings: 7
Cmaj7(#11) [1 1 for 3]
#11 1
~
5
b7 C7(#11)
[11 for 3]
i 11 II
1 5
~
0
C6( #11)
[llfor3]
~ 11 "l
~
5
C-maj7(11)
[ 11 for 5]
b3 7 l J
--i __J
1
46
Imaj7(#11) I 11for5
{137#11}
There are three applicable voicings
G-7
3
bs
7
1
bs
7
1
3
A7sus4
C7(#5/ #9) Fmaj7b5
0
'
= maj7b5
#o
-&
-&
1
bs A7b5 e.
Dmaj7b5
11for3
#11 5
7 #11 1
1
5
'
Fmaj7(#11)
C7b5
b..a.
-&
#I I
"
##~
7
7
3 5
'
_)
..A..maj 7(~ 11)
5
#11
5,,
E+7
ll#o
Cmaj7(# 11) 7
'\io
B-9
~
{357#11 }
There are three applicable voicings:
-&
.o_
Cmaj7b5 ..0..
II
{l 5 7 #11 }
G-9
B-9
G7b5
-&
II
7
11for1
G7sus4
!,a-
II
There are two applicable voicings:
'
7
..;
E-9
11~
0
E7(#9) Amaj7(#11)
#o
0
II
= C#-7b5(11)
#11
A+ 7 c
Dmaj7(~ 11 )
'H
47
E-9 ..a.
II
E Vi(b5/#9) Dmaj7(#11) -&
i&~
II
Imaj6(#11) I {l 3 6 #11} = maj6(b5)
11for5
There are fou r applicable voicings:
C6(b 5)
bs
l
6 3
bs
l
6
1
1
3
3 6
bs 3 6
b5
G7(#5/ b 9) D7sus4 C6b5
E-9 A7 (# 5/~ 9 ) D6b5
G-7 C7(#5/b9) F6b5
b-e-
0
= A-6 / F#-7b5
6 ll 11 ·'1
11for1
B-7 E7(fi9) A6(#11) B-9 -e-e~o
5
Bb7 A6rnll ) b.n. -e-
1;:
II
ffi
5
6
#11
#11
3 5
6 3
D-9
Db7(b5/#9) C6(#11)
II
{1
b3
Bb6(9 )
= F7sus4
b7 ll}C-7(11)
b3
b7
JI 1
~7
l 11
~3
h7 b3
b3 b7
1
11
E-1(11 ) A7b5 Dmaj7
C-7(11) F7(b9) Bbmaj9
G-7(11 ) C7b9
F6(9 )
I
lte
se
"" 11for3
11 5
-&
-&
-&
b7
60
e
0
0
0
II
JJ
5
b7
'
1I
II
~7 J
1 5
11
J
l
b7
5
C-7
II
I
All fem inversions are appiicable:
B9
A6b5 -e-
{35 6#11 }
There are two applicable voicings:
C-7(11 )
1
#11
s
llforS
#o
{15 6 #11}
T here are two applicable voicings:
lmin7(11)
E+7
II
II 11for3
B-9 -e-
.;+.. 0
0
bo
e
..ii 48
Q
~o
Gmaj9 -e-
A-7(11 ) Ab7 -eb-e-
Ii
Gmaj9
b-e-
II
= G-7(~5)
{~3 5 b7 11 }C-7(11)
11for1
All four inversions are applicable:
C-7(11) B7 io
I
11
5
i,7
b3 b7
b3
b7 5 b3
11
5
b3
11
11
5
b7
Bb6(9)
0 ,o
~e
(Eb/F)
Imin7~5(11)]
11for5 not applicable
{lbs
llfor3
b 7ll } C-7~5(JJl = Gbmaj7b5
There are three applicable inversions:
11 ~7
b7 11
1
bs
b5 C-7P5(11)
B7
B~ - 6(9)
1
b5
1
C-7~ 5(11 )
b..a.
11 b7
F7b9 -e-
B~ -maj9 -&
{b3 bs h7
ll}C-7~5(11 )
There are three applicable inversions:
11
b7 bs b3 D-7b5(11) Db 7
'
lift
I 0-0-
C-6
C-7b5(11 J
' b..o.
0
!I
i!~
0
Gb7
F-6
bo
0
II
II
II 11for1
G-7~5(11)
=
Bmaj7(~11)
bs
b7
11
11
1~
b3 bs
P I
b3 F7~5
.a-
Bb-6
~.o.
D-7~5(11)
b
ii
-9--
49
1I
G7rn5/#9 ) C-6(9J I
~.n
~
II
l min6(11)
I
Tension 11 on a min6 chord produces a very strong IV chord sound in relation to the Irnin6 chord: C-6(11) ;
=
11 for 5 11for3 11for1
F7 F(add9) (A-7#5) F9
= =
Those voicings containing the characteristic b3rd of the min6 chord might sound a little more complete than the l ! for 3 voicing { 1 5 6 11 }.
11for5
{Ib3611} b3
The re are four applicable inversions:
lJ J
6 11 l F~-7b 5
~
-&
B7b5 E-6(11) -&
IV
0
(A 7)
11for3
D-7P 5
I~
~
G'i
6 b3
C-6(11) D-7o5
11
E-6(11) E -7i15(11) E:i7
~
~
I!
0
,j,I.
~e
0
II j
(C,7 )
5 l 6
6
I
11
5
1
11
5
11 6 A-7', 5 D7(~ 9/~5 ) G-6(11>
-e-
§
I!
i:
11 6
ii j!
F; 6(11)
D-7:, 5
b..o..
h'~
4t)
(Bb9)
II
0
G+7 Q
6 11
_;
k6 11
b3
~;
b.o.
A -7P5 D7(b9) G-6(11)
B-7b5 E 7(tt9) A -6( 11) -e-
_,
0
G7 (# 9/~5) C- 6( 11 )
0
~
- 0
'Z
!~
{b3 5 6 11)
There are fou r applicable inversions:
Gb9
6
(F7 >
D-6(11)
b.a.
G-7b 5
b3
{l 5 6 11 }
5
11for1
Ii
1 11
(F7 l
6
F7
-&
e
0
There are four applicable inversions:
F~-7 b 5
6 b3 l 11
C-6( 11)
I!~
b3 5
D3
-
5
6
1'l
C-7b5 F7(b9)
b.n.
!!
-&
B~
-6(11) F#-7!, 5 B7(b9)
~ h~ (Eb9)
(F9)
50
j :e
~e
E-6~ 11 )
w (A9)
II
Iminor maj7 (11) I The tritone produced by the 11 and 7 of a minor maj7 type chord is also the guide-tones (3 and b7) of its V7 chord, producing a potentially ambiguous sound. The notes B and Fare both 11 and 7 of C-maj7(1 l) and 3 and b7 of G7. The root and/orb 3rd of the min maj7 chord are basic chord tones that are not common to its V7 chord and best support the 7 and 11 of the min.maj7 chord. This implies the f 1 b3 7 11 } voicing and is perhaps the strongest of the three different voicings introduced here. Of all the voicings used, those inversions placing the tritone (11 and 7) in the bottom are the weakest.
11for 5
b3
{1
C-maj7(1 l )
7 11 }
7 ~3
There are two applicable im'ersions:
7 I1 l
C7 (# 5/~9)
G-7b5
11for3
'
11
F-maj7(11)
~o
0
-&
q~*
C-maj7(11)
e
i
5
11
7
1
5
7 11
{b 3
~ ~
Q
A7b5
E-7b5
b.n.
5 7 11}
D-m aj7(11)
I!
11
I
b3
11
~~
:;
II
~
= G+7
5
b3
E 7(#9 1 A-maj7(11)
-&
+· ~
7 5
B-7'.,5
-&
-&
C-maj7( 11 )
T here are four appiicabie inversions:
Q
!I~ !
7 11 1 5
Ii
-&
E-7b5 A7b9
C-maj7(11) ! .n.
{15711}
Db7
11for1
G7(~9 )
~
11 Jf
1
f t°
D-7b5(11)
• p-e.
There are three applicable inversions:
D-7b5
= F7(~ 11 )
11 b3
7
b3 5 11 7
G-maj7(11) C-maj7(11) A-mai7(11) D-maj7(11) ~ A-7b5 D7(b 9) B-7b5 E7rn 9) D-7b5 G7(b 9 ) Q
(A+7)
II
!>&
-&
Q
Q
.>j.
II
e
(G+7)
(E+7)
-51
Q
:t O
II
-&
b.o.
CD+7)
I~
Idom7(#11) I
{ 1 3 b7 #11} = ,.,_, b5 There are four applicable inversions: b7 1 bs b7 1 3 G-7
-" ~
11for5
C7b5 Fmaj7
..
G-9
.
-
~
,u._
0
~7 3 1
l bs 3 b7
hs G-9 -e-
C7b 5 Fmaj7 -e-
G7b 5 Cmaj9
D-7
b.o.
......
-
0
-~
~
;
" " ~
I
l
'It
'¥
,,
•r;
C~-7 F~7~5 Bmaj9
C#-9 F #7b5 Bmaj7
SUBY
C7!?5 Fmaj9
dom7b5
C"-7 Gb7b5 BmaJ t
-
Ab-9 Db7bo GbmaJ9
~J~a-o~,-,~ jo~~ l l'; ~~~~~~ 1 1 .o.~b~b_ .o.~~bo~~bo~~ ~~ll ~
-·
;
C7(# 11 _\
{I 5 b7 #II}
11for3
~~ 1
There are two applicable inversions:
5
b.o.
F-7b5(9)
Eb-6
b.o.
j
:w E7sus4
A7b5(b9)
D6(9)
-e-
-e-
B7sus4 E7b5(b9) Amaj7(#11) -e~o
l
II
SUBY
llforl
C7(#11 ) = Gb7(~9) {l 3 b7 b9 }
{3 5 b7 #Il}
There is one applicable voicing:
~~ l
3 This is the same voicing as the lst inversion of the ninth (no 5) voicing for a dom7(b9):
B7sus4
E7(#11)
'¥
SUB V
Eh6
B h7(b 9)
~~~~~b~~~-b~~~~ 11
52
i
3 b9 b7
Amaj9 .0.
F-7(11)
I
= G-maj7(1 1)
Eb7(#11) Abmaj9
~
II
b7 #11 1
5 1 Bb-7
fj
•.
!dom7#S(# ll) I dom7(alt5)
I
[11 for 5 not applicable]
A unique chord in that 11 for 3 and 11 fo r i produce the same inversions found in the dom7(9) { l 3 b7 9} chord: C7(alt5):
11for3
=
11 for 3 11 for 5
Ab 9 Gb9
=
b7#IJ} I -
There are four applicable inversions:
P> l! . l
I.I I I•
H.5 •'
l ~5 ,.
l
E7sus4 E7Calt 5 ) A6(9 )
A-9 D7(alt 5 ) Gmai9 ~
on
E -9 A7(alt5) D6(9)
-
:
-e-
if ~o
v
J. (F9J
(E b9 )
'i'
E D-7(11} A~ 9:i 5 Db6(9i
Bb-7 Eb9b5 A'')6
Oi l
ll., ~J §
SUBY
0
(Bp9 1
..,
'0€-
€-'
II
i
.
-e-
Q
?J
1: (C9 !
D-9 G7Calt5) Cmaj 9
re.-
ire-
'!·
Ab7sus DD 9(b 5 ) Gb6(9)
o-e-
Q
~
I
I:
~
II
n
b-e-
'· t, '. 1
(Tension 9 on 5th string)
11for 1
{3 #5
b7 #11} ~1 1
There are four applicable inversions:
3
f5 ~ Ii ~7
b7
A-7 D7(alt5 ) Gniaj9
A7(a1t5 ) G-9 C7
,j
t
Dbmaj7(#11 ) " C#7sus F::S Brna.F E b-7(11) Ab9
SUB V
i~·~
k rel="nofollow">
-:o
hH
:t&
D-9 G7(ali5) Cm aj7b5
'i'
BP-0
E b9
!)-&
Ii
0
Ab6
Av-S
9--0-
t.>.O.
I
jl (Tension 9 on 5th string)
(11 for 3 / 11 for 1 combinations): D-9 G7(alt5 )
(A :.>9;
! G~9 ,
(Eb9)
53
Cmaj9
(Db9)
'• D'~9
G::i maj7
Cl.fr
D.O..
~
The following examples will use various eleventh chords over a typical "Jazz" or "JT-V" blues form. Some unique non-drop 2 type voicings have been introduced in this section. They will be fully notated when used. Drop 2 type voicings also give the option of substituting tens.ion 11 for the 3rd or 5th of the chord. If the 5th is altered or voiced in the lead, tension 11 will substitute the 3rd. When either option is availabie, voice-leading and L.I.L. will determine which is best and will be fully notated when only one option is desired. An additional voicing for the dom7tl5( # 11) or dom7(alt5) chord which was not presented earlier will be introduced here. This voicing has the# ll th ( orb5th ) substituting the~ 7th; (1 3 ~5 #5), andenharmonicallyproduces adom7#5 chord: C7(alt5) (1 3 ~ 5 #5) = A~ +7. This voicing will appear several times in the following example.
E-7b5(11)
Fmaj7(#11) .12
E
'
' r ' t± B b7
G-7(11)
D-7(11 )
A71'5
e
1€
I~
I I
I
'
Bb-7(11J
B b7b5
I~
~
(Eb7sus4)
G-7
a
C7(alt5 )
kr
1~~ I
(A':> +7J
E9+7(#11)
(B+7)
C9(b 5)
~~~~ I
F6(9)
I
54
'
A -7(11)
D+7(#11)
~
(D7sus4)
(Bb+7)
D7(~ 11 )
G-9
~~!
i!~
F 7(alt5)
e
111r (E b9)
~
C-7(11) I
(A -n5)
Ip
+f
G7#5C#ll)
~
I·
~
(B9)
A~-7 ( 11)
DVi(alt5 )
!~
• I
CG9)
C7b5
b.a.. ~~
Fmaj7(~11 ) I
tlO.
I!
::
i
The following example transposes the "II-V" blues form to the key of "D." Note the contrary chromaric voicekadino of three voices from the D7(a!t5) chord to the G9 chord and the two voices from the G9~5 chord to the G-9 chord. Also note the parallel chromatic voice-leading of rwo voices from the C7~5 chord to the F#-7(11) chord, the B~+7 chord to the E-7(1 1) chord, and the D6(9) chord to the B7(alt5) chord. Three voices move in parallel chromatic motion from the E-9 chord to the A7(alt5) chord.
D6(9)
E
~
G9 -6-
' ,
! I
Dmaj7(#11)
B-7(11)
C#-7bi5(11) F#7(alt5)
~~
.:..-
I
~~
(D+7 )
(F#-7#5)
(C9)
,.
~5
1r=
.&
1~~
C 7~5
G-9
G9b5
Wf~ q-6-
l
I #~
I
'
(B-7~5 )
A-7(11)
(B~+7 )
Bb+7
F-7(11)
l#±f
TI
lhg f? 1
A7(alt5 )
D6(9)
#~
1&tp±J~
IE
I
(E~ 9 l
B7(alt5)
E-7(11)
I
(G9)
55
5
(C-7#5)
I 1;
(F9)
I
-6-
I
E-9
'~.. I
(E-7#5)
B7b5
I
D7(alt5)
If
F#-7(11)
(Db+7)
E-7(11)
E7(alt5)
(B-7~5)
A+7
.,,. !
D9b5
~
II
II
Chapter 9. Tension 13 13for 5or1 {l37 13} or {3 5 7 13} will be the tension substitution formula used ll:i this chapter. The only exception willincludeoneofthe two new voicingsintroduce:dhere. The dom7b 5(1 3)will introduce 13 for3 { 1bsb713 }. These notes dictate a major 3rd even though it has been removed. The other new voicing introduced is the dom7sus4( 13) {1 4 b7 13}. Note the 3rd inversion forms an upper-structure triad: Fl3(sus4) = BblEb. This chapter will refer to tension 13 as a 6th when used on chords containing a maj7th. The 6th can be placed above or below the maj7th, while the 13tb (which accompanies the b7th) can only be placed above or next to the b7th. As mentioned earlier, this chapter will avoid dominant chords containing both a natural Sth and b13th. These notes produce a weak Sub V chord containingb9 and natural 9. This applies to the dom7(b 13) chord. b13 must substitute the Sth enharmonically, producing a dom7#5 chord. This chord has already appeared under the Tension 9 chapter as the Sub V of the dom9b5 chords, C7#5 = Gb9b5. Its related II-V-I situation can be observed there. Dominant chords with a natural 5th and tension b13 will be examined in the Additional Enharmonic Chordal Substitutions chapter. Dom7bS(b 13) has already been introduced in the Tension 11 chapter as a dom7#5C# 11) or dom7(alt5) chord. This chapter also will avoid using the b 13th on a dom7sus4. This produces a very ambiguous sound: C7sus4(b 13) { l 4 b7 b13 } = Ab6(9) or F-7(11) C7sus4(b 13) {4 5 b7 b13} = Abmaj7(6/9) or Fm(l 1/9) jmaj7(6)j
6 for 5 Cmaj7(6)
{ 1 3 6 7}
= Fmaj7(#11 ) = F# -7b5(11) ....
7 6 l
7 3 1 6
F7sus4
B7
B~maj7 (6)
C-7
-0-
-&
1'.n.
There are three applicable inversjons:
G-7
~
b.a.
C9(b 5) I
17..0.
Fmaj7(6) -e-
.)
b.n.
1
7 3
6
II
II
56
F7(alt5) Bbmaj7(6) ~
'~!!
bee~
II
6 for 1 Cmaj7(6)
{5 3 6 7}
= Fmaj9(b5) = G6(9){ 1 369 } ')
There are four appiicable inversions:
.)
6 5 7
b..o.
.n.
-..J
F7(!:5/#9) ~a
C-9 Q
Imaj7b5(6) l 6 for 1
bs
6 7}
There are four applicable inversions:
D -9
....
.)
6
Bb 7(b5/b9) Ei>maj7(6 )
bn.
-&
I
B~maj7 (6 )
b..o. I~
II
A-7( 11) D7sus4(b 9) Gmaj7(6) -e0
I
t(O
'8
±t!
II
II
l
-&
Cmaj7b5(6) = B7sus4
3 6
bs 7
bs
6
7
3
;J.C..
6 3
bs
7
3
bs
F-9
G7rn5/#9) Cmaj7b5(6)
~
7
6
Bb7(b9} E bm aj7b5(6) !
-e-
0
[)€-
~
II
II
I.I
(B'7sus)
A-7
~
b.o. '
7 5
(6 for 5 not applicable) {3
'"'
F-9
~; ..
9
6 3 7 5
D7(#5/#9) Groaj7(6)
A-9
1'1
'
7 6 3
-e-
D7 (~ 5/~9)
fl.e-
(D7sus)
Gmaj705(6 )
C-9
b..o.
' ..0..
(F~'isus)
F7 (# 5/~9) -&
Bii m aj7P 5(6) -&
~
Ii (A7sus)
57
Imin maj7(6) I {b3
6for 1
5 6 7}
C-maj 7(6) = B+7
b3
There are four applicable inversions:
5 7 6
6 5 7
6
~
b..o.
b3
7 5
b3
6
D-7b5
D -7b 5(11) G7(#5/#9) C -m aj7(6) 0
7 5
b3
-a-
i
(B+7)
B-7ti 5(9) E7(# 5/ #9) A-maj7(6)
G7(b9)
-
e
e
0
II (B+7)
A-7b5
D7b9
-&
-e-
0
C-maj7(6)
G-maj7(6) I
tl.O..
ij
II
(G#+7 J
6 for 5
C-rnaj7(6) = F7(#11 )
{l b3 6 7 }
C-7 b5(11)
7
There is one applicable voic ing:
b3
,,
{I 3 b7 b9)
F7(#9)
~ bn
1
= B7(b 9)
Bb-m aj7(6)
#o
II
6 lmin7b5(\, 13) I m in7(alt5)
I
b13 for~. 5 is not usually an appropriate substitution. since the b5th is an important characteristic chord tone. But in
fac L the bl 3th tension on a minor c hord does dictate an accompanying bSth c hord tone. T he only other possible c hord sound would be a very incomplere dom7( ~ 51# 9) chord. For this reason. the bJ 3th for b5th substitution , { I b3 b7 b 13( #5) I = min7~ 5 . will be examined as a mildly incomplere mi n7 b5(b 13 l chord.
C-7(#5)
= F-7( 11) {b3
There arc fo ur applicable inversions:
5 b7 11
b3
I i -.
~o
I
!
b-:
~ :'
v •· b7
B7
#5
~7
b5
C-7 (~5 )
l = B ~9sus-~
~3
l
Bb-6(9 )
E-ns -&
be
!I
58
{ I 4 b7 9 }
b7 I ~
p ·'
I
#5 A7Cb 9) D-6(9)
b.o..
A-7 ~5
-e-
ii
0
D7(alt5 ) G-6(9 >
-e-
t:H 3!
l
bs
b13forl {b3 bs b7 bl3} or {b3 C-7b5(b13)
= G b6(9) {l
#5 b7}
= Emaj9b5 = Bmaj7(6)
3 6 9}
There are four applicable inversions:
C-71'5(b13)
be~t9
bs
'; b7
b7
~~
Bb-6(9)
bo
!
'
F7(fJ9)
b3
E-7(alt5) A7(#5/ b9) D-6(9)
b.o.
PA
e
-e-
II
II ':
G-7b5(b 13) C7(t5/#9) F -6(9)
1
A-7(alt5) D7(#5/f,9) G-6(9)
1
6
~i~~;%~i~-~~-~~ll· ~2~-~--&~4 0
(Cm/F)
Idom7(13) I {l 3 b7 13}
13 for 5
C7(13)
There are two applicable inversions: 3 b7 13 l C-9 17.n
F13
I
SUBY
13 for 1
' '
= Gb7(b51#9J = B bmaj9(b5)
{1
bs
7 9}
1 13 3 b7 Bb6
D-7
G13
Cmaj9
I
OD..
-&
e
§
II
0
II
I
i
v A~-7
B7(b5/ #9; E6(9)
F#-7
_o_
-&
-&
Db7(f,, 5/#9) GfJmaj9
bo
bo •
be-
11
{3 5
b7
CU
13 J
There is one applicable inversion:
13 3 b7 5
SUB V
'
G-6(9) { 1 ~ 3 6 9}
= G-9
C13
-&
-e-
Fmaj9 a
II
j' '
C#-9
~..; ~o .. @)
zjJ
~
F #7(alt9) -e-
Bmaj7 ~-&
II 59
Idom7b5(13) I
(13 for 5 not applicable) {3
13 for 1
bs
b7 13 }
C13b5
13 3
There is one applicable inversion:
= Gb7(#9) G-9
{ 1 3 b7 #9}
Cl3b5 -&
b7
Fmaj9 0
bs
II
l
C#-9
SUBY
{lb s b7
13 for 3
F#7(#9)
Bmaj7
F13b5
Bb6(9)
if& Eo ---#';~~·- -- - ------+ill
13 }
There are two applicable inversions:
D-9
G13b5
Cmaj9
F7sus4 I
-&
'
SUB V
#~
IJ..0.
0
'tt::
II
j Ab-7
lk,
Db7(b5/~9)
!
II
I v F~7sus4
Gbmaj7 I
0
~
on..
..u
B7(b5/#9) ..a.
E-6 ..0.
Ii
II
Idom7sus4(13) I 13 for 5
{1 4 b7 13)
There are two applicable inversions:
4 b7 E
1
13 . ,_ !-
p.
F13sus4
'~n
F+7
Bb6(9)
F13sus4
F+7
Bbmaj9
-e-
0
e
e
e
II
II (Bb / E b)
60
13for1
{4 5 b7 13}
There are two applicable voicings:
Cl3sus4 13 4
13 5
5
4
=
G-9 {l b3 b7 9}
b~b7
Fmaj9
C13sus4 C7(alt5)
f,e-
~~
C13sus4
~g
~~~
II
C9b5 b..n
fi
Fmaj7~5
-a-
II
The foll owing examples will use various thirteenth chords in a "Jazz,. or "II-V" blues form. Note that the dom7 #5(# 11) or dom7(alt5) chords that were introduced in the past chapter appear again in this chapter as dom7~5(~ 13).
E-7(b 13)
Fmaj7(6)
~
J Bb13
~ br:
r
I~
Bb7b5(b 13)
gl'
~&,
G-7(11)
~~ I
I
1:
(E -7#5)
(Eb9)
Bb-7(11)
E b7(b 13)
~ '
A-9
~
1&iz'
G7( ~13)
D-9
~r
1r
(Eb+7 )
(E9)
G-9
A7b5(b 13)
C7(b5/b 13) C7(b 13) b-F'
1:~
(G#+7 )
19-
1r
:
(G+7)
(F+7)
D13!i5
Ab-9
I'
Ibr:
Db+7
E
(A,7(#9))
Fmaj7(6) D7(alt5) 19-
#i~
I
I
11(7 (C+7)
F7(H3)
C-9
(C6(9)J
61
(Ab9)
G-9
I'
C7(b9/b 13)
~ I
Fmaj9
II
i
II
In the next example, note the multiple fu nctions of the dom7#5 and min7#5 chords. Also note the different functions of the maj6(9) chord on the first three voicings. Finally, note the common lead tone on the last four bars. This "IIV" blues is in the key of "C.,.
Cmaj7(6)
A-maj7(6)
B-7b5(b 13) E7(#9)
~,
r
(G6(9 ))
(G6(9))
F9
F13
I (Ab +7)
(F6(9)) F-7(11)
1
I
1 91~ ~
E
@"F
1;;
ir i~
-f9-
-9-
Bb13ti5
E-9
ir
~·~ I I
( C-7~5 )
,
D-7(11)
@
G+7
~
(A-7#5) (A-7#5 )
I (2
(E7(~9))
D9b5
!~I
G-9
If
C7(b 5/b 13)
t'
(Gb9)
(Ab +7) A7 (~ 5/b 13)
E b-9
b.p.
~~~~
I'
'I
Abl3b5
I I
(Eb9)
G7(b 5/ b13) E-7(b 13) A7(b5/', 13) G 13sus4 G7(b5/1'13) Cadd9
1f~
11
i·~
(Eb+7)
(E-7#5)
(Eb9 )
62
! I~
~·~
(D-7-(9/ 11)) (Eb9)
I! I ~ (E-7#5)
II
Chapter Ten. Two Tensions This chapter will examine the three different two-tension combinations produced by tensions 9, 11, and 13: (9 & 13), (9 & 11), and (1 1 & 13). The preferred four-note voicings will include two tensions and the guide-mnes, thus omitting the root and 5th. Wnen a bSth or #Sth is needed, the least needed guide-tone (usually the 3rd) will be removed. Some of the most effective voicings place the guide-tones on the lower two strings (4th and 5th strings) and the tensions on the upper two strings (2nd anc 3rd strings). The first and third inversions of drop 2 type voicings arrange their intervals in this matter, producing some of the most useful voicings in this chapter. Since 9 and 13 are perhaps the most common tensions fo und together, this chapter will begin by examining them first, followed by (9 & 11) and ( 11 & 13).
Tensions 9 and 13 Those chords containing a~ 5th and natural 13 rension will be examined enharmonicallv under the Three Tensions · chapter as# i1 and 13: ~
{9 #11 13} {~9 #11 13} {#9 #11 13} Those dominant chords that contain both bs and tension b13 will examine two different voicing formulas: {3 bs 9 b13} and {bs b7 9 b13} *The {b 5 b7 9 b13} formula will also be used as the min7b 5(b 13/9) voicing formula in this section. This voicing will serve both subdominant and dominant functions in their following relative II-V-I examples. Note the ninth (no 5) enharmonic substitution chords produced by the {3
b5
9
b13} formula:
C7b5(~13/9) =E9 {l 3 b7 9} C7b 5(~ 13/b9) = E6(9) { l 3 6 9 } C7b5(b 131#9) = Emaj7(9) {1 3 7 9 } Additional enharmonic chord symb0i normion could also oe used to aescrioe ti1e aoO\·e cbords: C7b5(b 13/9): C+7(# 1119) I C+7(9/b 5) I C9(# 111~5) I C9(#51b5) I C9(alt5) I C9(b 13/~5) I etc. C7bS(b 13/b9): C+7(~ 11/b9) I C+7(b9/b5) I C7bs(i9!# S) I C7(b9/alt5) I C7(b91#51b5) I etc. C7b5(b 131#9): C+7(# 111#9) I C+1(#91b5 ) I C7b5(~91#5) I C7(#91alt5) I C7(#91#Slb5) I etc. As discussed in the Chord Symbol Notation chapter, #11 and b13 will be avoided in chord symbol notation. Consequently , I recommend avoiding the following symbol descriplions of the above chords: C7b S(b 13/9): avoid C7(b 131# 1119) or C9( j, 13/~ J 1> C7b5(b 13/b9): avoid C7(b 131# l llb9) C7b5Cb 131#9): avoid C7(b 13/~ 111#9) Due to the incomplete nature and limited voicings, the natural Sth produces, {5 7 9 13} voicings will be avoided in this section. They will be examined later in the Additional Enharmonic Chordal Substitutions chapter. With the exception of a dom7( 13/9) chord. all of the voicings used in this section have been previously introd~ced as basic four-part (7th and 6th chord~) or 9th chords. As was the case in the Tension 13 chapter. a dom7sus4( ~ 13 i chord with 9 or b9 will be avoided.
63
The following
C+7(9) C+7(b9) C+7 (#9)
The fo llowing dom7 chords were introduced by their Sub V chords in the Tension 9 chapter:
=
C?f 13/9) C7(13/b 9)
Imaj7(6/9) I
Gb+7(#9) Gb 7(#9)
=
Cmaj7(6/9) = E7sus4
{3 7 6 9}
A voiding tension 9 on the 5th string leaves three applicable voicings:
7
6 9 7 3
D-9
9 6 3 7
,,
.)
9 6
G7{#5/ #9) Cmaj7(6/9) C-7(11) F7sus4(b9) B11maj7(6/9 ) A-7
b..o.
b.n
-e-
-&
I
-&
-e-
II
II
(D7sus4)
(E7sus4)
{b3 7 6 9}
There is one applicable inversion:
0..0.
0
II
Imin maj7(6/9) I
D7(#5/!19) Gmaj7{6/ 9)
C-maj7(6/9)
9
A-7b5 (11)
6
l&
·b3 7
(B7sus4)
= B7# 9 { l
3 h7 #9}
D7(#5/#9)
G-rn aj7(6/9 )
b..o. 0
CF n(rt9) 1
Imin7bS(b 13/9) I
C -7b5(9/b 13) = Bb+7
{b 5 h7 9 b13}
Avoiding tension 9 on the 5th string leaves three applicable voicings:
bl3 9
b7 bs C-7b5(b13/9) B9
~
i...
-.; CBr>+7)
bo
B b-6(9)
I '7 p I
9
bs
bB
9
b5
I
bi
. ,,
!11 .:
A-7h5(h13/9) D9(b5 ) 0
e
-e-
~o
II (G+7 )
G -rnaj9 F#-7b 5(b 13/9) B+ 7(#9) E-6(9)
(G;:+7 )
64
# IJ-.o CE+7)
qo
.. "" a
Idom7(#9113) I
{3 b7 #9 13} There are two applicable voicings: 13
#9 13 3
~~
b7
3
Only one example is needed, since the Sub V mirrors the original chord:
C 13(#9)
= Gb13(#9) C#-9
13 ............. A .... ...........#9
#9.............Eb ............. 13
~
l
b7 .............Bb............... 3 G-9
3......... ... E ........... ... b7
Bmaj7
F#l3(tt9) -a-
C13(#9)
~
Fmaj9
~<==-e-===========-e-====================~II 0
(SUB V)
~
Idom7~5(~ 13/9) I {bS b7 9 b13}
[dom9(#51b5)] or ldom9(alt5)]
C7b5(b 13/9)
= Bb+7
Those voicings producing tension 9 on the 5th string will be avoided. However, the Sub V' s of these voicings will be examined since b13(#5) now appears in the bass. Four applicable inversions:
G-9
~ ~
bs
9
b13 bs b7
b7
b13 9
b13 9 b7
bs
b7 bs 9
bl3
A7b5(b l3/9 ) C7b5(b 13/ 9 ) D6(9) . Fmaj9 E7 sus4 -a-a0 0
~
I!
\)/
(Bb+7)
'Y'
D-9 -a-
G9(#5/ b5) C(add9) e.
(G+7)
J (F+7)
II
I
~
·l
11 ~
'Z
E9(alt5)
b~
II
I
II
(Dtl j
I
I
C#-9 F#(9/ #5) B6(9 J (Sub V not applicable) Ab-9 Db(9/#5) Gb6(9) F7sus4 Bb+(9) E b6 jto
jo
b.a.
~o
,,
jl
-e-
b.a.
b.& 11
65
-
b.a.
b.a.
II
{3
hs
9 ht3}
=
C7h5Ch 13/9)
Four applicable inversions:
hs
b13
9
3 9
b13
b5
3 bl3
3 b13
9
9
bs
3
E9 { 1 3
b7
bs
C7b5(b l3/ 9)
C7b5(b 13/9) G-7(11) F6(9)
p-7
on
0
Fmaj7 -e-
j:t
9}
A9(~ 5/ii 5 )
E-9
.0..
I!
\;
1:
V/
I
l
I
l =
C#-9 F#9(#5) Bmaj9 (Sub V not applicable) G-9 C9(#5) Fmaj7(#1lj
S®v-4-io__i_o_#_'o_~11~n_ _~_o_~ --ll-----€ ldom7b5(hl3/b9)
II
t (Bb9)
(C#9)
j
C#-9 F#9(#5) Bmaj9
b.o.
.il
\j:
(E9)
(E9)
Gb9(alt5)
Dmaj7(9/6)
.0..
I
,
~
[dom7(b9/alt5)]
Those inversions containing tension b13 on the 5th string will omit their. .Sub V chords, which would subsequently contain tension 9 on the 5th string. Note the fourth intervals produced by these tensions and the b5th:
C7 ~5 (b 13/b9):b5
Gb >4th
Db
b9
>
4th
Ab
C7b5l ;d3/~91
{ b5 ~7 b9 ~13}
b9
Four appiicable inversions:
b5
b7
b1 3
~I ~
b5
b9
b7
=
B ~-7(tt5l " bl3 ~7 b9 ~5 b7 b9
bs
b13 D-9
;&
-e-
~
;:>-Er
1
II
+
-e-
!I
""'" i
I
v
\•
E II'-"- "-"- '"" l •
(B~-n5 >
( G-7~ 5 )
( F- 7~5 )
(Eb -7~5 )
l t
'
l
.
C~-7 ( 11 ) F~ (9 )
~
-&
Cl
G?(~g/alts i F 7(b9/alt5) , ~ . C(add9) C: ?(ll) ,Bt1 o
#0
Bmaj? (Sub V not applicable) A,-7(11) D;;i (9 ) Gi> 6(9) F,7sus4 B(9)
~
:±-e-
b.&
SUB Y ~·e-i----H!I----~ ! h :~>-L;;___ . ~
66
_
b.& _
..0..
..0..
E6 .0.
-+!1-- ---+!ll
{3
bs
C7b5(b 13/b9)
b9 bt3}
bu
bs b9
Four applicable inversions:
3
G-7(11)
F6(9) 0
~ _,
b5
b13
;;I 1_~.,
b.o.
·
6 9}
~5 ~9
A7(~9/alt5 )
C%5(P13/P9) ,G-7 Fmaj7
E-9 n
-&
~
F~9
..Q.
Idom7b5(b131#9) I
-:to
G7(~9/alt5 J
D-7 -e-
Bmaj9 ~-e.
Cmaj7
.n.
.il
CB6(9))
J A~-9 (Sub V not applicable) b.o.
~I
C~-7
Dmaj9 -e-
(C#6(9))
I
Bmaj9
b
n
<E6(9))
(E6(9)) Cf,-9
lq
3
~:'\
C7P5(b13/1'9)
E6(9) {1 3
p -
~9
b13 3
=
~
D'19 ~
Gb & !)_Q_
[dom7(#91alt5)]
The voicing formula containing the b7th will be avoided due to the ambiguous sound produced. Without the third, the { b5 b7 b13} voicingfunctionsbetterasamin7b5(b13) { b3 bs b7 bB} chord.
#9
{3
bs
#9 b.13}
Two applicable inversions:
C7b5(~ 131#9)
bs
b13
3.
~5
= Emaj9 { 1
3 7 9J
~i3 #9 ,F-7
B ;; 7(~9i alt5 ) E~maj7(6 )
0
4-~~ ~!~-~~1~~~ ;~!-~~~ll 0
(Emaj 9 )
(Dmaj9 j
~
t C~-7( ll j
F;7(13/9 )
B6(9)
B-9
E7(13/9; Amaj7(6 )
l
-:fr-'-+-~--_,,, i~ -~ j~e~~---e______,~~·+---~~·.,~·---
SUB
-J
1
-&--~-------~-------"" ---'.: ~;:--· @.)
67
{4~7913}
ldorn7sus4(9/13)j
C7sus4(9/13)
= Bbmaj7 13
Avoiding tension 9 on the 5th string leaves two applicable inversions:
9
Q ,,
13
b7
4
b7
4
C7sus4(9/ 13) C7(f,5/ ~9) Fmaj9
l>e-
A7sus4(9/ 13 ) Eb9
b.o.
.0.
0
D6(9) .a-
II
II
{Gmaj7)
Idom7sus4(b9/13) I
I 4 b7 b9
C7sus4(b9/l 3)
13 }
= Bb -maj7 , . .,
A voiding tension 9 on the Sth string leaves two applicable inversions:
b9
l _1
b9 b7
13 4
b7
-+'
Al3sus4(li 9) E b9
C13sus4(b 9) C7(tt5/#9) Fmaj9
~
b.o.
0
D6(9 )
b.o. /
-e-
II
I! (G-maj7)
The foll owing examples will use variouschords cornaining tensions 9 and 13 in a Tl-Vblues form. Chords introduced in past chapters will be included to enhance voic~- leading. In this first example. note the same dominant voicings used on beats three and four m measures five and six.
E-7b5(b 13) A13(b9) ? b.a.
Fmaj7(6/9) Fmaj7
&r
~
I
F13(~ 9 )
C-9
#a
0
I
i
CBb6(9)) Bb9
'
!r
fr
l&i
~
G7(tt 9/b 13)
D-9
t9
B b9f13) B 119fo 13) Bb- ~l
r.
~
:
~
fr
E,-;-7(~9) ~
1 1~!
EH7(9 J A-9
G.£
D 13(~9;
Ab -7( 11) Db,13(b5J
.a. I
.f2
I~
o.a.
1t
I
;,g ===i -jr I
CG7
G-9
¥f
D b9
kr I
C7(9i l 3 j
,r
C7 (~9i !i 13) F 7(9/ 13) !)?
D7(!i 9/b 13) D.a.
G9
Cl3(b 9)
fr
fr
!\
1%
68
Fmaj7(6t9) 0
II
II
In this next example, note the descending chromatic voices against a common lead voice in the last two measures.
Cmaj7(6/9)
C9b5
€
iE
' ' '
B-7b5(9/bl3) E7(b9/b l 3)
I #~
~
I
A-9
D7(b9)
IF
j~
G-7(11)
Ii'
~
F-7(11 )
F7b5
Bli 13(b9)
11{~
fr
:
Al3(#9)
E-9
'::.a.
~
(B:(9))
CA+7)
F 7(9/13)
C7(b13/b9)
¥
L2..
11
Ab13sus4 Ab 7(9/13)
bp.
I
,~
I
i
(C-7#5)
D-9 ?
D-7
(Eb-7(9/ 11))
G13sus4(b 9) G7(b 9)
-9
I
~
I
C9
A13
a
fr
~
D7(l:9i G7(9/13)
(F-maj7)
fr
i9-
Ii
I
i
C13(#9) -e-
II
!I
This last example utilizes some of the dominant type chords that contain b5 and b13 { b5 9 b13}, f b5 b9 b13 }, { bs fi9 b13 }. In this example, b13 will be enharmonically substituted by #5, producing chord symbols containing { ~ 5 #S} or (alt5). These versatile and interesting voicings present some unique chromatic and constant structure voice-leading possibilities. Additional examples of these dominant chord types can be found at the end of the Three Tensions chapter.
C9
*1 F9
i&u Ii~ I
D-9
C7(13/ 9)
B-7b5(H3)
E7( ~9/ al t5 J
~
-9
Ii (F6(9)J
C9(#5/b5)
;gr
F-9
Bb7(:i9/ alt5,1
_L
#~
~Ii
l·~ ·h~
'1
,,
I
,,
G-9
E-7(11 )
A7(b9/alt5)
I~
Q~
(B-7#5)
(G-7::5 )
~ (Bb+7)
E b-7(11 )
Ab9
~
Df-
1~~~
I
I
(G~ - 7#5 )
G7(:t9/ :!5) G7(b 9/alt5) C(add9) A7{b9/alt5) D9{no3) Db?
-1...-f___,__,'-f-"-r~ _..
.
C9(#5/b 5 )
(F~ 6(9))
fr
~-H-.....,~l'-----.,,..-6---~+it"'--'"9___ ~ -""1'-li
Iii
D7(b 9/ alt5)
(APmaj9)
I (E9)
D-7(11'
A -6(9)
~
•:f
?-+L-r-
I
CF-7#5)
CE-7#5) (Db6(9))
69
I
i!
(C6(9J)
p
Cmaj?rnll > J.l
11 ?8 -e-
I!
Tensions 9 and 11 The two types of voicings used in this section follow the traditional drop 2 substitution formula: 9 for 1 {3 7 9 11 } and 11 for3 or 5 {S 7 9 11}. With the exception of ihedom7(#9J# 11) chord, all of these voicingshave been introduced in previous chapters. Those dom7 chords containing a section:
#5 have already been introduced enharmonicaliy under the Tensions 9 and 13
C+7(9J# 11) = C7b5(~ 13/9) C+7(b91#1 ,1) = C7b 5(b13/b 9) C+7(#9J#ll ) = C7b 5(b 131#9)
The following chords that have 9 for l and 11 for 5 {3 7 9 11 l tension substitutions have been previously introduced enharrnonically under the Tension 9 chapter. Their relative II-V-1 examples and Sub V chords can be found in that chapter. Cmaj7(9J# 11) = C7(91#11 ) = C7(b9J# 11) = C7(#9J# 11) =
Cmaj7b5(9) C7b5(9)
C7b 5(b9) C7b 5(# 9)
Nore the unique character of the maj6 and min6 chords with the addition of tensions 9 and 11 . 6, 9. and 11 form complete triad a whole step above the root of the original chord: C6(9J# 11) forms a D major triad. C-6(9/1 1) forms a D minor triad. ·'
Imaj7(91#11) I {5 7 9 #11}
Cmaj7(9J# 11)
=
Gmaj7
A voiding tension 9 on the 5th string leaves two applicable voicings:
Bb13 Amaj7(9/H l ) A -7(11)
B-9
~ #e
1:l! I
I
lmaj6(91#11) {3 6 9
#a
h~
1
1
(Emaj7)
~11}
7
9
#11 9
5 #Il
5
7
D%5(b9) Gmaj9(U :
#a
'Z
11
(Dmaj7)
C6(91# 11) (C6~ 5(9 )) = F# -7f.5
Avoiding tension 9 on the 5th string leaves lhree applicable rnicmgs:
it - 1
:+ l.
6
9
9 6
3
#11
9
3 6
~11
D-9 -&
'
G+7 0
C6(9/# 11)
~!
1
-&
B-9
ll ~e
E9(#5) ~e
B-9
A6(9/# 11)
~
J.I. .,.e
II
(DIE) 70
E7 (~5/b 9 )
b-e-
A6(9/# 11) .0..
II
::i
{5 6 9 #11} C6(91#11)
=
Al3sus4 {l 4
There are two applicable inversions: 9 5
#11 9 5
6
~
13}
6
#11
Bb9sus4
b7
E ~7l15(l19)
AP6(9/ Ul)
F13sus4
B13
Bl16(9/#ll )
0
--#-=&--t:;e-_ _D..o.--~-=-11-~--7-t.='_,. . . _lH-~ =--~-==It ..; (F-7)
1
(F13sus4)
(A7)
0
(Bb/Ei:i)
{C/F Jand(G 13sus4)
Imin.maj7(11/9) j As discussed in the Tension 11 chapter under the min.maj7( 11) chord, 11 and 7 produce the guide-tones (3 and b7) of its V7 chord, producing a potentially ambiguous sound. Tension 9 further complicates this by being a chord tone (the 5th) of its V7 chord. The weakest possible voicing {5 7 9 11 } includes all of the basic chord t0nes { I 3 5 ;, 7} of its V7 chord. This produces an extremeiy ambiguous sound and therefore will not be included in this section.
{b3 7 9 11} C-maj7(11/9) There are two applicable voicings:
=
F13b 5
11 9
7 'b3
7
9
b3 D-7b5
\,&
~ Imiu6(1119) I
G7b5
11
C·maj7(11/9)
-0-
Q
~!
{b3 6 9 ii }
Q
[:;: ' .fr
=
II
B7b5(#9) I Fl3
9 6
b3
11
-4~
C-maj7(11/ 9)
~
l'
9
G7
G7(#9)
II
C-6(1119)
There are two applicable invers1ons: f '17 -<.
D-7b5
D-7\,5
C-6(11/9.J
E-9~ 5
:;.e..
l>.n.
I
''e~;
I
"
(F13)
71
A+7 -e-
D-6(11/9)
_Jj ~ (G13)and(Em/F)
{5 6 9 11}
=
C-6(1119)
F6(9) {1 3 6 9}
Avoiding tension 9 on the 5th string leaves three applicable inversions:
E-7b5
~
D-6(11/9)
E b7
b.o.
0
C-7b5
B7
?.0.
-e-
-&
!~
tJ
Bb-6(11/ 9)
tz~
II
I
{b3 b7 9 11}
C'-7(9/ll)
There are two applicable inversions: b7
{5
b7
5
Fl3sus4
-&
~i ,,
II
BPmaj7(6 )
-e-
C-9(11)
I
F7(~5/ b9)
~e
II
0
0
II
(Bb/E b)
C-7(9/11 ) = G-7
9 11}
9
b7
5
11 9
b7 B~-9(11 )
F7(#5/b9) Bb6(9) I
0
?0
~
0
Ab6(9)
A7
(F-7)
{bS ~7 9 11}
11
€-
Ot-
CD-7)
C-7b5(9/l 1: = G~ maj7 ;5 9
11
bs
9
11 ~7
bs C-7b5C9/11 ) F+7
Bb-6
A-7b5(9/11 ) D7(#5/#9) G-6(9)
I
b.o. ------Mll
D.D..
.Q_
_-e-_ _ _ -t+-!I
(GPmaj7#5)
(Ebmaj7#5 ) 72
Fmaj9
I
[11 for 5 not appiicable)
There are two applicable inversions: ~ 7
~ ~fi
b7
s
II
Ii
I
5 9
G-9(11) C7(#5/b9)
?.C..
:;&
I
@(G-7) lmin1bs c9111)
II
Bbmaj7(6/9)
11
0
.Q_
= Ab6(91#11 )
A voiding tension 9 on the 5th string leaves three applicable inversions:
C-9(11;
E7(#5/b9) A-6(11/9)
B-n5
b7 b3
]1
'On
5 11 6
9
9 F7 (~5/b9 )
9
11 9
11
b3
C-9(11) I
=
6
-e-
(Cm/F)
lmin7(9/11)
5 9 6 Ii
0
I!
j dom7(91#11)
I
{5 b7 9 #11}
There are three applicable voicings:
=
C7(91#11 )
~~l
b7
5 9
9 5
G-maj7
9 5
#11
~~ 1
Note that tension 9 is not available on the 5th su-ing but becomes available on its Sub V chord as the #Sth.
F9(#11) ..a.
'
1
0
II
A9(#11) D(add9) .0.
~
;:
lj:
(F-maj7)
II
(E-maj7)
j E6
E7sus4
b-e-
-e-
..0..
A6(9)
E(~5/~9 )
Bb-7(11) E brn5/b 9) Ab6(9)
b..o.
I
f>&
q.n.
bn
Ii
'
( F~7sus4)
Idom7(b91#11) I
{5 b7 b9 #11}
There are three applicable inversions:
C7(b91#11) = Eb7(#9)
~~ 1
b7 ~ 11
C-7
' bn
i
-&
0
II
;
(D~7(#9)
II ~
4
" -t:o
B-9
II ::o
0
II
and E/F) (FIG )
\
Emaj7
-&
\.,
\
I
B (b9) ..a.
f~ zz ss
J~
(Ab7(#9)J
F#7sus4 ..a.
~~1
F -9 B'r>7{b 9/Ul) Eb6(9/Ul) D-7(11) G7('~9/~11) C(add9)
F7(b 9/Ul) B, maj9
~
b9 5
~9
5 b9
SUBY
b.o.
t
(C-maj7)
.
E" -
Eb6(9)
~
II i,1ig
F#7sus4 BC#5/b9) ..a. ..a.
SUB Y
B ~ 9(;! 11 )
F-9
/
i
·§
II
(Bb7(#9)) !
I
I I w
\l
E (b 9)
Amaj7
#o
~o
73
~
Ab-7(11) Db(b9)
II 11~
~
Gbrnaj9 'o-e-
II
ldom7(#91#11) I
{5 ~7 #9 #11}
Only two voicings are physically available, and one of these cannot be used due to the #9th te nsion being located o n the Sth string. These voicings will reappear in the Three Tensions chapte r, where both will be available. F-9(11 ) b7 Bb 7 (~9/ tt11 J
= C~rn/F
~
Ul ~9
5
B , 7(#9/#11)
b.u
Eb6(9/ #11)
\>e.
~
I!
(Eb/Abl
(FIG)
(Dtim/ F)
I
i B-7Cl l)
E13(b 9)
Amaj7C#ll )
-1;,,.~,.----=..-:1---'*----..n..#:~:~=----------1~ 0
SUB V
The followin g examples will use various chords conta ining tensions 9 and 11. Additional ch0rds from past chapre:are used ro enhance voice-leading. This first example is a II-V blues in the key o f "F."
Fmaj7
~
~I
~
E7{tt5/ #9) A13(#9)
D-9
~
1€
G
Bb9(#11)
kr
;; I
(F-maj7 )
~'
(D-7,,5 )
C-9
i,#~
Bb-7(11J
Eb 9(~11 )
A-7(11)
1l·i;
-6)..
oa
1.,
gif-
Ab-7(11 )
1§!
D7(# 9/ ~ll )
F9
lb~
G-7
!
I
I
(Gl> 7 (~9))
?~
Db7(a1t5)
ba
.?
:
~ {i~ I
I
(Ab7sus4;
(G#/A)
(F-7#5 )
1.~ (C-maj7 )
D7(#11/1>9)
?
b-6-
F9(#11 )
I~
CC~ / D )
C13(~ 11 ) C9(~ 11 )
G -7( 11'
G7(Ul/1>9)
1€
(G/A) Bb9
'
F6(#11/9)
C7(Hl/!!9 )
I
j
(A9)
Fmaj7 (~ 11/ 9 )
I
·bbO~ tl
(E 11 m/G)
!f !
If
(Em/A)
This next example is an.eight-bar c.hor~ progre~sion star~in~ in "A'' minor and e n~ing in the relative "C" maj o r. In an attempt to use two different ma37~ ) mvers1ons as nun7!1 5(9/l J) chords. tension 9 appears o n the Sth string in the first measure . Althoug h above L.l.L. for tension 9. care should be taken to avoid a potential p9th interval if the minor 3rd of the chord is voiced or played by another instrument.
74
F ~ - 7b5(9/
A-6
i
r
'
11) B-7b5(9/ 11)
(Cmaj7#5)
E7 (~5/#9)
(Fmaj7~5)
I,, If G-9
A-maj7(6 )
If
f
I'
A-6(9)
:~
CF#/G)
(Gh7)
1 1¥
C7(#11/b 9)
F6(tt ll/9) Fmaj9 F-maj7(11/9) Bb9(#11) Cmaj7(6/9)A7(alt5) D-7(9/ 11) G7sus4(b 9) Cmaj7(9/#11)
I~,
f (GIA)
111i~
(F-maj7)
IL
f
II (Gmaj7)
(E b9)
Tensions 11 and 13
,:·~:·.:
...:.·. ·:\,
We are left with very few chords in this section, since most have been previously introduced cnharmonically. Only one dom7 voici ng will be examined in this section: C7(tt 11/ 13) {5 b7 were introduced earlier. C7(tt 11113) { I b7 tt 11 D} and {3 b7
#11
#11
13}. The remaining dom7 chords
13} are examined as C7b5(l 3) chords in the Tension 13 chapter.
As discussed in the Chord Symbol Notation chapter,# 11 and~ 13 should be avoided in the same chord symbol. If these notes are desired, dom7( » 111ttS) voicings under the Tensions 11 chapter will suffice. The traditional drop 2 tension substitLition formula [ 13 for 5) and [ 11 for 3] produces a very incomplete {1. 7 11 13 } voicing which will be omitted from this section. Instead, the more complete {3 7 11 13} and {5 7 11 13} voicings will be examined. Only one
~ew
voicing is introduced in th is section: min7b5(1llb 13)
This voicing is an inversion of the previously introduced rnaj7(9) { l 3 7 9) voicing: 3 ............. b7 ! .. ........... bs 7 ...... ....... 11
9.... ......... b13
The min7b 5( I lib 13) chord presents unique voicing possibilities, since any combination of the basic chord tones can accompany tensions 11 and b13: C-7 b5( 1l/b13):
lb 3 Ilbl3 l bs l I b 13 tb 7 tlb1 3 b3 bs i1 bB b3b7 tt b l3 bs b7 11 bt3
=
A b6/F-7
=
Ab 13
=
Ab6(9) { I 3 6 9)
= =
B6Ctt 11 ) {3 5 6 " 11 ) Bb 7(sus4) Gbmaj9 {I 3 7 9)
=
Those voicings not containing the b7th could be examined as dim? chords with tensions 11 and b13. This makes the b7th a rather characteristic note in this chord. Thus, the single most cha1~cteristic voicing would contain both the ~ 5th and b7th {~ 5 b7 11 b 13}. This voicing, as well as the voic ing containing the guide-tones {b 3 b7 11 b13} will be examined in this section. Students are encouraged to explore the remaining voicing types .
75
lmaj7(6/ff 11) I {3 7 # 11 6} was previously introduced in the T ens ion 13 chapter as a maj7~ 5(6) chord.
= Gmaj9
{5 7 #11 6} Cmaj7(61#l 1)
T here are two app licable inversions: 6
7 5
tt 11
tt 11
7 5 C-9(11)
Bl3
{l 3 7 9}
6 Bbmaj7(6/# 11) A-7(11)
Ab7
Gmaj7(6/#ll)
~·-~:~~----+II-I(Z--~-"'-t-~-----+'I Imin maj7(11/6) I As discussed in the Tension 11 chapter under the ruin maj7(11) chord, 11 and 7 produce the guide-tones (3 and 7) of its V7 chord, forming a potent ially ambiguous sound. Also mentioned was the support the root and/orb 3rd have on these ambiguous voicings. Of the two voicings displayed here, {b3 7 11 6} appears to be the stronger, while {5 7 11 6} is quite ambiguous.
{b3 7 11 6} C-maj7(6/l l ) = F7b5 / B7b5 Note: s inceF7b5 = B7b5,Cmin.maj7(6/11) = G bmi n.maj7(6/1 1). T here are four applicab le inversions: b3 6
11 7 6 b3
11 7 D-7b5
~~
7
6 b3 7
11 b3 6
11
C-maj7(6/ll) D-7b5(9) G7(#5/#~) C-maj7(6/ll)
G7b5 0
~
e
b..a.
1:1
(F7b5)
(F7b5)
D-7b5
~ {5 7 11 6}
-e-
-
G7(tt9) C-maj7(6/ 11)
b..a.
A-7b5
-e-
~~
0
II
(F7b5)
C-maj7(6/l I)
There are four applicable inversions: I l
--
bp
6
5 7
= 5 7 6 11
7 5 11 6
6
11 7 5
76
D7(alt5) G-maj7(6/ 11)
b..a.
~lzU
b..a.
~
(C7b5)
G9 { 1 3 b7 9}
I~
A-7?501) ~
D7(~5/~9) .... r..
~
0
G-maj7(6/ 11) B-7!> 5(11/ 9) B~7 -e_...,,. b.o. ~
A-maj7(6/11)
ls
~M~~--g~ ·:--~~~ 4~44 rn, g
D-71alt6
I dom7 (~ 11/13) I
C-maj7(6/11 I D-7ii 5(11 ) G7(b9., C-maj7(6/11 )
{5
b7 ,,Hn
The re is one applicable voicing:
13 ~ ll
C7(~11/13!
13}
=
G-maj9 ll
b3
B~ 7 (~11/13 °1
F -7( 11 l
7 9) E~maj9
=f;i-_!!5::.·~~~~~~n'--~~~~~s~ - ~~~~--.
b7
.
~ .--~~~~~~~~Jlt
B7sus4
E (alt9J
A...'11aj7(6 )
~~-e------~ ~:1'-'------t1ll 0
(SUB VJ
I min7~ 5(11/~ 13)
J
{~ 5
b7 11
There are two applicable inversions:
b13
~ 13 }
C-7 b:'\ (J l/b !:< )
11 3 7 9}
- ~7
i1
b5
b:;
D
~-
= Gbma_i9
I: [3
G6(91
C-7r5<1 l/~>l3 1 ..'.\ '.'t1it:ing :·-:c
r.me n ti ~.d
=
Bb/(sus-+ 1
'? S•th 1mcn al 1h:.-,t couiu :csuir oy oiacmg lension ii on tile Sth strin g tc;r: ;;s tilr::e ~tf:)iic:.ib1~
in\'Cr;-,ion:-. . Jl
b7 : 1 J J I .., DI
G6•.9 J
77
G-7o 5(ol2/l:!.; C7(!:51::>t;J F-6(9
The following eight-measure example will use various chords containing tensions 11 and 13. Additional chords from past chapters are also used to enhance voice-leading. The C7 (f 11/~ 13) chord is yet another way to notate this voicing, which was originally introduced as a C+7 C# 11) or C7(alt5) chord and later as a C7~5(~ 13) chord. As mentioned earlier, this notation (b 131# 11) in the same symbol has various and confusing implications. While still recommending its avoidance, it is included here for demonstrative purposes. Also note the additional chordal substitution for a dom9(no 5) chord { ~ 3 ~ 7 9} at the end of this exercise:
CC# l l/9J = D9. B-7b5(b 13/11) E7b5
A-maj7(6)
A -6(9j
A-maj7(11/6) A-6(9)
G-7(11) C7(b 13/#11)
!
~
:r
()
I~
"."
(!)
4
Fmaj9
f'
I
I:": -
I
F-7(11) Bb 13(~11 )
C6(9)
A 13(;:9)
I
~
D-6'-
~ I
iJ~
I
..
bi
I
~".
I
I
f:
I ;? i
I
:
l i1~
I
(F-maj9)
C(#ll/9 )
I
D.f4
(Bb 13)
~
(Gb 9)
D- 7h5(~13/11) Gl3(~11)
I
l
bP-
(D7~5)
(Fmaj9)
(G#+7) Fmaj7
D.p.
..
R~ ...
'I' I
I
::~
1~
,,
(
11 I
(D9)
This next II-V blues example uses various chords from the past tension chapters. Also included are a couple of new functionsinthesecondmeasure:G-maj9 {1 ~ 3 7 9} = E-7~5(11/9) and G-9 [1 ~3 b7 9} = A7(b9/b 13). This example incorporares chromatic voice-leading to a greater degq::e than previous examples. Note the voiceieading motif in measures five and six is repeated in measures nine and ten and inverted in measures seven and eight. Also note rhe contrarv chromatic voices in the last two measures. F6(9 l
Fmaj9
E-7b5(1 1/9) A7(b 13/ b9) (G-rna,i9l
* t)
~
-
I ;=~
I
B P7(13/9)
~i
~..,.:;.
~
-
B~9(#11 )
B?-7(11 "
D-9
G+7
fr
C2
F7(b 9/~5 )
C-7(11/9 )
(G-9 1 I
I
Eb9<#11 l
A-9
±zG
- r-6'
I
I
A~-7
D9(b 13)
Db 9 (~ 13)
(C+7) I
~
I
D.a.
C2
bg
.a.
. bfr 5:.t-
" ins'
11i~~
I
oa.
b-.9-
t>-@-
--""'
~
G.., - I
D~7(13/9 )
C9(ii 13) Cl3(b9 )
i
' u
Q
D.p.
i
~
Clfr
F(add9) D7(alt5) (A-7~5 ) (Ab 9 ) I
ltc;i 'ro·
Q I
!~
~;§ I I
I
78
GO' v DO fr
I ~~ I
C9(b 13 )
F9
[>fr
%~ I
'3
1
11
~
Chapter Eleven. Voice-Leading Chord Scales Upon completion of sin~le tension additions to the basic four-part chords, it is possible to voice-lead any note from any chord scale.
2
5
4 (11)
(9)
7
6 (13)
The addition of two tensions often eases the physical difficulty (fingering) that some of the single tension voicings produce. Examples: maj7(6) - - - - l o -- - - maj7(9/6)
6
6
1
9
7 3
7 3
The following are examples of harmonized chord scales. The "avoid notes" can be harmonized by standard dominant, chromatic, or diatonic approach techniques. These avoid notes are based on traditional jazz harmonic concepts and might be available in today's more contemporary music where an increased dissonance level is more accepted. These notes are in fact the more desired notes in modal music.
(Ionian) _ _ _ _ _ _ _ _ _ 5
7 (Gmaj7) _ _ _ _ _ _ _ _ Gmaj9 Gmaj 7(9/6) Gmaj7 6
" (Lydian) _ _ _ _ _ _ _ _ _ 5 (Gmaj7) ___ _ __ __ Gmaj9
#o
GS
GmajS
0
-e.
umaj': .a.
(1 l is an avoid note)
3
9
#11
Gmaj7b5 G6b5 Gmaj7(9/6) Gmaj7b5 Gmaj9b5
::o
'.
3
1
I
G6
9
II
,.,
6
1
.n.
-0--
0
;f-e-
lmin7J (Dorian or Aeolian) _ _ _ _ 5 (13 and b 13 are avoid notes) (G-7) _ _ _ _ _ _ _ _ _ _ G-9
b7
1
9
G-7
G-7
G-9 -&
b3
11
G-7(11) G-7(11/9)
b.a.
-e-
e =&_,_~~~~~~-~~~~~--H 0
II
79
lmin7bsl (Locrian) _ _ _ _ _ _ _ _ b5 b 13 b7 1 b3 11 (b9 is an avoid note) (Locrian with natual 9) _ _ b5 b13 b7 1 9 b3 11 (A -7b5) ____ _ __ _ A-7~5 A-7b5(;, 13) A-7; 5( 11) A-7b5 A-7b5(9) A-7b5 A-7b5(11)
4""
..a.
~
..0..
0
IJ
'''With the exception of the voicing containing the 9th. these voicings work in a pure Locrian situation as well. ldom71 (Mixolydian) __ __ _ _
5
(07) - - - - - - - - - -
G9
~
b7
13 G7(13/9)
G9
0
0
t 1
0
1 G13
5
13
l>7
1
(07) - - - - - - - - - -
G9
G9(13)
G9~5
Gl3
(Mix. b9/;, 13) (with addition of# 9) - - - - - - - - - - - - - 5 (G7) _ _ _ _ _ _ _ _ _ G7(b9)
(altered) _ _ __ ___ __ b5 G7b5(~9)
b13
3 G7b6
#11 G9b5
-&
..a.
~
G7(#9/~5)
(11 is an avoid note) b9 #9 3 G7(b9) G7(#9/#5) G7(b9) ..a. ~ la-
1
b7 G7(b9)
G7#5 0
0
II
#5 G7#5(b9 )
b7
1
G+7
G+7
b9 #9 G7b5(b9) G7#5(~9 ) De-
0
3 G+7
..a.
~
II
~5(b 13)
b7
1
9
3
G9#5
G+7
G+7
G9#5
G7b5 ..a.
p 00 (domina:1t-diminished) ___ 5 (07) _ __ _ __ ____ G7(~9 J
..a.
II
0
(whole-tone) __ ___ _ D5(#11) (07) _ __ _ _ ___ _ _ G9b5
-e-
9 G9(13)
0
0
11
!JC I
(07) _ _ _ _ _ _ _ _ _
3 ( I 1 is an avoid note) G7
II
(Lydian b7) __ ____ _ _
0
9 G9
0
13 Gl3(~9)
I)
b7 G7(b9 ) 0
-&
0
1 G13 0
ll
b9 ~9 3 #11 G7(b9) G13(#9) G7b5 G7b5(#9)
be-
ta-
n
#&
II
80
Chapter Twelve. Three Tensions (9/11/13) The past tension- substitution formulas become inappropriate when deaiing with three tensions on a four-note voicing. The approach used here will involve determining the most appropriate guide-tone or chord mne to accompany the three tensions. All of the three tension combinations presented in this chapter form complete triads: 9 9
~11
9
i
11 1i
b9 #9
I
11 11
major triad minor triad diminished rriad minor triad diminished triad
13 13 b13 13 13
When these triads occur on the top three voices, they produce upper-structure triads over the basic or original chord. As discussed earlier, ~ 11 and b 13 will be avoided in the same chord symbol. The following three-tension combinations (which do not produce basic triads) are enharmonically examined in the Tensions 9. and 13 chapter:
dom7(b 13/fill/9) dom7(b 13/~ 11/b9) dom7(b 13/t.111#9)
= = =
dom7bscb 13/9) dom7b5(b 13/b9) dom7bscb 13ti9)
Withtheexceptionofthedom7(13/P,lllb9) {l b9 all voicings have been previously introduced.
C7(131# 11/b9) { 1 b9 # 11 13 }
=
#li
13} andthe dom7(131#111#9) { b7 #9 F, 11 13} chords,
Eb7(131#111#9) { b7
#9
#11 13}
Imaj7(91#11113) I #
The onJy characteristic voicing would have to contain the 7th {7 9 #11 13}. The {3 9 11 13} and {5 9 ~ 11 13 } voicings have been previously inrroduced as rnaj6(9i# 11) chord voicings under the Tensions 9and11 chapter. The remaining { 1 9 11 13} voicin·g, though incomplete, will be exarninec. Keep in mind that this voicing. lacking a 7th, could function as an incomplete dom7(91#11113) chord as well.
#
Note the major triad rormed by tensions 9, #11, and 13; Cmaj7(9/~ 11/13) - tensions form a D major triad
Cmaj7(91# 11113)
{7 9 #11 13}
=
B-7 I D6
Avoiding tension 9 on the 5th string 1eaves three applicable inversions:
9 13 F. 11 'i
13 9 I
7 #11
#11
D
9
Cmaj7(9/~ll/13)
D-9(11) G7019/~5j
-&
C-7
B7 Bbmaj7(9/ Ul/13) A-9
b..o..
-&
-e-
II
!1
c
Af17 Gmaj7(9/;tll/ 13) ito
-&
II
1I·
(B-7 !
(A-7 )
81
ii
(Ftt-7)
C(91# 11113) = D7
{1 9 #11 13}
A voiding: tension 9 on the 5th string leaves three applicable inversions:
9 13
13 9
#11 1
D-9(11) 0
G7(~5/b9) C(13/~11/9 )
-;:o
-&
C-7
B7
v.n
-&
Bb(l3/# ll/9'l
l!
'
9
#Il
13 A b7
CC7)
G03/#11/9)
l>e-
'Z
It
(D7)
1
A-7(11)
v.n
1
#11
b-s-
II (A7>
*These voicings will reappear in a dominant functi~n under dom7(91# I i/13).
Imin.maj7(9/ l 1/13) j The most characteristic voicing contains the 7th {7 9 11 13 }, yet it produces one of the m ore ambiguous sounds bec ause these notes also form Lhe V9 c hord of the originai minor c.:hord. This dual (tonic/dominant) functi on can be a very confusing sound and should be used with care. The lb 3 9 11 13} voicing (perhaps the best voicing using these three tensions} has oeen previously introduced as a min6(9/l l)chord undertheTensions9and llchapter. The {5 9 11 13} voicing was also introduced in that chapter as a min6(9/l l) chord. Note the minor triad formed by tensions 9 , 11, and 13: C-maj7(9/l 1/13) - tensions form a D minor triad Also note that those voicings not containing the 7th could have a~ 7th (modal dorian sound). C-maj7(9/11113) = B-7~5 I G9
{7 9 11 13}
A voiding tension 9 on the 5th string leaves three applicable inversions:
D7 Cb l3/~ 9 )
G-maj7(13/ll/9) D-7b5
I
v.n
9
13
13 9
7 11
ll 7
7 11
9
G7 (~5/b 9 J
b&
13
C-maj7(13/11/9)
~
I! (F!:-7b5l
C- 7b5
i
on
CB-7~5 )
F7( ~9 i
B l:> -m aj7(13/ 11/9 J
~o
~~-------5=@ (A-7b5J
82
C-maj7(9/ll/13)
{l 9 11 13}
= D-7
*Note that this vojcing also could function as a dom7sus4(9/13) chord. 0....
Avoiding tension 9 on the 5th string ieaves three applicable inversions:
13 i1
C7( ~ 13/b9)
G-7b5
~
Fm(l3/ll/9;
J
9
li
13
G7C#5/#9) Cm(l3/11/9)
-e-
t>e-
0
D-7b5
1 11
13 9.,
0..0.
0
-&
~
I! (G-7)
C-7~ 5(~ 13..i
(D-7)
B7
B11m(l3/ll/9) !).fr
(C-7'1
lmin7b5(9/11/b13)
I
The only characteristic voicing would contain the~ 5th {~ 5 9 11 ~ 13}. The remaining voicings will be examined, although less complete and producing some very ambiguous, if not weak, sounds. The tritone produced by tension 9 and b13 is partly responsible for this ambiguous sound. Note that tensions 9. 1Landb13 produce a diminished triad~ C-7~5(9/l l/b 13 i
-
censions form a D 0 rriad
The two inversions contr.ining 9 or 11 on the 5th string will be avoided.
{65 9 11 613} Tnere
~re
l\ ·0 1
~pp lic :ible
C-7h 5(9/ll/~13J
inver-:1on::: bi.?. 11
9
bs
(• ';!
bs 11
bu A-7;,5(b13/11/9) D7{#5/ ~9)
C-7b5(9/ 11/b 13) F7(~9 ,1 I
f;.
~
~
= A~13(b 5)
9..0.
I
a.a.
b.n.
G-6(9} Qi•
=i·,
4 ~1",·. c--~-..(0-._::-___-_________-______-__-_____,+:.;_,-_-_-_ --''---------~ · ;_• -----'-
83
{b7 9 11 ~ 13}
C-7b5(9/ll/b 13)
There are two applicable inversions: 9 b 13 11 b7
= Bb7
b7 11 9 b13 F-6(9)
G-7li5(b 13/ 1119) C7('.,9)
~.fi
B-7b5(bl3/ 11/ 9) Bb7
A6(9)
I
-e-
~PA ~~--'~~~ ~o~~~
-e-
#13
11
II
(A7)
{b3 9 11 b13}
C-7b5(9/l l /b 13) =Ab6 (#1 1) ( I 5 6 ~11) D -7b5(9/ 11/b 13)
There is one applicable inversion:
G7(::5/b9)
C-6(9 )
11 9 b 13
b3
{l 9 11 bt3}
C-7b5(911lib13)
There are two applicable inversions: 9
E-T, 5(013/11/9) E b7
= D-7b5 I F-6
1
b13
11
ll I
9
b13 D-6(9 •
A.-7?5(~ 13/ ll/ 9) D7(~5/D9 )
-e-
0
lt-e-
G-6 ..a_
(D-6 ,
ldom7(9/~ 11/13) I There is one characteristic voicing {b7 9 ; 1 J 13}. Incomplete {3 9 #11 13} and {5 9 #11 13} voicings have been previously introduced as maj6(91# J 1) chcrds but wi ll be examined here for their dominant iunctions. Aiso . the ( l 9 ll 11 13 } voicing introduced as~ maj7(9/~ 11/13) chord wi!! be examined for its dominant fonctic!'l. T he im·ersion containing rension 13 on the 5th srring wili be avoicied. The inversion containing tension 9 on the 5th string will be avoided when the dom 7 chord is functioning as a V7 chord. When the dom7 chorci is functioning ~ a Sub V chord. the 9 on the 5th string will be aliowed. since it is really functioning as a #Sth on the V7 chor,i: (th:9th of G7 is the !5 ,, of Db 7)' * Keep in mind that tensions 9, #11. and 13 on a dominant chord are most characteristic in a Sub V function .
. iote the major tri ad formed by tensions 9 . : 11. and 13: C7(9/f 11/l 3: -
84
tensions form a D major triad.
{b7 9
C7(9/~ll/13) = Bb maj7~5
#11 13}
in l
There are three appiicable in versions:
b7
13 ,., '-j
G-7(11) C7(9/ Ul/ 13) F6(9J
&bn
9 13 ~ll ~7
13 9
b7
#11 E7( 13/~ 1118;
D-9 G'7(9/Ul/ 13) C(add9 , ~ -e-
0
('3
p
e
(B 11 m aj7#5 l
(Dmaj7!l5)
...
SUB \"
{3 9 #11 13}
091#11113)
There are three applicable inversions:
G7sus4 CC131ttll/9) :r·maj9
£&;
0
v
~!
=
F#-7#51C6(91#11)
3
#11
13
13 #11 9
9
3 9
G-i
13 3
#l l F( 13/ ;.ll/9)
Cd3/ :: 11/ 9) F6(9l
ig (F~-n5>
(F~ -7#5 >
CB-7!:15 >
f..
j
I C~ - 9( 11 ) F~7(:;5/~9>
SUE\'
~~ ~
~~l
B6(9J
C~- 8
F:!7(;!5/ ::9) Bmaj9
Ft:-9
B7(~5/~9 l E6(9 i
-e-~~-~~-e~~--.,~~~R~ . ~---~~~~n~~~., :: E' ~~~~ ~~-•'
(DIE )
85
{5 9 #11 13}
C(91# 11113)
There is one applicable inversion: 13 #li 9
5
= A13(sus4) I C6(91# 11)
4
E-7 a
AC13/U l/9)
,;!
B11-7 (SUB V)
D6(9) -a-
II
Ej,(jt9/#5)
~~
At:imaj9 a
... 0
f
I!
(B/ E ) C(91#11/13) = D7
{1 9 #11 13}
There are three applicable inversions:
li 11
9
# D-9(11) G(13/#11/9) C(add9)
13 9 l
"I
13 11
13 9
#11
G-9 0(13/#11/9) Fmaj7
E(13/#11/9) j±.e.
j
·;
II
(A7)
(D7)
l
l
Ab-9 Db(alt5/#9) Gbmaj9 SUB V
ft;
C#-9 F#(alt5/#9) Bmaj7
JI
a..
(F #7J
+!:a
-&
ll~
t
F7sus4 Bb(alt5/#9) E bmaj9
b.o.
1±-e-
b.o.
b.o.
II
II
Idom7(b91#11113) I The b9th dictates a dominant type chord aiiowing it to be the mosr charactenstic nore. This means the guide-tones will noc be missed in voicings not containing them. Again, tension 13 will be avoided on the 5th string. Note the minor triad produced by tensions b9, #11. and 13: C7(b9/~ 11/13) -
{b 7
~9 #11 13}
C7(b9/~ll/13)
There are two applicable inversions: ~9 13 ~ 1l b-
=
Eb 7t#91#11 ) {5 b7 #9 #11}
13
b9 b7
til
D-9 G7(:i9/lHl/ 13) C(add9)
G-: 7(11)
~
0.0. :I
!' Ao-7(11) I
SUB V
-& v
DO
t
D,(~9 .l
!>&
tens ions form an F# minor triad.
Gl,maj7
-
C#-9
C7(b 9/~11/13) I
-e-
-~~ I t
F6(9) a
II
F~(#9)
Bmaj7
-&
#e-
I
P.O.
to
Ii
(C~m/F )
86
II
C7(b91# 11/13) = F#-7
{3 b9 #11 13}
Note that the Sub V chord forms a complete min 7 chord. and when used in its related V7 situation, it has the ambiguous fu nction of an incomplete V7(#9) or V-7 chord. There are three applicable inversions:
13 3
b9
13
#11
3
D7(13/~ 11/ b 9 )
C7(13/#ll/b 9) Gmaj7(6/ 9) G-7(11) Fmaj7
A7sus4
(,
l
F#- 9 SUBY
Emaj7
-&
II (F~-7 )
(G#- 7)
t
E b-9(11) Ab7(#9) Db6(9)
~
#o
&i~ @)
-&
Ii
1:
(B-7) B7(~9)
b..o..
-&
0
~
l
F#7(#9 )
C#- 9
Bmaj7
f±o
11,
1•
II
• !
••
{5 b9 #11 13}
C7(b91# 11/13) = A 13 I Eb 7b5(#9f
There is one applicable inversion:
13 ~ 11
F7sus4
Bb(13/#11/b 9)
I
E t>maj7
:
;9 ' ,..
0
!I
(G13)
E(alt9)
B-9
Amaj9 f;o
II {1 b9 #11 13}
C(b91#llll3)
There are two applicable inversions: ~ 1 ! l
13
bq
',..
=
Eb7(#91#1 1/1 3) {b7 #9 #1 1 13 }
13
b9 1
~I! I
F7sus4 F(13/::11/!>9) B 96(9) I
::..0.
~!
G-9
-&
§!
-&
II
C(l3/# 11/l>9) '
tr
F6 -9·
';!i;
II
\'
F~7sus4
(S UB V)
4
..0..
B(:;ll/,9) Em aj7(9 J ..0..
.fi
C$.-9 tio 11 ·
87
F;t (~
1 J/i:9) -e-
Bmaj7 l>-&
II
ldom7(#91#11113) j The { 1 #9 #11 13} voicing will be omitted due to the rather ambiguous sound produced by the complete dim7 chord formed: {l #9 #11 13} = {1 b3 bs bb7}. Those voicings that contain tension 13 or #9 on the 5th string w ill be omitted. Note the diminished triad produced by tensions #9, #11, and 13: C7(#91# 11/13) -
{~ 7 #9 #11 13}
=
C7(#91#11113)
There are two applicable inversions:
#9
Eb
A7(b91#1111 3) {l ~9 #11 13}
13 #9
13 ~ 11
b7
~7
#11
G-7(11) C7(# 9/# 11/13) Fmaj9
'bn
tensions form an
~
D-9
G7( 1 3/~1V#9)
fie-
-0-
0
II
Cm aj9 .n. 11
l \'i
v
Ab-9(11) Db(13/#9) Gbmaj7
F#(13/F,9) B6(9)
b.o.
b.o.
b.o.
(SUB V)
II
{3 #9 #11 13}
=
C7(#91# 11/13)
There are two applicable inversions: ~ ~ 1
13
3 #9
13 3
A-7(11)
D C13/:fll/~9 )
A6(# 11) { 1 5 6#11}
#11 C(13/UV~9)
Gmaj7(9/ 6 ) G-7 I
b.o.
-0-
Fmaj7(6)
I' E~ -9(11 )
(SUB V)
~
k
A?l3(#9)
k
Dbmaj9
k
C11-9 11
FH3(tt9) Bmaj7(6)
~
~a ~
~]~--------·-------';:~-~
{5 #9 ~11 13}
.Q
C7(#91# 1l/13J = Al3b5
There is one appiicable inversion:
i3
~ 11
E-7
A(13/#11/#9)
Dmaj9 -&
r9
II
i
B~-9
Eb(l3/alt9)
:±e
88
Abmaj7(6)
~Q
II
0
triad.
The following examples will use various chords containing tensions 9, 11, and 13. Additional chords from past chap1crs are also used to enhance voice-leading. Hybrid chords will be listed as 1hey occu r. Thi s firs1 "·Il-V" bl ues example in the key of " F" contai ns some interesting chromatic voice-leading. In measure three, the top three voices contain contrary - chromatic motion while the bottom voice sustains. Measure four into measure five [F7(~9/alt5 )-Bb 7(9/ 13)) contains a good example of contrary chromatic motion in all four voices; the top three voices ascend while the bottom voice descends. In measure eight to measure nine [Db 7(91# l l/13) Gm(add9)], the top three voices descend chromatically wh ile the bottom voice sustains. Tn measure nine to measure ten, those same three voices again descend chromatically. Fin ally, note the chromatic constant s tructures produced by the last six chords. *Note that the E-7b 5(9/1l/~ 13) voicing conrains a major 7th width .
F6(9)
_:,:, ..... : . . ~
E -7b5 (9/11/b 13)
A7 (\,9/b13)
D-9
G7(b9/alt5) (F-7#5)
C-7(11) (G-7#5)
F7(b9/alt5) (A6(9))
~1~f~~~ w~br~p~ r ~,~;~ ~~:::::!E-~~ Bh? (9/13)
Bb7(9/#11/13) Bb- 7(11) Eb7(9/#llll3) A-9 (Abmaj7#5) (Db/Eb) (Dbmaj7#5 )
__
D7(b9/alt5 ) (Ebm/ Ab )
Ab - 7 (11)
Db7 (9/#11/13)
~--~~-~1~ -,; q ~1r~~b~~~-~-1-~1_~ ~,~ - ~ Gm (add9)
Do7 (9/ 13)
C7 C7(tt9/alt5) Fmaj9 D7C#9/ alt5) G-7(9/ 11) C7(b 9/alt5) F (9/ ttll/ 13) (9/13) (Emaj9).... (Fmaj9) .. (F#maj9) (F/G) .... (F#/ G# ).... (G/ A)
~~·~-+--f-==----==--bf-===--=Ll-__ f _ . ~~ .;i. ~,'-.----#1~-~____,~--==--t!l+-.-.-l=: : ;,~-==t.i1
89
This next example also contains some interesting chromatic voice-leading as well as another chord voicing containing a major 7th width (F-9). In measure four to measure five [Eb 7(b9/alt5)-Ab6(9)], three voices descend chroITJ&tically while one middle voice ascends . In measure seven, again, three voices descend chromatically while one middle voice ascends . In measure seven to measure eight the top three voices contain minor triads w hich descend chromatically. Finally, note the same structures a whole step apart on the last two chords.
Cm (9/11/13) (F1 3)
t! ~~
A-7h5 (9/11/b l 3) (G7)
~
Bb -7(11) E b7(b9/alt5) CDb6(9 )) (Aadd9)
b
~' Eb(9/#11/13) (FIG)
~~i
D-7b5 (9/11/b 13) (E 0 /Ab)
G7 (b9/alt5 ) (F-7lt5 )
C-maj7 (9)
I~~
& "bl
I ~~
Ab6(9)
bi
lbf
(G- 7) C7(b9/alt5) (E6(9))
~ J &~-
(Dbm/Gb)
( ~9/alt5 )
,i,
( G/E ~)
Abmaj7 (91 #11/1 3)
b
F7 (Db7)
Ab-7(9/ 11) Db7~5( 13 ) (Gbl Ab) CG7(#9 ))
I~"¥
Bb 7(b 9/ #11/ 13) F-9 (Abmaj7) (G13)
E b m aj9(#11) (Fl3 )
11.I'~
ijg~
II~!
(Em/F)
(Drn/Eb)
(Cm/Ab)
b
ij 1f
II
)
·..
•"·l-,,..
90
Chapter Thirtee110 Altered 9th Tensions (~9 and #9) on Dom7 Chords These dominant chords contain both tensions b9 and #9 in their voicings. Since tension b9 dictates the dom7 chord , voicings with and without the guide-tones will be examined. Some of the Sub V chords will produce very incomplete structures and should be used with care.
#9
\Vith the exception of the dom7(alt9/13) {3 b9 13 }°chord. all of the voicings in this chapter have been previously introduced enharmonically. Those inversions placing tension #9 on the 5th string will be avoided. Those chords using tension 13 wiU avoid this tension on the 5th string as well .
Idom7(alt9) I The most characteristic voicing would include the guide-tones {3 b7 b9 #9 }.
{3 b7
b9
#9}
= Db -6(9)
C7(alt9)
~9
There is one applicable inversion:
~-~7 J.
{ l b3 6 9}
C-9
F7(alt9)
Bbmaj7
-e-_---H ;b ~ ar ~ ~~~~~~(F.~~ -6 -(9))~~~~~~~~-' _
0_ _11 · · - 1 -_
_
9
l
F~-9
(Sub V)
{l b7
b9
#9}
C7(alt9)
E6(9)
B13
-4-#o___#n____~.....___i---Hll
= Gb6C# 11)
There are two applicable inversions: #9 1
#11}
{3 5 6
b9 1
t~ f~
C-9
b.o.
(Sub V)
' '
F7(alt9)
B~ maj7(6J
~
lz~ J,
F#-7
{5 b7 b9 #9)
-e-
B6(#11) jio
C7(a1t9)
There are three applicable inversions:
E -9
=
Dea.
A
g
II
E6(9) .n
I v
Bb7sus4
Eb6(#11)
b.&
b..o.
rbs I
Eb7
~~
5 b9
A7(alt9) Dmaj7(# 11)
b7
~99 5
91
b9 5
~~
#;t
II
A~maj9 I
hii;;;23
Fmaj7
G7(alt9) Cmaj9
D- 9
be-
-9-
1
II (Ab7)
F #-7 (Sub V )
_,,4~--e---~-·
{3 5
o_
b9 #9}
(Eb7)
C~-7
B13(b9) Emaj9 _
s_'
= Eb7(b9)
F#113(b9) B1maj9
Ab-7
Db13(:i9) Gbmaj9
(Sub V)
{ l 3 b7b9}
D-7(11)
#9
'9
t
Cmaj7(6/9)
ij ~!
Ab-9
Db 13(b9)
bn
bn
II Gb6(9)
,:,,.
1---- - - - -- _.:;. . Q'&-B-- - -tttl 7 9}
C-9(11)
#9 1
F7(alt9)
=
3
b9 F~-9
(Sub V )
G7(alt9)
b.o.
lH
= Db-maj9 {1 b3
There is one applicable inversion:
(Bb7)
++-11
5
{1 3 b9 #9} C7(alt9)
II
o- --rrJ[-.o. - - -v..a. _ _ _v_.o._ _ i___ 1>&_--'~-9-<~B---tij[
C7(alt9)
There is one applicable inversion:
0
B13 (~ 11 )
~ --l';kt
Bbmaj7(6)
II Emaj9
,._,.,..,;g,--_ _ ~ -------:#~:1----+tii 11_0
~·
{1 5 b9 #9} C7(alt9) = E~ 13 { 1 3 b7 13} I A7b5(#9) Note thal this voicing comains a strong modal phrygian sound: { 1 b3 5 b9} .
There is one applicable inversion:
#9 1
C-9(11)
F7(alt9)
Bbmaj7(6)
I
~
i F~-7
(Sub
B(l3/Ul/b 9 )
Emaj9
V)4 _,,___-e-_ _ __ r_o----""z~#1~·- ----+lll -.;
92
I dom7(alt9/ff 11) I C7(alt91#1 1) = E~ -7/G~6
{~7 ~9 #9 #11}
There are three applicable inversions:
C- 7
'~fi
F 7b5(alt9) Bbmaj7 -e
Ji
~I~
F #7sus4
"
'f
t,e-
There are two applicable inversions:
!;9
b.&
~
-e-
II
Eb6
Ab6(9)
~.il.
b.a.
118
II
!!
C7(alt91#11)
Bb-7
Bmaj7
(LI
{3 ~9 #9 #11}
I
!V.O.
.0..
II
F#6
.0..
#o
:!to
~tf~
E-9 A7b5(alt9) D6(9)
F6 -e-
b.u
I
\}'
Emaj7
B6
~ ~i
C7b5(alt9)
b.o.
it'
F#-9 (Sub V)
G-7
II
= A6(#11) {3 5 6 ,,#11}
11
9
F7sus4 F(b5! alt9)
F9
G-7(11) C(# 11/ alt9)
~Q
.~!
#*r
Bb6(9)
I
I
17..0.
t~
II
I
(C/F "
FH3
B(add9)
I
17.Q.
\g
I!
\
C ~ -9
(Sub V )
~ ~a
{l ~9 #9 #11}
;o
#~a,
F#7sus4
Bl3
..0..
-e-
E6(9J _o_
II I
C7 (alt91# l l ;
There is one ::i.pplicable inversion:
=
li9
C7sus4
"1
~ l; ~9
Gb6(#1J ) {1 5 6 #1 1 ]
~
F(alt9/b5)
v.o..
I
~
Ff-7 (Sub V)
~ \!'
B6(#11) ,,
e.
'Ito
& E;)
93
Bbmaj7(6)
E6(9) ..0.
n
{5
b9 #9
C7(alt91#Il )
#11}
=
Eb7(~9) {l 3 b7 #9}
This voicing cannot be used, since the single available inversion has tension #9 on the 5th string.
Idom7(alt9/~ 13) I {3 b9 #9 bl3}
[dom7#5(alt9)] C+7(alt9)
=
There are three applicable jnversions:
Amaj7(#11) {3 5 7 #11} #9 #5
3 ~9
!~
,9 G-7( 11) C+
F7sus4 F+(alt9)
Bb6
Ii.,,_
b.u
!#~
(C/F)
(Sub V)
F+(alt9 ) Bbmaj7
0
II
dH
II
,. . _,--++-jl
-l*r---~# #
C+7(alt9) =
There are three applicable inversions:
----H-11-~-r..e-.o------ttll
Eb 7sus4
~~
b7
b9
~9
tt5 ,,
~7
~~
#5
~ (Sub V )
C-9
E-7(11} A+7(alt9) D6(9 )
C-8
;J..0..
?.O.
?
(C7sus4) ~· B!,-7(11) E76(9/ Ai rel="nofollow">majS 17.n.
F+7fa1t9} Bb6(9 l D-6-
:e
F -7(11) Bb+7(alt9) E,maj7(61 f).0.
0
"o
i
1I·
,:.
~k. tti: v
~
i~
(Ab7sus4)
Ii
(Db7sus4)
I
';'
F;l-7 -&
B6(9 l :tl:c
::
Emaj9
(Sub V not applicable)
:lo 11
94
II
{l
b9
#9 b13}
C7(alt9/b 13) = Eb 13sus4
There is one applicable inversion:
#9
1 ~13
b9
C-9(11)
F+(alt9)
be
'(B~Eb)
0
II
.:. (Db / Gb)
J
F~-9(11 )
(C/ F )
B(13/ #11/ 9)
_o_
#o
(SubV)
t(E/A)
The {5
Bb(13/#ll/9)
Emaj9
io
(C#/F# )
II
(B/E)
b9 #9 b 13} voicing will be omitted, as was done in earlier chapters, due to the natural 5andb13 it contains.
Idom7(alt9/13) I (3 ~ 9 #9 13} -
There is one applicable inversion:
C-9
F13(alt9)
:~
0
(SubV)
{b7 b9 ;9 13}
0
~@-#_
Bbmaj7
_
_
_
0 ~_
-&
II
_
0 _ __ _
#
~ : ' (". C7(alt9/l.J i = c:;, '!t1 l ) { 1 5 ~7 ~l lj
There is one applicable inversion:
~9 13 ~9
-prr 7
E-9
~
_o_
B~ -7( 11 ~
(Sub V )
~~%:
95
A13(alt9)
·r
"'b_o_
v Eb{13/ #9) ~..a.
D6(9) -&
II Ab6(9 )
b..a.
II
---+1~
C I 3(alt9) =
{1 b9 #9 13}
There is one applicable inversion:
Eb13(b5)
#9
{1
bs b7
Fl3(alt9)
C-9
1 13 b9
13}
~
' b.o ~
~2
II
J,
B( l3/#1 1/~9 )
F#-7 (Sub V )
{5
b9 #9
13}
Cl 3(alt9)
=
There are two applicable inversions: #9 13 5
b9
f.Q
C- 9 F 13(alt9)
~
E6(9)
#o
-&
II
A7(b5) I E b7(b 5) 13
~~
5
B~ maj 7(6)
~
~
G-7 C13(a lt9) Fmaj9
b.o
~ - ~
II
F #-7 B13(a lt9) E maj9
I!
(Sub VJ
The following dom7 chords have four tensions ana no c:iord tones. These unique voicmgs imply specific chord scales and have several enharmonic spellings.
I.
dom7(alt9/alt5)
{bS
;s b9 #9}
I dom7b5(alt9/b l 3J
I dom7#5(al t91# 11) I dom7(~91#91#1llbl 3 )
{b5b9 #9bl3}
1~ 5b 9# 9# 11}
These tensions im)'ly the "altered" scale:
b'.2 (b9J
II.
~2 (#9)
dom7(alt9/pllll3 )
3
(b9 ~ 9
b:-
f5 ( ~ 11) C'b 13 )
b7
~I J 13 ] I doml3b5(alt9J {b 5
b9 #9
These tensions imply the symmetrical "dominant diminished'. scale:
b2 (b9)
#2 <# 9 1
3
6 (13 )
96
b7
13 }
Idom7(alt9/alt5) I
C7(alt9/alt5) fb9 #9 bs #5} = Ab7sus4
There are three applicable inversions:
C-9 F7(alt9/alt5) B:imaj7 1±
C7(alt9/ alt5) G7sus4 Fmaj7(6)
-&
-&
0
(C#7sus4) C~-9
B6(9) Emaj7
Eb maj7(9/ 6) -e-
1
II
1
F#6(9) B(add9)
ito
(Sub V)
~
(F #7sus4) (G7sus4)
(G#7sus4)
l
~o
b.o.
II
II F~-7
B~7(alt9/alt5)
F7sus4
II
II
(Sub V not applicable)
Id om7(alt91#11113) I
C1 3(b5/alt9) {b9 #9 # 11 13 } = Eb-7(b5) ,, A voiding inversions containing tensions #9 or 13 on the Sth string leaves two applicable inversions:
#9
13
f~l #~~11 13
C-9
G- 7
F13(alt9/ :i5) B:imaj7
·ito
b.o.
-&
I! !"'
l (Eb -7,5)
(G:!-7o5J
I ~t
F#-9
Emaj7~ 5
~o
C#-!? .c.
1
F~-6
-e-
n
I!
(CIF'J Bma57
ii-e-
-&--#-----------+i---------~ I! II 0
(Sub V)
B-6
C13P5(alt9) Fmaj9 -e-
'l!o
The following exampies will use various dominant chords containing alrered 9th tensions. Additional chords L'"orn past chapters also will be used to enhance voice-leading. This first "II-V blues" example in the key of "D" contains some interesting constant structures and chromatic motion. The.first two chord structures arc re~eated a whole step lower in tne second measure. The E7 (alt; structure in measure three is repeated a whole step higher in the following measure. The three chords starting m measure five contain one common tone while the top three voices descend chromatically. The B 13(alt9) chord in measure seven has two common tones while the remaining voices move in comrary chromatic motion to the next chord. Measure eight" s two chords share one common tone while the tap three voices descend chromaticaliy . Measure ten 's A7(alt) chord has t wo voices ascending and two voices descending to the next chord. Finally, note the last three chords use the same structure descending chromatically. 97
Ctt-7b 5(b 13) F~7(b 13/ alt9) B-9 (G6(9)) (A7sus4)
Dmaj7(6) D6(9) (A6(9)) (B7su s4)
~
#fr
1;
-6-
,"'2
£f
=§=
I
E-7
'
~
~I E -7(11/9 ) (DI E )
::~
!~~
~ I
~~ •
&:~
D6(9) B7b5(alt9J
lb.a..
-f'T
ii~
I
~
!
E- 9 A7(b 9/ alt5) D9 (Bm/E) (B~m/E,) (Am/D)
~~~!
Ii M
I
I
I
~
!I
l ~I
~
I
Bb 13(,9) (G7)
F -7
~
~
A7(alt9) A7(alt) (C7) (F7sus4)
1 ~~
l?:f
F;-7(11 ) B13(alt9 ) CD7b5 )
I
D.t.2.
"'19-
l
G-9 C7(#11/alt9) (F6(9)) (Eb -7)
I~
A-7(11 ) D7(b13/#9) (D7sus4) I
Q
I
G7(13/9) G7(b 13/alt9) (Bb7sus4) -9-
E7(alt) (C7sus4)
II
This next example in the key of "C' also contains some interesting voice-leading ideas. In the first measure, the top two voices sustain while the bottom two move in contrary chromatic motion. Note that only one voice moves (chromatically) in measures two and three on the C7(alt9) to Abmaj9 chords and Abmaj9 to G7(alt51#9) chords. Measure three' s G7(alt51#9) chord sustains the lead tone while the remaining voices produce contrary chromatic motion to the C6(9) chord. Measure four's C7(alt) chord contains contrary chromatic motion between the top two voices ascending while the bottom two descend to the Fmaj7 chord. Finally, note the contrary motion between the top voice and bottom voices on the last two chords.
Cmaj9
B+7(alt9)
4~ ~ Fmaj7 -6-
4~ I
F- 6(11) (Bb7) t>.a.
,r
B, 13(b9 ) A7(alt9 ) (G7) (C7)
I~ E7(~9 )
I~
-~
Abmaj9
G7 ( ~9/ alt5 }
C6(9)
C7(alt ; (Ab7sus4)
(E b7)
if- ··7
i:-~ ~I
A7(alt9) (BP-6(9))
D7(alt9) (F7) -6-
-5-
!:!~
~~~
98
I
' r>-:9-
G7ti5(alt9)
~
Cmaj7
(D~ 6 )
v.a.
~!1~
b.n. I
i~
II
Chapter Fourteen. Enharmonic Chordal Substitutions The following chords (highlighted within boxes) appear in the order they were introduced in this text. Enharmonic substitutions for each one of these chords appear in the order they were introduced as well. Chords include the basic four-part chords and all the chords introduced in the tension chapters. To the left of each chord is the tension chapter where that chord can be found. Additional enharmonic substitutions of the same voicings that have not been introduced to this point will be examined in the Additional Enharmonic Chordal Substitutions chapter. This chapter will include the Substitute Vth chord for eacr dom7 chord introduced as well as the most common relative major and minor situations. Some of the more incomplete voicings will receive additional notation for the same root to the right of that chord in parenthesis. A more in-depth and organized approach to relative major and minor chords can be found in the Relative Major - Minor chapter.
Tension Chapter (9) (9 & 13) (9 & 11)
I major7 I Cmaj7 A-9 D7sus4(13/9) Fmaj7(# 11/9)
Imajor7~s j (9) (9) (9 & 13) (11)
Cmaj7b5 A-6(9)
Sub V~Ab7#SC#9) D7(13/9) F#-7b5(1 l)
j major7#5
(9) (9 & 11) (9 -11 -13)
I
Cmaj7( #5) A-rnaj7(9) F #-7b5(11/9) SubV ~ D7(131# ! 1/9) Ab7(#91#5)
c
E
G
B
1 ~3 ~7 5
3 5 9 7
5 ~7 4
7
9
9 13
#11
,
c
E
Gb
B
1 b3 3
3
bs
5
6 b7 3 1
7 9 #9 13 11
bs
#5 9 b7
c
E
1 ~3
3 5 b7 9
b7
bs ~7
..,
;)
99
#5
G# #S 7 9
#11 1
B 7 9 11 13
#9
I minor7 I
(9) (9) (9 -11 ) (9-1 1-13) (9-11- 13) (9-11- 13) (dom/alt9)
C-7 E b6 Abmaj9 F9sus4 F-7(9/il ) Db maj7(9/~ 11/13) B b-maj7(13/l 1/9) Sub V ~ F#7(13/~ l 1/b9) C7 f9 (C-7) Sub V ~A 7 5(alt9) Eb 13 (Eb6)
l minor7bsl C-7b5 Eb-6
(91 (9 )
(9) (11)
(9 -11-13) (9- 11-13) (dom/alt9)
SubV~Ab9
D7 (b 91#.SJ F7sus4(!79) Gb6(# l l ) Db-maj7(9/l l/13) B b-7b 5(b 1311119) Sub V""Al3b5(alt9) Eb 13(#9) (Eb-6)
I minor7#S I (9) (11)
(1 1) (9 -13)
C-7( #5) Bb9sus4 Rei ~ F-7(1 11 A!7 (add9l Eb-6(11) Sub v~ D7b5(b 13/b9) A~9
(9- l l ) (9 - 11-13 )
Gb6(ff I 119J SubV ~ ob 13( ~ 1119) "- C7(~9f'#S \
c
Eb
G
Bb
l 6
b3 l 5 b7 b7
5 3 7 9 9
b7 5 9
9
#11
13
11 13
13 b9
....)
~~
b7
Eb
c'
Bb
b3 l
bs
b7
~
.)
5 5 7 9
#11 1 I
#9 13
c 6 .., :-
s
bi
b9 b7
5
5
3
7tl
b3 b7 ...,
:·
b9
4 II
J
b7 b9 5
s
9 ~~ :r 4 3 13 1 b9 5
ff 11 7 9 #9 13
6 9 11 bs
l 11 bl3 13 #9
c
E~
GuTI
l
b3
9 5
4
Fs p7
b7
b3
I I!
I Ii
5
..,
s
_)
6
I b9
b7 ..., ,)
tlI
..~ 11 I
9
b13
-'
I 9
9
13
9 ~s
rt~9
Iminor6 !
refer to minor7b5
I major6 I
refer to minor7
100
Bb b7
bs
6
[Bb7sus4(13/9)]
3 3
b7
(Eb I 3sus4) (07(b 9/alt5 )
ldom7
(9) ( 11)
(9- J 1-13) (9-11 -13) (9-11-13) (dom/alt9)
I
c
E
SubV~C7
]
F#7(b 91b5) G-6(11 ) Sub V~Bb7(131# 1119) E7#5C# 111#9) Bbmaj7(131# 1119) D-7b 5(b 13/9/ 11 ) Sub V~A7 (alt9) Eb 13(b9)
bs
3 b7
11
6
9 #5
#11 1 #11
#9
9 5
1I b7
ldom7#SI SubV~ C+7
(9)
(9) (9-11-13) (11 ) (11 )
(9-13) (9-13)
Frb5(9) Sub V ~B . 9(b5) E7(alt5) F-maj7(1 1) Db-rnaj7(6) D-7~5 (b 13/9) Sub V ~ D7b5(b 13/9) Ab9(#5)
(9) ( 11-13) (11 -1 3) (dom/alt9) (doml alt9)
b7 3 b3 l 11 1 bl3 b9 5
#
9· b7 #9 13
b9
c
E
GU
Bb
l bs
3
~5 9 b7 3 b3 5
b7 3
0/
b7
13 .,
.)
c
E
Gb
Bb
SubV~C7b 5
1
bs
b7
F#7b 5 Sub V~A~ 9(# 5) :D9(#5) G-maj7(1 l/6) Db -m~j7(1 l/6 \ Sub V ~ Ai3 (alt9) E b 13(alt9)
bs
3 b7
(9)
Rei
(11) (11 )
C7sus..: Eb6(9 1 ~ C-7(1 1)
R el
~G-7 ( 11 )
(1 1-13) (dom/alt9)
5 b9 i 13
bs 1 7 b3 9 9 #5
Idom7sus4 i
(13) (9-1 3)
Bb
#5 5 7 b7 b7 3
I dom7bs I
(9)
G
B b6(9) D bmaj7b 5(6)
Rel
~ Abm~j7(9/6)
F-70119) D-7bscb13111) Sub V ~ A+ 7(alt9) Eb 13(9) SubV ~ E7(a1t9/alt5) Bb9(1 3)
3
#S 9
I
6
bl3
b5 _, 1
b13 9
1
3
11 1
9
.,
b?
13
5 b9
#9
6 p9 5
c
F
G
Bb
-+
5 3 5
b7 5 b7 b3 1
#9
6 1
11 9 7 3 5
.
(I
7
11
b?
j
7 lJ
u
I
5 3
6 bs
6 1
7 9
.. -
1:
bl3 b9 5 b5 1
b7
b3
13 ll,. s
9
b9
b7 3
9
5
,. 13
#9
101
t, J
#9
[D9(#51b5)]
~~
b7 11 7
6
[B b-7b5(9)]
b5 Ii
bs
,,
[E-7b 5(b 13)] [Bb6b5(9)]
6 9 11
[F9sus4]
Idimin.7 1 C07 E b0 7 A07 Gb 0 7
(9- 11)
Gb
Bbb
1 bb7
b3 1 bs bb7 b9
b5 b3
bb7 bs I b3 5 3 b9 b7
b3 b7
F7( 9) Ab 7(b9) B7(b9)
C-maj 7 A-7b5(9) D7sus4( 13/b9) Sub V~ F7(#11/9) B7(#51b9)
(9-13) (11-13) (11-13)
Rel
(9)
B
1
b3 b5 b9 b7
5 b7 4 9
7 9 13
5
b9
_..,
( 13)
,,
.J
b3 ,.., .::;
b7 5
I
5 b 13 9 ,..,
bs
F#-7b5(b 13111)
#11
#S
1
5
7 9} ...refer to mi.
B
D
7 9 #9 13
9 11
bs
I
#11
13
b7
11
b 13
9 for I I drop 2 {3 b5 7 9} refer to major6(9) Ninrh(no3) { l b5 7 9} refer to dom7b5(# 9)
I
9 for 11 drop 2 {b3 5 7 9 } referro major7#5
E !)'
B
D
C -mai9
l
9 13
B7(alt9 1
~3 b7 3
I
5 b9
~c-9
'---- E bmaj7(6) Fl3sus4
[Ab 7(#91alt5)]
I
c Sub V~F7(13!# 11 )
Rel
E
1
A-( 11/9) Sub V~Ab7b5 (b 131#9) D7(13/9) Fmaj7(131# 11 j
!minor7(9) j (9)
3
9 for 1Idrop 2 {3
jminor maj7(9)
(11-13) (dom/alt9)
b9 b7 5
G
b7
~Cmaj 9
j major7b5(9)
.J
Eb
c (9)
1
,,
c b3
Imajor7(9) I
bb7
~7 5
5 3 b9
Iminor (maj7) I (9) (9-13)
E~
bs
D7~9)
(9) (9) (9) (9)
c
#11
#9
9 for 1Idrop2 {b3 5 b7 9} refer to major7
c
E~
B~
l
b3 l b7
b7 5 4
6 5 102
D 9 ~7
13
I minor7~ 5(9) I
Imajor6(9) I
9 for 1Idrop2 fb3 bs b7 9} refer to wjn. maj7 Ninth(no3) { I bs b7 9 } refer to dom7#S
9 for 1 I drop 2 13 5 6 9} refer to dom7(sus4)
c (9) (9)
Rel
(13)
Rei
C6(9) ~ Bbmaj7b5(9) Am(l l) ~ Fmaj7(6)
D-9 Ft-7b5(b 13) Sub V~A 7b5(b 13/b9) 09 G-6(1 1/9)
(13) (9-1 3) (9- 11)
Iminor6(9) I (9)
C-6(9)
(1 3)
SubV~ F l3
(dom/alt9)
B7(alt9)
ja om7(9)j
E
1 9 b3 5
b7
I -
p)
....
.)
b7 ll
(11)
(9) (9-13) (11)
(11 ) (11 -13 )
Sub V S C9 CF#+7(# 11)) F~7(alt5) Sub V ~D7ti.5(91 (A~ 7f 5( ~ 1319)) Ab 91altS , Sub V ~E+7(~ 11) I B b9b5 G-6(1l 1 r-maj7( J 1/6)
I
Idom7(b9) i (9) (13) (dom/alt9)
Sub V ~ C7Cb9)
F~7(~1 ,. 1 )
Ctt-mai7(6J S ub V ~ A 7(alt9) I•
~
EbJ3(b9i
6 7 1 3
bs 5
7
9 ....
.)
11
s
9 b7
b3
bl3
b9
9
5 9
6
{b 3
6 i
(09)
b13 bs 1 5
(G7sus4(13/9))
5 6 9} referto major7b 5
c
E~
A
D
1
b3
..6
5 b9
b7
3 b7
9 13
3
#9
9 for 1 I drop 2 {3 5 b7 9} refer to minor7b5
1
bs b7 ,, .1
#5
9 11
1 J
:
E
Bb
D
3 b7
b7 3
#5
L' '7
p)
#l J
b7
l
....
b>
5
11
f::
9
;s l b5 6
I
is
9 for 1 I drop 2 { 3 5
c (11 )
....
.)
9 for 1 I drop 2
c (9)
D
A
i
#I 1 -; I
p9
I "1 ,_.
103
9 l
J
b7 b9}
E
Bb
D~
3 b7
b7
bCJ
~
5
' ._
::>.)
-·'
~9
6
b9 <:,
" ~7 .)
{E-7b5(b 13)} {B bmaj9b5}
refer to dimin.7
l dom7(#9)
I
9 for 1 I drop 2 {3 5 b7 G
Bb
Di
3
5
r> I
b7 3 b9
#9 13
5 b9
b9 b7 3
9th(no 5) voicing ....... C
E
Bb
D# #9 13 9 #11
E (9) (9-13) (9- l l )
(9) (13 ) (9-13) (dom/alt9)
#9}
Sub V~C7(#9) I 3(b9) Sub V~A7(ij 11/~9)
F#
l -
Eb (~9)
Sub V~C7(#9) Ft13(b5) D -maj7(6/9) Sub V~A7(# ll/alt9) Eb 13(b9)
Idom7p5(9) I
5
bs
b7
3
b7
7 ¥,9 13
b3 5 b9
3 6 b9 5
1
#11 i
l
9for 1 /drop2 {3 bs b7 9) refertodom7#5 Ninth(no3) { l b5 b7 9 } refer to dom7 tt 5
Idom7~5(b9) I
9 for 1Idrop2 {3 bs b7 b9} refer to dom7
9th (no3) chord voicing not available until triad over bass chapter: C7(b9/b5) {1 bs b7 ~9} = Gb/C
Idom7b5(#9) I (9) ( 13) (9) (9-11 ) 01 -13) (9-1 1- 13)
Sub ~.,,'~C7(#91b5 )
F#13 . Rel
~Emaj9b5
Ci -60 119 B~-7b 5(~ 13/11) Sub V~A7(131# l llb9) ·Eb7(alt9) 1
9forl/drop2 {3 bs b7 #9 }
E
Gb
Bb
3 b7 1
I p)
b7
D# #9
1 9
3 bs
13 7
·-~
0
..., rI -· .
i
1
~5
~1 3
5
13 #9
b9
l b9 5
11 #11 1
ldom7#5(9)l 9forl / drop2!3 #5 b7 9}refertodom7b5 Nimh wirh oniUred 3rd chord voicinJ? { 1 #5 b7 9} refer to dom7(9)
I
j dom7~ 5(b9) 9 for l / cirop 2 {3 #5 b7 b9} refer co minor7b5 Ninrh with omitted 3rd chord voicing not available.
ldom7~5(#9ll
9forl/drop 2{3 #5 b7 #9}refertomajor7b5 Ninth with omitted .)rd chord voicing not applicable: { 1 #5 b7 #9} forms an incomplete dominant sound. This voicing will appear later in a dominant capacity.
104
Idom7sus4(9) I j dom7sus4(b9)
9 for 1Idrop2 {4 5
b7
9 for I I drop 2 {4 5
b7
9} refer to minor7 Ninth(no5) voicing { 1 4 b7 9} refer to minor7#S
I
b9} refer to minor7b5
Imajor7(#11) I 11for5 { 1 3 7
#11 } refer to major7b5
11 fo r 3 { 1 5 7 #11 }; no enharmonic substitutions through the tension chapters. The relative minor forms a model dorian voicing:
c
(11) (13)
(dom/alt9)
Rei
B
F#
b7
7
b3
#J l
9
13
11 for 1 {3 5 7 #11 } E
G
B
F#
Cmaj7(# 11) C #-7b5(1 l )
5 bs 1 b3 3 b7
7 b7 3 5
#11 11 7 9
9
13
Cmaj7# JI A-7(13/9 )
(11)
G
~Gmaj7(6)
Em(9) Sub V~Eb +7< alt9) A 7( 13/9)
l
5
3 b3 6 1 b9 5
#5
#9
I major6c# 11) 1
11for5 { l 3 6#11} refer to minor7b5
(11) (9-11 -13 ) (9- 11-13)
<dom/alt9)
11 for 3 { J 5 6 #11 }
c
G
A
F#
C6(# 11 )
l bl3 13
5 ~3 3 ~7
6 11 #l l
#11
l
5
13
13 1 #11
A
F~
5
6
Ip.) -
#11
bl3
11
E-7b5(b 13/l l/9; Sub V ~ EP(l3/~ 111¥9) A7(131#9) Sub V ~ F~7(# l l/alt9) c 13(# 1 1)
r 11
l
11 for 1 {3 5 6 #11 } E (11)
(ll- 13) (dom/all9) (dom/alt9)
C6(# 11) CH-7b5(b 1311 1) Sub V ~ Eb7b5(alt9)
3 b3
Al3
5 b7 3
Sub V ~ F #7(alt9) C l3(# l l )
b9
G
b9
3 ~7
~9 5
105
lt9
9
#9
b5
#9
I
i3
#9 13
#11
1
(A-7(13))
Iminor7(11) I ll for S {l b3 b7 ll} refertodom7sus4 11for 3 { 1 5 b7 11} refer to dom7sus4 11 for1 {b3 5 b7 11} refer co minor7#5
j minor6(11)
I
11 for 5 { l
b3
6 11 J refer to dom 7 11 for 1 {b 3 5 6 11) refer 10 dom9
j minor maj7(11)
I
llfor5 {l b3 7 11}refertodom7(#11) {I 5 11 for 3 { 1 5 7 I J } unique... no substitutes 11 for1 {b3 5 7 11} refer to dom7# S
ldom7(#11) I 11 for 5 { 1 3 b7
i 11 } refer to dom7b5
11 for 3 {1 5 b7 #11 } C ( 11) (11 )
(dorn/alt9)
SubV~C7(# 11 ) F#7(b9/b5) G-maj7(11 ) Sub V~A,13(alt9) Ei, 1 3(~9)
1
bs 11
#9
13
·'
11for1 {3 5 b7
G
B~
F#
5 b9 l b7
b7
#11
3
5
3
b3 b9
#11} refer to dom7(b9)
Idom7 ~ 5(t 11)! 11 for 3 { l #5 ~ 7 #l l } refer to dom9 11 for 1 { 3 #5 'rJ 7 #11 J refer to dom9
lmaj or7(6)
!
6 for 5 {l 3 6 71 rcier to major7(#11; 6 for 1 {3 5 6 7 } refer ro major6(9;
Imajor7b 5(6) I 6 for 1 {3
hs
6 7} refer to domisus4
Iminor maj7(6) I 6 for 5 { l b3 6 7} refer to dom7 (#11) 6 for 1 {b3 5 6 7} refer to dom7~5
106
1 7
13
#9
b7#11l
Iminor7b5(b 13) I 13 for 5 { 1 ~3 b7 b13} refer to minor7!5 13 for 1 {b 3 b5 b7 b13} refer to maj6(9)
j dom7(13)
I
13 for 5 { 1 3 b,7 13} refer to dom7b5(#9) 13 for 1 {3 5 ~ 7 13} refer ro min6(9)
j dom7b5(13)
I
b5 b7 13} refer to dom7(#9) 13 for 3 { 1 ~5 b7 13 } C Gb Bb 13 for 1 {3
(13)
Sub V ~Cl3b5
""'F#7(#91~5)
(9-li)
G-maj7( 11/9)
(9-11-13)
E-7bS(b 13/11/9)
(9-11-13) (dom/alt9)
1
~5
II
l 7
bs
~ 13 9 13 #9 #9 , 13
SubV~Eb 7(131#111#9) Al3(alt9)
~7 "'-'
A 13
l ,.., [) .1
#9 q
~5 5 b9
11 #11 1
A
Idom7sus4(13) I 13 for 1 {4 5 b7 13} refer to minor7(9)
(1 3) (9-11 )
Rel
13 for 5 {1 4 b7 13}
c
F
Bb
(13sus4
1 11 9
4
b7
13
b7 5
b3
9
l
0,·
:
..,. 1
9
5 b9
~G-7(11/9)
Bbmaj9 (9-11 ; (9- 11 -1 3) (dom/alt9)
E~6(l:l l/9 1
,.>....
Sub V ~Eb 7( lJI# 1.1/9) A+7(alt9)
.t
#9
Imajor7(9/6) I f 3 7 9 6} refer rn dom7sus4
I minor maj7(9/6) I {b :i 6 7 9) refertodom7(#9)
!minor7b5(b13/9) I
{b 5 b7 9 bl3} refertodom7#5
107
#S
7
t
i
*- 1 1
Idom7(13/9) I {3 b7 9 13} refer to maj7b5
Idom7(13/b9) I {3b7b9
I3} refertodom7(#9)
Idom7(13/;9) I {3 (9- I 3) (9- 13)
b7
#9 13}
Sub V~C13(#9) F# 13(#9)
E 3
b7
jdom7Cb 13) with 9, b9,or #9
Bb b7
D#
A
#9
l3
3
13
#9
I
refer to dom7~ 5 with 9. b9 . or #9
jdom7b5(13) with 9, b9, or #9
I
refer to three tensions as dom7 with: (91#11113), (b91#11113), or (#91#11/13)
Idom7b5(b 13/9) I {3 b5 9 b13) refertodom7(9) {l 3 {b5 b7 9 bl3} refertodom7(#5)
b7
9}
Idom7b5(bl3/b9) j {3 b5 b9 b l3 } refertomaj6(9) {l 3 6 9} {b5 b7 b9 o13} referro min7(#:)
Idom7b5(b 131#9) i {3 I> 5
ff 9 bi:; I refer w maj7(9) l l 3 7 9 }
Idom7sus4(13/9) I \4
b7
9 13 ! refer to major7
Idom7sus4(13/b 9) I {4
b7 b9
13} refer to minor maj7
108
j major7(#1119) {3 7 9 {5 7 9
#11 } refer to major7b5(9) #11 } refer to major7
j major6(#1119) {3 6 9
{5 6 9
I I
#11 } refer to minor7#5 #l i} refer io dom7sus4(13)
Iminor maj7(11/9) I {b3 7 9 11} refer to dom7b5(13)
Iminor6(11/9) I { ~ 3 6 9 11 } refer to dom7b5(#9) {5 6 9 11 } refer to maj6(9)
Iminor7(11/9) I {b3 b7 9 11 } referto dom7sus4(13) {5 b7 9 11 } refer to minor?
Iminor7b5(11/9) I : {b5 b7 9 11} refer to major7#5
Idom7(# 11/9) I {3 b7 9 i 11 } refer to dom7b5(9) { 5 ~: 9 f.11 } refer to minor maj7
Idom7(~ 11/b 9) I D b7 ~9 fi 11} referto dom7bS(b9) {5 b7 b9 ~ 11} refer to dom7(#9)
109
Idom7{# 111#9) I {3 b7 #9
#l l} refer to dom7b5(#9)
{5 b7 #9 #11 } (9-11 )
Sub V~ C7(#111#9)
Bb
5
b7
b9
3
Sub V-.:::::-A7(131# l llb 9)
b7
"'--Eb(#9)
3
b9 5
F# 13(b9) (9- l 1-1 3 I
G
#9
13 #11 1
Imajor7(#11J6) I #11 6 f refer to major7b5(6) {5 7 ffll 6) referto major7 (9) { l 3 7 9}
{3 7
Iminor maj7 ( 11/6) I {b3 7 11 6} rercr to dom7b5 { 5 7 11 6} refer to dom7(9) { 1 3
b7
Idom7(131# 11) j {3 b7 #11 f 5 b7 ~ 11
13} refer to dom7b5{13) l 3) refer to minor maj7(9)
Iminor7b5(b 13/11) j {b3 b7 l J {~ 5 ~ 7 l 1
bD } refer to dom7sus4 b! 3 ~ refer to ma.ior7(9 ·
l major7
#11
.# l l
I
w minor? i3 I refer to ciom7
13 } refer
9~1113 } refertoma_ior6 (~ 11/9)
! :; 9 ·~ ll i3) refer1omajor6(~ 11/9 }
Iminor maj7(13/ll/9JI ('7 {I
9 l! 13freferto minor76 5 9 ! I 13 } refer to minor7 {b3 9 l l l 3 i refer LO minor6(11/9) {5 9 1 l U I refer to minor6(11/9)
110
9}
Iminor7b 5(~ 13/11/9) I {1 9 11 b13} refer to minor 7b5 {b3 9 11 b13} refertomajor6(#11) {b5 9 11 b13} refer to dom13(bS) {b 7 9 i1 b13} refer to dom7
j dom7(131#11f9)
I
{ l 9 #11 13} refer to dom7 {3 9 #11 13} refer to minor7#S {_5 9 #11 13} refer to dom7sus4(13) {b 7 9 #11 13} refer to major7#5
Idom7(131#1llb9) I {3 ~9 #1 1 13 } refer ro minori {5 b9 #J 1 13} refer to dom7b5f#9) {b7 ~9 #11 13} refertodom7(#1Il#9) {5
b9#11 13} Sub V~C7(131#1 llb9) {l
(9-11-13)
(9-11 -13)
C ,/
1
""'F# (lil 11# 9)
#11
Sub V~E~i(Bl#ll/#9) "Al3(#9)
13 #9
Db b9
b7 #9
#11}
F#
A
5
b7 3
I dom7(13/#111#9) I #11 13} not appiicable {3 #9 #11 13} refer to major 6(#11) ( 5 :±9 ~ l t J3 f refer to dom13(~51 {b7 #9 ~11 13}retertodom7(131#1llb9)
·{ l #9
I dom7talt9) I { 3 b7 b9 #9} refer to minor6(9) { 1 b3 6 9 } {1 ~7 b9 #91 referrnmajor6(#11) {3 5 6 #ll} {5 b7 b9 #9} referto dom7 13 5 ~9 #.9} refertodom1(~11) {3 5 ~7 #11 } { 1 3 b9 #9} refer to minor maj7(9) { l b3 7 9) { 1 5 b9 #9} rder to
1
dom7(li ll/alt9)
{~ 7, ~9 #9 ~ 11 j refer to minor7 {3 ~9 #9 #11 } referrnmajor6(#11) {3 5 6 #11} {l p9 j 9 #11 } refertomajor6(#11) {1 5 6 #11} !5 b9 #9 #Ii} refer todom7(ff9) 3 b7 #9}
{L
111
Idom7(bl3/alt9) I {3 b9 #9 b13} referco major7(#11) {b7 b9 #9 bl3} referto dom7sus4 {1 b9 #9 b13) refer lo dom13sus4 {5 b9 #9 b13} not applicable
I dom7(13/alt9) I { 1 b9 #9 13} refer to dom13(b5) { 5 b9 #9 13} refer to dom7b5 {b7 b9 #9 13} refertodom7(# 11) {l 5 b7 {3 b9 #9 13}
(dom/alt9)
Sub V~Cl3(alt9)
""'- F# 13(#9)
E
D!,
D#
A
3
b9
13
b7
5
#9 13
Idom7(alt9/alt5) I {b9 #9
bs #5 } referto dom7sus4
Idom7(131#ll/alt9) I {b9 #9 #11 13 } refer to minor7b5
112
#Ill
#9 CFlt-13J
Chapter Fifteen. Additional Enharmonic Chordal Substitutions Up to this point. our enharmonic chord.al substitutions have been produced by tension additions. dorninant Sub V chords, and relative major and minor chords. By relaxing some of the rules established through the tension addition chapters, additional chordal substicution possibilities can be added to our previousiy established voicings. Though some of these substitmions \Vill produce .. incomplett" voicings. they might prove more effective in certain situations than a more complete chord voicing. Aiong with i:hese ircomplete voicings . two additional voicing types that were previously omitted will be examined; dominant 7th chords with a namral 5th and tension~ 13. though its Sub V will not be examined, and tensions 9 & 11 on a rnin7~5 chord. At the e nd ohhis chapter the ''incomplete" Sub V chords that were produced by their Sub V relation to the dominant cnords presented in the tension addition chaprers wili be displayed.
Imajor 7~5 !
c
Cmaj7b.::: E9(bl3 ) Bsus4(~9)
Cm~j7 (#5 ) E7(li 13) B l 3sus4(h9)
~1 :
i' rimn7 ~~ ! ' C7# 5 E~ 13sus<-t1 li't J
B
-".\
~ :i 9 5
7 5 1
G#
B
::i
¥,5
1 4
3 13
7 5
4
c
E ..,
'
i.
b13 J,9
>--
u
r
r
b3 r·
..,
5 1 1?
b3
>
#5 ,
,. '
....-
G'.-~.
B~
3
~5
i_-;
b7
~~
4
5
~
C-7
E~ 7sus4(13/9 ;
G~
~9
Iminor 7 I G-7~5(11 l
E
11
....
r:..
113
.1.>:·
~7 I
{B~ -raaj7(13/l l/9) j
I dom7bs I C7b5 Bb9(alt5) E9(alt5)
j major7(9)
I
1 9
c l
G~
Bb
....
.J
bs
b7
bs 1
~5 9
bs
.
B
D
r;>
..., .J
b13
j minor maj 7(9)
C-mai9 Suh V ~ Dl3(b9) A~ 7(~ 111#9 1 A-7b5
I minor7(9) I C-9 Sub V ~ D7(b91#5 ) Ab9C# 11)
Imajor6(9)
J
C6(9) E-7 #5 (11)
I
c ~, 7
Eb b3 b9
3
5
]
C-6(9) Sub V ~ D7( b9)
r
5
9 b7
B
D
7
9 l
I
13
a,, i 1
bs
c
Eb
Bb
D
1 b7 3
b3
b7 #5 9
9
b9 5
c
E
A
D
6 11
b7
_...
1
#11
A
D
j
r ..., p -'
I -
[,9
6
9 '
"'\
1
#11
b9
6
5 o5 l
b)-
7
c
E
B ;;
Db
1 9
.... _.,
I -
b7
_;
' .... p-'
(Ab (# 11/9))
9
Eb
...,
(Bb -7b5(b 13/9)) CE-1bscb 1319))
11
c DI
Ab 71 (~ l llb9) A-7b5(1 l ) E bmaj7b5(6)
..,
b3
#5
J
l
!9 9
l
Iminor6(9)
C7(b9) Bb-7b5(9)
E
#S
Cmaj9 E7(b 13)
Idom7(~9)
c
1i
1
b9
b3
p)
114
....
Idom7(#9) I C7(#9) A b7(id 3/9) Bb-7b5(1 l/9)
l d om7b5(#9) I C7(#91b5) A b9(b 13)
Imajor 7(# 11) I Cmaj 7(tt 11) B7(b i3/~9)
Cmaj7(# 11) F#7sus4(b 9)
Imajor 6(# 11) I C6(# 11) G-mai70 l/9) B7(bi31b9J .
O:· t,,1 : l ; Relative ~Em( 1119) Gmaj7(9/6)
I minor m aj7(11) I
c
~
1
3 9
~
b13
bs
Bb b7 9
D# #9 5
11
D#
3 bl3
Gb bs b7
Bb b7
c
G
B
,1
.:;:
b9
,,6'l _..,"1
7
,._
~
G
B
F f.''
3 b7
5 b9
7 4
#11 1
c
G
A
F~
l 11 b9
5
6 9
#11 7
E
..)
9
#9 5
Ftt #11 5
bl 3
bi
5
E
G
A
F ~''
3
-
:.
6
#'
6
b3 l
11
9
7
c
G
B
F
!
11
I
::
C-m~j7 (11)
v13
-
liq
j l
9
b3 b9
~7
J Q .
b9
A-?n5(9) ~ B7(b9/alt5) ........._ F9(~ 11)
!
b5
5
f.. 5
9
E71 b 13/all9) Sub,.
E
!I~
~!l
115
(E-7b 5(1119)) (G-maj7(9/6))
#5
{f(~ 1119)}
Idom7(#ll) I
c
G 5
Bb
Ff. #11
C7(# 1 1)
1
E-7b 5(b I 3/9)
b13
b3
bs
9
E
G
Bb
3
s
b7
F# #l l
C7(# 11 l E-7b5(9)
l dom7~ 5(13)
I
C1 3(b5) D7(b 13)
Ci3sus4 D7(b 131#9)
@om7(13f #9)
~3
b5
9
c
Gb
Bb
A
l
b5 ,.,
b7
13
_,
b13
s
c
F
B~
A
1
4 #9
b:
b7
b13
1.3 5
E
Bb
A
....
_)
b7
b7 ~9
3 5
D# #9
b7
Idom7sus4 (13) I
I
Sub V ~C l 3(#9)
Ff13(#9) Sub V ~ E 7(~ 1 llb9) A7(;111b9)
A7(#1 1)
:~1
. ''
c
D~
F:
A
'-
j,9 ~ i:.
~; J
..
D~
D~
A
b9
#9
13
J;" .......
Sub V ~ E~7(~9/b 5 )
13
-
j dom7(1 3/a lt9) j
Cl 3(alt9) E-maj7( : 1/6) D~-7#5(9)
13 1
b9
~.
acm703/j;ll/b9) ' C7(l 31# l I /b9 ) F7(~ 13/b 9 }
b7
..., _..,
l
6
b3
1
9<}
s
I -
~ I
1
13
-
Jl
9
F='
b5
r .
3
I
#11
116
(A(#l J))
Incomplete Sub V Chords This is a list of the dominant Substitute V chords that were introduced in the tension chapters by only their Sub V relation and not by tension additions. Some of these voicings appear quite incomplete and might not prove very useful in dominant situations. The list will be in order of the Sub v· s appearance through the tension chapters and will include the original dominant chords that produced the Sub V chords and the original chords that introduced the voicings.
Sub V Chord
Original Dom Chord
Original Chord
1
C7(alt5) {I 3 bs #5}
F#9(b5) {l bs b7 9)
Ab+7
2
C7b5(b9) {l 3 bs b9)
F#7(# 11) { 1 5 b7 #1I)
F~7(#11)
3
C7b5(9) { 1 3
F#+7(#11) {1#5 b7#11}
D9 {1 3 b7 9}
4
C7b5(#9) { 1 3 b5 #9}
F#I3(b5) {l b5 b7 13}
F# 13(b5)
5
C9(#5) { 1 3 #5 9 }
F#7~ 5(b 13/9) {b5 b7 9
6
C9(#5) {1 #5 b7 9}
F#7b5(bl3/9){3 b5 9 b13}
Bb9 {13 b7 9}
7
C9 {1 3 5 9}
F#7b5(b 13/b9) {b5 b7 b9 b 13}
E-7(#5)
8
C9 11 5 b7 9}
F#7b5(bl3/b9){3 b5 ~9 b l3}
9
:
b5 9}
C7(13/9) {l b7 9 13}
i
II
b13}
F#7b5Cb 131#9) {3 b5 #9 b 13}
E+7
I I
#11 } b7 b9 #11 }
Bb6(9) {13 6 9} B bmaj9 {l 3 7 9 }
F #7(9/#, 11) {5 b7 9
Db-maj7
C7(b9) {l 3 5 b9}
F#7Cb91# 11){ 5
A7(#9) {3 5 b7#9)
12
C13(b9) {1 3 b9 13}
F#7C#91# 11) {5 b7 #9#11}
13
C7(#51#9) {1 3 #5 #9}
F#7(91#11/13) {b 7 9 11 13}
Emaj7#5
14
C?(#Sl#9) {1 b7
F#7(91# 11/1_3) {3 9#11 13 }
C-7(#5)
15
C7(#91alt5) { 1 b5 #5 #9}
F #7(91#11113) {l 9 # 1113 }
Ab7
16
C7(#9) { 1 5 b7 #9}
Fff7(b91#11113) {3 b9 #1113}
C-7
17
C7(#111#9) {l 5 #9#11}
F#7(~91# 11113) { 1 b9#11 13}
F#7(b91# 11/13)
18
C7(ff9) {1 3 5 #9}
F#7Cb91#11113) {b7 b9#1113}
A7(# 111#9) {5b7#9#il }
19
C13(#9) {I 3 #9 13} .
Fff7(#91# 11/13)
20
C13(# 9) { 1
21
Cl3(b9) { 3 5 b9 13}
22
C13(#11) {3 5 # J I 13}
10
C+7(b9) {1 3 #5 b9}
11
23
b7 ~ 9
#
#5 #9 }
13 i
C 13(b9) {5 b7 b9 I3 )
F#7(#91#11)
l
I
!
Eb7(b9/~ll/13) {l b9#1113 }
13}
F~ 7(#91# 111! 3) {3 # 9~11 13 }
F #7(alt9) {5 b7 ~9 #9 } F#7(alt9) { 1
I
{b 7#9#11
Eb6(#11 ) {1 5 6 tt ll} J
A7
b7 b9 #9}
F#,7(alt9) {3 5 b9 #9}
.,
C6(#11) {3 5 6#11}
l
Eb7(#11) ( 3 5 b7 # 111
F~7(alt91#11) (~t b9i9 #II }
A-7 I C6
C l 3{15 b713}
F #7(alt91#11) {3 b9#9 #11}
Eb6(#1 1) {3 5 6#,IJ}
26
Cl3(#11) {l 5 # 1113 }
F~7(alt91# 1 1) { l
27
C13(b9) { 1 5 b9 13}
Fff7(alt91# 11) {5 b9#9 # 11}
28
C7(13/9) {5~7 913}
F #7(alt9/b 13) {3 b9 #9
E~maj7(#1 1) {3 5 7 # 11 }
29
C7(13/9) { 3 5 9 13}
F #7 (alt9/b 13) ·{b7
A7sus4
30
C7(131#9) {3 5 #9 13}
F # 13(alt9)
31
C7(131#9) { 5
32 33
24
C13 {l 3
25
~ ~
13}
~
b9 #9 #11}
b13 } b9 #9 b13}
{b 7 b9 #9
13}
C6(# 11) { 1 5 6 ~11} A7(#9) { 1 3
A7(ff ll) {l 5 b7 # 11}
F # l3(alt9) { 3 b9 #9 13 }
F ~.. 13(alt9)
C7 (13/9) {1 5 9 13}
F #7(alt9/alt5) {~ 5 #5 b9 #9 l
D7sus4
C7(131#9) { 1 5 #9 13}
F#13(alt91#11) {b9#9 # 1113}
A-7b5
b7 tt 9
13}
b7 #9 }
All of these Sub V chords can be found in a II - V - I simai:ion placdl under the original dominants. 117
Chapter Sixteen. Relative Major-Minor In this chapter both the relative major to minor (and vice-versa) and the relative minor to minor 7b 5 (and vice-versa) will be examined: C major to A minor (A minor to C major) C minor to A minor7b5 (A minor 7b5 to C minor) The following chord types with tension additions will be explored:
1) major 7/major 7b5 and major 6/major 6b 5 relative to minor: Crnaj7/Cmaj7b5 and C6/C6b5 relative to A minor. The relative minor of major chords containing natural 5th and #11 form a "dorian" minor (b 7 & 13) which will be examined in a later section. 2) minor 7 relative to major: C-7 relative to Eb major.
3) minor 6 relative to both major and minor 7b5: C-6 rel ative to Ebmajor and A-7b5. 4) minor 7b5 relative to minor: C-7 h5 relative to Eb minor. 5) minor maj7 relative to minor 7bS: C-maj7 relative to A-7b 5. With the exception of the drop 2 C-maj7(9), which is relative to Ebmaj7#5, the minor(maj7) chords' relation to major chords will be avoided, since the majority of these chords would produce tensions on a major 7#5 chord. Those relative chords that were not displayed in the tension chapters will receive asterisks and an example of a ITV-I situation at the end of this chapter. Chords are listed as they were introduced in this text. Some of the relative voicings are so incomplete that they can have more than one function in relation to the root of the chord. When this happens, the additional function will be listed in parentheses.
Four-P.art 7th & 6th Chords (Drop 2): Cmaj7 .............. relative to ....... A-7(9) Cr.J.aj7 ~ 5 ................................. A-6(9)
Cmaj7#5 ................................. A-rnaj7(9) C6 ...... .................. .................. l\-7 C-7 ......................................... E b6 C-6 ......................................... Eb6b 5 or Eb6(~ 11) and A-7 b5 C-maj7 ......... ........................... A-7b5(9) C-7b5 ..................................... E~-6
118
Original Voicing
ITension 91 Cmaj9;
E-7 I G6
drop2{3 5 7 9}relativetoA-7(11/9){5 b7 9 ll}(A9sus4) { 1 3 7 9} re.lative to Am( 11/9) {b3 5 9 11 } *
Cmaj9b5; drop 2 {3 bs 7 9} relative to A-6(11/9) {5 6 9 11} (A7sus4(9/13)) {l ~ 5 7 9} relativetoA-6( 1119) {b3 6 9 11}
06(9) { 1 3 6 9}
Ab7b5(#9)
C6(9); (A7sus4)
drop2 {3 5 6 9! relative toA-7 (11 ) {1 5 b7 11} (A7sus4) {l 3 6 9}relmivetoAm(JJ ){l b3 511}*
Bbmaj9b5
C-7(9); Ebmaj7
drop 2 {b3 5 b7 9 } relative·to Ebmaj7 {1 3 5 7} {I b3 b7 9 } relative toEbmaj7(6) {1 5 6 7} *
C-6(9); drop 2- {b3 5 6 9} relative to Ei,maj7b5 {1 3 bs 7} relativetoA-7b5(11) {l b5 b7 11 } {l b3 6 9} relmivetoEbmaj7b5(6) {1 bs 6 7} *
Ebmaj7 b5
relative toA-7 b5(ll) {1 ~3
bs
11\
*
C-maj7(9); drop 2 {~ 3 5 7 9} relative to Ebmaj7#5 relarivetoA-7b5(1119) {b5 ~7 9 11} f l b3 7 9} relarivetoA-7b5(1119) {b3 bs 9 11 ~ '"
Ebmaj7#5
C-7b5(9); Ev -maj7 0+7
cirop2 {~ 3 ~ 5 b7 9} relam·e toEb-ma.i7 { l b3 5 7 i {! b5 b7 9jrelativetoEb-maj7(6) {b 3 5 6 7 1
119
Original Voicing
ITension 11 I Cmaj7(# 11); 11for5 = Cmaj7b 5 under Four-part 7th & 6th Chords #11 and 5 not applicable
C6(#11);
11for5 = C6b5 C6b 5 relarive to A-6
#11 and 5 not applicable C-7(11);
b7 11 } relative to Eb6(9) {3 5 6 9} { 1 b3 b7 11} relarive to Eb6(9) {l 5 6 9 ) * { b3 5 b7 11} relativeto E b(add9) 11 3 5 9 }
C7sus4 F7sus4 G-7(#5)
{1 5
*
C-6(11); { 1 5 6 11 } relative to Eb6(?f# 11) {3 b5 6 9 } relative to A-7(#5) { 1 ~3 #5 b7} {b 3 5 6 11 } relative to EbC91b5) { 1 3 ~5 9} * relative toA-7b 5(b13) {l bs bl3 b7} * {l b3 6 11} relativetoEb(91#1111 3) {l b5 6 9} relative to A-7b5(~ 13) {1 b3 bs bl 3} *
A-7(#5)
F9{ 1 3 b7 9 }
F7
C-maj7(11); { 1 5 7 11} relative to A-7# 5(9) {b3
;s b7 9 } *
G+7
!b 3 5 7 ! l } relative toA -ibscb1319) fp5
F7 ( ~ l l J
{1
{ 1 5·b7 ¥, 11 }
t:::
#S
b7 9 1 (A9(alt5) J
I >} reicmvewA-7p5( o 13l9 J {~3 ~ = ~S 9 ' ·
C-7b5(11); Gbmaj7b5 Bmaj7('. 11)
{ 1 ~:., bi I 1} relative w Eb-6(9) {b 3 5 6 9 } {~3 b5 b7 11} reiative toEbm (9) { l b3 5 9}
120
*
Original Voicing
ITension 13 ! Cmaj7(6)
*
{ 1 3 6 7}relatlvewA-(add9) {1 ~ 3 5 9} {3 5 6 7 i relarive to A-9 i 1 5 ~ 7 9 1 (A9) '~
Fmaj7(# lJ) G6(9) { 1 3 6 9}
Cmaj7b5(6) B7sus4
{3
b5
6 7} relative to A-6(9) { l 5 6 9}
* refer to maj6(9) { 1 5 6 9}
C-maj7(6) { l b3 6 7 } relative ro A-7~5(9) l b3 ~5 9) ''' { b 35 6 7)relmive to A-7 ~ 5(9) 1 ~ 5 b7 9 }
F7(~ 11)
B.-7
C -7b5(b13) {1 b3 #5 67} relativeto Eb.-6(11) {15 6 11} (Eb l3sust.P {b3 b5#5 67} relacivetoE~m(ll) {1 63 5 11} *
C-7(#5)
G66(9) { 1 3 69}
I Tension 9 &13 I Cmaj7(13/9J {3 7 9 6} relative to A-701/9) { l S 9 11) tA9sus.d. 't ,,.
E7sus4
Cmaj765(13/9)
C-m aj7 (6/~t
{b3 7 9 6} relative to A-7 65(1119) ! l
BHli9)
{ 1 3"b 7 #9 }
bs
9 11)
C -7b5(b 13/9)
Bb+7
[~5 ~ / 9 ~13} relarive TO Sb-maj7(1 ! ' j i;3 5 7 ] J l
121
Original Voicing
I Tension 9 &11 I Cmaj7(#1119)
#11 for 5 = Cmaj% 5 under Tension 9 #11 with 5 not applicable (# 11for5 =C6b5(9)) { 3 bs 6 9} relative to A-6(11 ) {I S 6 11}
(F#-7(ff 5))
C-7(11/9) FI 3sus4 Bb6 I G-7
{b3 h7 9 11} relative to Ebmaj9 {1 5 7 9} { 5 b7 9 11 } relarivetoEbmaj9 {3 5 7 9}
*
C-6(1119) { i 6 9 11 } refer to C-maj7(13/ll/9) {b3 6 9 11} relative to E~maj9b5 {1 bs 7 9} relative to A-7b5( b 13/11) { l b5 #5 11} * {5 6 9 11} relative to E bmaj9b5 {3 bs 7 9 } relative to A-7#501 ) {I #5 b7 11 } *
B7b5(#9) F6(9) {l 3 6 9}
C-maj7(11/9) {b3 7 9 11 i relative to A-7b5(b 13/1119) {b5 9 11
F1 3b5
b13 }
C-7 b5(11/9)
(b5 b7 9 11) relative to Eb -maj 9 l b3 5 7 9 )
Gbmaj7# 5
ITension 11&13 1 C-maj7(11/6) F7b5
(b3 7 6 11} relacive ro A-n s(b 1319) {l bs #5 9} (5 7 6 11} relativewA-7#5(9 ) {1 b7 9 } *
#S
G9 (1 3 b7 9}
*
C-7h5(~ 13/11 i
Gbrnaj9 {I 3 7 9} I
•
.Bb 7sus4
{b 5 b7 11 bl3 } relativeto Ebm(ll/9) {b 3 5 9 11) * {b3 b7 11 b13 } relazive to E~m(I 1/9) { l 5 9 11} (Ebsus4(9))"'
122
Original Voicing
j Tensions
9. 11, &13 j
Cmaj7(13/;11/9) {5 9 ~ 11 13 } is not applicable D 9 t 11 131 relarive to A-6(11/9) { 1 6 9 11 J (1 9 ;11 13 i relaiive to A-6(11) {1 ~3 6 i 1} {3 9 !t 11 i3 1 under T ension 9 & 11 as C6(il 11/9)
B-7 D7
••
1t
•
C-maj7 (13/1119) B-7~5 /D-6
{7 9 li 13}relativeroA-7#5(il/9){1#5(b13! 9 Il l { l 9 11 13 1 relm~ve to A-7 #.5 0 1) { 1 ~3 f5 1 l} ~, relcaivetoE~nrnj7(131#1119) {7 9 #1 11 3 )
D-7
C-7b5(~ 13/11/9'1 { ~ S 9 l l \ rel="nofollow">13 } relarive toE~ -ma_j7<1I/9){b3
7
9 l}!
The new relative chords that have been discovered, (and receiv ed asterisks), will now be displayed in various II V 1 examples. These chords will be grouped into three different categories: major, minor, and minor7b 5. The relaci ve chord or chords will be listed as well as the originai chord to first introduce that voicing. The following is an organized list of the relative chords that will be examined. showing the order in which they will appear and any multiple funcnons they mighl nave.
:MAJOR major (add9 ) ')
majorb5 (add9)
Functions
11 3
s o./ J·
dom7(9i, maj7(9'
{l
bs 9)
dom7~5(9) I maj7~5(9 )
~
_,
n:aj7(0'\
!l
4
maj6(9)
{ J
5
maj7(6)
{l
,.,
.)
c
::: 7
s s
6 9) 6
7}
6
maj7 b5(6)
{i
I -
7
maj7(6/9)
11
6 7 S1 \
;J)
maj6(9 J I min6(9) maj7(6) I min. maj7(6)
maj7 b5<6 1on]~.:
r: 7 : ·-·
maj7(6/9) i min.
1m~j7(6/9 i
MINOR
Functions
l
minon add9.1
min7(9 ) I min.
2
minor( add 11)
{i
_;
mmor(9/l l )
{'7:-1 5
4
mino:(9/l 1,l
{i 5 9 J1}
5
minorf9/l n
{1 ~ 3
6
minor 7(9)
{ l 5 b7 9 \
min7(9) I dom7(9)
7
min.maj7(9111 J
ll
m.in.maj7(9/l .l lonly
8
min.maj7(6/l 1~
..,
b3 ""
J;
I min6(9}
min7(1 l )/min. map(! I )/min6( 11 )
11 }
CJ l! }
C)
m2~j 7 (9 )
min7(9/1 l)/min.maj7(9/l l )1min6(9/ 1 I ) same as above plu&ciom9sL:s
l
min7(9/i l Jirnjn.maj7(9/l i l:min6(9/1 1 1
7
9 1l J { 16 7 11 )
min.maj7 (6/l l )only
123
Functions
MINOR 7b5
min7 ~ 5(9)
{ l b3b5 9}
min7b5(9) only
2
min7 b5(11)
{ 1 b3 bs 11}
min7b 5(1 l) only
";)
min7 b5(9/l l )
{l b5911}
min7b 5(9/l 1) only
4
min7b5(9/l 1)
{b3 bs 9 11 }
min7b5(9/1 1) only
5
min7b 5(b 13)
{I bs b7 b n }
min7b 5(b 13)idom7(alt5)
6
mjn7 b5( b 13)
{l b3 b5 b13J
min7b5 (b 13) I dom7(# 91alt5)
7
min7 b5(~ 13/9)
{b3 b? 9 bi3}
min7b 5(b 13/9)only
8
min7 bs cb 13/9)
{b3 bs 9 b 13 }
min7 b5(b l 3/9)only
9
min7 b5(b 13/9)
{lb5 9 bl 3 }
min7b scb 13/9)/ dom9(alt5)
10
min7b 5(b 13/9)
{l b7 9 b l 3}
m in7bs cb 13/9)/ dom9+
11
min7 bS(b 13/9)
min7 bs cb 13/9)only
12
min7b 5( ~ 1311 1)
b3 9 b l 3} {lbs 11 bB}
13
min7b 5(~13/1 l )
{l b7 11 b13 }
min7b s cb 13/ l l )only
14
min7bscb 1311 1)
{l b3 11 b l3 }
min7b5 (b 13/1 l )o nl y
Imajor 1add9) I
{l
min7 bs cb 13/ll )only
{1 3 5 9}
C(add9) relative to A -7 (11 ) ( b3 5 b7 11 } original chord E -7#5
A voiding tension
9 on the 5th string leaves three applic able inversions :
G-7(11) C7(b9/ alt5) F(add9)
fi Imajor bs (add9) I
5 9
9
s
l 3
~
0./
l
1
5
3
C-9
F 7b 9
0
-e-
11
B ~( a dd9 ) [).0.
·;;
11 3 bs 9 l
C(9/~ 5) rdative t0A-6(ii)(~ 3) 6 ll } original chord D9 { 1 3 b7 9} A voiding tension 9 on the 5th string leaves three applicable inversions:
bs
9
9 I
bs
1 3
3
9
~
124
C-7(1 1) F7(b9/alt 5 ) BJ (add9 l
: p)
II w,§
jz~a
P! '
II
D-7(11/9) Db (9/b5) C(add9)
Imaj7(9) I
A-7( 11)
D7(b13)
G(9/b5)
-&
-a-
-&
11'Z
#~§
§&§
B-7(11) Bb (9/b5) A (add9)
b.o.
.0.
II
·z
t:
-&
#o:g
II
{1 5 7 9}
Cmaj7(9)relativetoA-7(11/9) {b3 ~7 9 11 } original chord D1 3sus4 { l 4 b7 13} Avoiding tension 9 on 5th string leaves only one applicable inversion: E-7(11)
~
Dmaj9
A7(#5/#9)
~
~i 'U
jmaj6(9) j
9 7 5 1
~n
{ 1 5 6 9}
II
(min6(9))
bs
C6(9) relative to A-7(11) {1 b3 b7 11} ; C-6(9) relative to Ebmaj7b5(6) {3 original chord D7sus4
6 7}
Avoiding tension 9 on the Sth string leaves three applicable inversions:
6 9
I 5 9 6
1
5 D-9
G7(#5/b9)
C6(9)
E7(#5/b91
B-9 e-
Imaj7(6) j
A6(9)
A -7(9/11)
Ab7
~*
"
G6(9J
-e-
-e.
l1!
II
9 6 5 1
0::
iii
{l 5 6 7}
Cmaj7(6)relativetoA-9 { l original chord A-9 There is one applicabie inversion:
b3 b7 7 5 I 6
9}
C-7(11)
~ 9'£
125
F7(alt9) ~
Bbmaj7(6)
;I
II
II
Imaj7b5 (6) I
{lb567}
Cmaj7b5(6) relative to A-6(9) { 1 original chord A-6(9)
There is one applicable inversion:
b3
6 9}
7
F7(alt9)
C-9
bs 1 6
Imaj 7(6/9) I
B~maj7 b 5(6) ,-&
'13
1
11
{l 6 7 9}
Cmaj7(6/9) relative ro A-(11/9) { l b3 9 11} original chord F6(# 11) {3 5 6 #11 } There are rwo applicable inversions: 9 7
l 7
6
9 6
F#-7(11J
B7(b9/alt5) Emaj7(6/9)
'#1
E9sus4
I~
p~
~2
E7(alt9/b 5) Amaj7(6/9)
~q
#~
I
"' ote: The above E9sus4 voicing is introduced in the New Voicings chapter.
Iminor(add9) I
{ lb.359 }
Cm(add9) relative to A-7~5(11) {b3 ~5 b7 11} and E~ maj7(6) original chord A~ma.i7(~ l l 1 ; ? - 7 hl ; I ...,
There arc three applicable inversions:
9 5
p.)
9
b:::
fl 3 6 7}
5 9
l
G-7b5 P.O..
'
C7(13/ ~ll/b 9 ) ~
l+!!
Fm(add9) A-7P5(11 ) D7(H l/ b9) Gm(add9)
~~ I
~
ll
· ~~
°it
(F #-7)
E-%5
b.o..
-e.
~~
II II
A7(a1t5) Dm(add9 J 1-G
~:'!
!
(F+7 )
126
-&
~; :
!!
Iminor(addll) I
{Ib35 11}
il .3 6 9} andA-7~5( bl3) {b3 bs b7 b13}
Cm(addlllrelativetoEb6(9) original chord Eb6(9)
There are four applicable inversion:;:
I ~
.17· ' -·.-
,.
B13(i:J9 ~
j
lI
11 1
b3
1j
::"
D-7b5(11)
Em(ll)
i·H
Rm
~3
~3
~.
...
F#-7(#5 )
-
€--
G7b9
~
II;,5
8
Cm(U)
"2
(G#7)
A-'7b5(b 13)
i&
D7b9
Gm( llJ
on
-&
1zg
B-7o5(bl3i
«'£
r;iz
•'g'
II H
Am(ll i -Go
jlo
d~
t)
E13(:,9 l
(C#7J
Iminor(ll/9) I
{b3 5 9 11}
Cm(ll/9)relativetoEbmaj9{137 9}andA-7b5(bl3/ll ) {b5 b7 11 b13} original chord Ebmaj9 There are rwo applicable inversior.s: 11
9 5
b;. ~ -7b5( 11)
5 b3 9 11
B7( 13/~ll/b9) Ern,( 11/9 )
D-7!15
G7C~9/alt5)
Cm( ll/9)
= ! ~ . ~ el ~-B~~-=:~~~!~~~~___...l!~__&h~?;J.__-v_~=t~!~===!J gg~
j
minor(ll/9)
~ ,,
I
Cmfll/9)relativetoEbma_i7(6/9') 136 7 9 i :rndA-7b5(bJ311 1) lb3
b7 11 b13l
original cnord G7su,..! A voiding tension 9 on the 5th smng leaves three appiicable inversions: 1i 9 5 Am(9/11) D7(b9 )
G6(9 1
Gm C8/11)
9 5 1,
5
1
11
9 t
.I.
C7(~0ialt5l
Fma.i9
r .-7(11/8)
F7(a1~9 ) B~ m a.~716/9 '
=~&_.~i--~~~--i~~~~.c__~~~~''~·z~~-1i~10~~*-~·l (Ab7J
Iminor(ll/9) I
{lb3911}
Cm(ll/9) relative to E~maj7(6/9) { l 6 7 9} originalchord A~6(#11 ) {3 5 6 #11}
b3
There are two applicable inversions: 11
9
9
1
11
b3 Dm(ll/9) G7(alt5 )
1
Em{ll/9)
C
A7(alt5 )
D(add9)
II *Nore: The above A7(alt5) and D(a
Imin7(9) j
{ 15
b7
9}
C-9 relative to Ebmaj7(6) {3 5 6 7 J original chord B~6(9) { 1 3 6 9} A voiding tension 9 on the 5tb string leaves three applicable inversions:
I
b7 A-9 -&
-~ g
Ab7 I
.t rel="nofollow">-0-
I!~~
G6(9)
9 1
5
F -9
§ li''9
Imin. maj7(9/11) I
b7
9 ~7 5 1
5 9
E9
i
Ebmaj7 0
!
Ii
C-9
B7
?..a.
-&
~~
b131
A voiding tension 9 on the 5th string leaves only one applicable inversion: 9 7 11
G-7b5(9)
~i u
C7(~9/#5 )
b.&
~~ i la
F-maj7(9/ll)
~~~
!!
'
128
-&
II
{179 11 }
C-maj7(9/11) relarive to A-7b5(b 13/11/9) {r3 9 ! I original chord F6(# 11) { 1 5 6 ~ 11)
B11m aj7
Imin. maj7(6/11) I {1 6 7
11}
C-maj7(6/ll) relative to A-7b5(b13/9) { 1 b3· 9 b13} original chord A b13(alt9) {3 b9 #9 13} There is only one applicable inversion:
7 11 1
B-7b5(H3/ 11) E7(alt9) A-maj7(6/11)
II
6 u(Fmaj9)
Imin7bs(9) I
(F-6(9))
{l b3 b5 9}
C-7b5(9) relative to Eb-maj7(6) {1 b3 6 7} originalchordAb?(#ll) {3 5 b7 #11 } There is only one applicable inversion:
9 b5
G-7~5(9)
C7(#5/~9 )
Fm(add9)
~
b3
II
l
lmin7b5(11)1
{l b3
bs
11}
C-7 h5(11 ) relative to E b-6(9) {l h3 6 9}
original chord E b-6(9) There is only one applicable inversion:
ll
1
t~ Imin7 ~5(11/9) I
F#-7~ 5(11 ) B7(13/#11/b9) Em(ll/9)
4~t
~1~
~
II
{lk' 911}
C-7~5(11/9)relativetoEb-maJ7(6/9) {b3 6 7 9) original chord D7(~9) { 1 3 b7 #9 J There is onl .v one available inversion, and unfortunatelv . this one has tension 9 on the 5th strim!: ~
11
1
bs 9
Imin7b5(11/9) I
(~3
b5
9 11}
C-7 b5(1 l/9) relative to E ~ -maj9 { l originai chord Eb-maj9 There is only one applicable inversion:
b3 li
7 9} E -7,5(11/9)
A7(#5/b9 )
-~I
9
I -
p)
~3
129
D-6(9) -e-
Imin7bS(b13) I
{1
bs b7
b l3 }
C-7bS( b l3) relativetoEb-6(11 ) {b3 5 6 11} original chord Ab9 { l 3 b7 9}
b7 bs
There are four applicable inversions:
l
bs
bi3
bi3
b7 ~1 3 1
1 b7
1
bs
b13
b7
A-7b5(b 13) D7(alt5/#9) G-6(9)
'
i:-~ ..:
Ii~
E -7 ~5(b 13)
E-7(alt5)
~
~~~
'·~
jmin7b5(b13) I
b..a.
'-e-
!i :! {1 b3
Ii
lillo§
~~
;
bs
~
D-7b5(b 13) G7(#5/#9)
!
tJ.o.
A7(#5/#9)
If!'
A7(alt5/alt9) D6C9)
b..a.
b5
b..a. ~
9
D-6
e
II Cmaj7(6) , -&
q~
2J
bl3 J
C-7bS(bl3)relativetoEb-6(11 ) {1b3 6 11} original chord Ab 7
b13 b3
There are four applicable inversions:
l
bs A-7b5(b 13)
~
,8
D-7b5(b 13 )
~
~ &~
A~ ? I ~
11~~
b5 b3 b...1"::-
G-6
1stl
n
~~ CFT!
b3 b1 3
b13
bs
b3
E -7!7 5(bl3) ·,
I
~~ e
q
,_
b13
b3
b3
Si b13
I -
D /
Al3(b9 )
r:!~ :;i:~ CF~7 )
C-7~5(b13/9 ) relative toEb -maj7(lJ){l 5 7 l lJ
There are three applicable inversions :
A-6(9) il.
Jj
l'b3b7 9 ~l3 i 1min7 f.4 5(9)\ •I
orif?ina! chord E ~-n..J7( 11 l
l
It!
'!
C-6(11)
l
B-7115(b 13) E7rn5/t.9J -e.0.
v..o.
G7b5
I min7~ 5([, 13/9) I
bs
1
I
'.,
b L'
D
130
9 I...,
p,
b3
Dm(ll)
q~ (F6(9 ))
Ii
A-7#5(9)
t
D7(:!5/ ~9 .l
B-9~5
G-6(9)
b.o.
_o_
g
-e-
~
-=·:
1:
j min7~ 5(b13/9)
E7(#5/b9'1
A-9
D-7~5(9)G7(~5/ h9)
0.0.
E
bi
I!
C-maj9
I
ire-
n
1:
I :i
C-7b5( b l3/91relacivet0E:>-mai7(11 ) 11 }
original chord Ab 7(# 11 ) ~ 1 5 ·b 7 There are two applicabie inversions:
#
b::
7 11 ;
9
9
b5
; ' -
I
b?
b13
p.)
iJ L'
A+7
b3
A -7:i 5(ol3/9) D7(#5/#9 l
D<9/b5 )
' ..o_
ibR
I
D-'l.
G-6(9) I
-e-
tcg---t/~.k~;--~!j
!1!1E
I min7 b 5( ~ 13/9) I C-7b5(b 13/9) relative to E?-maj7(6/l l) {b3 7 6 11 }
original chord Ab7b5 / D7b5 i'\oce: Since the original chord mirrors the same chord a critone away, ic applies co any substitution chords of the
original chord: Ab7~5
=
E~-maj7(6/l 1)
D7bS A-maj7(6/1 l) F# -7b5(~ 13/9)
=
=
C-7 b5(b 13/9)
,-woidmg tens ion Si on lt1e 5til smng leaves mree appiicabic inversions:
1
b:' ,,
t
I
bl ".\ A-7:i5bl3/9) D7
G--6C9
~ 13
9
0
bl3 ~5
l
bs
1
_:,_7,5.., 1319; D 7!?Sl
G-r
A-7;,5 '. l. 131~ 1 ..Q.
I min7~ S(b 1319) I C-7b5(b13/9) relativetoc.b-maj7( il/6 l {5 7 6 11 ) origir.al chordB b9 {l 3 b7 9 } .~;.vo id ing
tension 9 or. the 5th
s~rin;
ieaves rnrec appiic:J.ble in versions:
i b13 ' \ '-;
l ..., D I
9
[,7
b7
9
b13
I J
bi ~;
..
131
D7\;,5 ; -6-
Gr."ai7~2 £..
E-7#5(9) A7(alt5/b9) Dmaj9
A-7#5(9) D7(alt5/#9) G-6(9)
I ~1 §
I
t)e-
(G9J
I ~ ~#~
~~
f\
D-7#5(9) -e-
I~
#~
G7(b9)
b.a. I
Cmaj9 .0.
~
(Gbmaj9 )
I min7b5( b13/9) j
{ 1 b3 9 b 13 } (rn.in7#5(9))
C-7b 5(b 13/9) relaiive to Eb-maj7(1 l/6) { 1 6 7 11} orig inal chordBl3(alt9) {3 b9 ~9 13}
?
There is only one applicable invers ion:
tJ
F#-7tt5(9)
~3 ~ j min7bS(bl3/ll)
I
F9
13
E6(9)
6!2
{I b5 11 bl 3}
C-7b5(bl3/ll)relativetoEb-6(l l/9) {b 3 6 9 11} ori}?inal chord D7b5(#9) I A~ 13 There are two applicable inversions:
b13
1 ~5
11
1
11
bs
bB A-7b5(b 13/ 11) D7(tt5/#9) G-maj7
B-7b5(b l3/ ll) A-6
E (!79)
I
-&
I
P.O.
D.il.
II
Imin7b5(b 13/11) I
{l
b7
l1
b13 }
(min7# 5(11 ))
C-7b5(~ 13/i 1; reiauve iO E~ - 6(i 119) ( 5 6 9 l l; original chord Ab6(9) { 1 3 6 9} A voiding tension : l on the 5th string leaves three applicable inversions:
b7 11
b,,,
!_)
11
~1 3
A-7#5(11) D7(Ul/ b9 ) G-6(9)
b;
G-n5(ll )
1]
b7 b3 C7 (~ 13/ #9)
F -6(9 )
E -7;5(11) A7(alt5/b 9) D6(9 ) e-
j±e-
1~~-==--.'.G. 1;~.:_ 1,b5-,:=..-==--=tt=-I!.:::&-=:_ffi~~ 1i~tg==:=;5__ i ==:-:1! m±:=-==-~ -'-.-0. _ '-==-~ z. . _ _ -==--:::::::.6 ;~ .........,..._:-==--==:::II ..........__t
132
..fi
Imin7b5(b 13/11) I
{l b3 11 bl3} (min7#5(1 1))
fl 9 11
C-7b5613/ll)relmivetoEb-maj7(13/ll/9) original chord F-7
13} orEb-6(11/9) {1 6 9 11 }
Avoiding rension 11 on the 5th string !.eaves three applicable inversions: I- ~
;1 ~
11
b<"' L'>
~3
1i
bl"'_,
A-7 ~5( 11)
D7(b9)
G6(9) -e-
G-7~5{11) I I
i).Q.
11 j
bl3
b3
Gb7 I
D..O..
Fmaj7
E-7 ~ 5(11 )
E lD,7
D-6(9)
b..u
I!
133
Chapter Seventeen. Additional Substitutions in II-V-I Examples After removing all of the chords that were examined in the Relative Major-Minor chap ter, only dominant type chords remain in the Additional Enharmonic Chordal Substitutions chapter. These can be organized into three different groups: J) Dominant chords with b13 and natural 5 l HO Sub V's). 2) Dominant sus4 chords with b9 (no Su b V 's). 3) Rem~ining cominant chords (including Sub V's).
T he dom7sus4(13/9) {1 4 9 13} voicing (original chordmin7 /maj6) will be omitted, due to the ambiguity produced by formi ng a complete 16 chord in relation to the V7sus4(13/9) chord: C 7sus4(13/9) F6.
=
ldom7(b 13) I C7(b1 3) = Ab maj 7#5
{1 3 5 b13}
.....
There are three applicable inversions:
.)
.)
b1" A_)
5 1
Gm( ll ) C7(b13)
@ i~ {15
~lg
I
~~(i
= Ab maj9
T here are two applicable inversions'. ~ 7 5 ~1.3
~ {3 5
;I
b.o.
!~I~~
C7(b l3 j
E-9
5 ... .)
.)
bl 3
...
F-7(11) Bb7(b 13) E~rnaj9
F(9/b5)
b7 ~13}
i
bi ~
A7
~~
-e-
6~
I!
I~
G7(b13) I
..0..
11~
{ 1 3 7 9}
l
b7 D6(9)
as
F7(9/13 l
II:M]
F7(~ 1 3
~~ '1-0
B11 (add9 )
~:·
I!
b7 ~ 13}
There are two appiicable inversions: ~ ~ 5 .)
-
.)
b13 5
b7 E-9(ll J
A7(bl 3 j
D6(9J
D-9
-&
-&
I; !! 134
G7(b 13) ..0.
Cmaj9 '
.0.
G~
b13
-e-
bg
D-7
~..a.
b.a.
Cmaj9 .0..
II
II
Idom7(b13/9) I C9(b 13) = Abmaj7(b5)
{l 5 9 b13}
There are two applicable inversions: 9
b13 5
1 5
9
b13
l D-7(11) G9(b13)
C6(9)
F-7( 11)
B~ 9(b 13 )
~&-'e~_hi~~~~!~f--~11~~n~m {3
s
Eb6(9)
~~t~11
C9(b13) = E7(#9) {l 3 b7 #9}
9 b13}
5 9
There is one applicable inversion:
A-7
D9(1' 13)
G6(9)
I l"' p .)
,, '.}
.
f. {S b7 9 b13}
C9(b 13)
t1
= E7b5C#9) I Bb 13
There are two applicable inversions: b7
5
9
bl3
9
b13 5
b7
E-9(11) A9(P 13) D6CU1/9)
.£ 9
C-9(11) F9(b 13) Bb(add9)
, b.n.
Idom7(b 13/b9) I C7 ( b l 3/~ 9) = Dt>maj7(#11 ) {l 5 7 #11}
{l 5 ~9 bl3}
There are two applicable inversions: S 5
(] .. ' !,c;
' 1~
E -7(11 )
~
-e.
!
A7 ( ~ 13/,9) -6-
9g
b9
~ 1~
D6(9)
B-9(11) E7(b 13/ b9) A 6(9)
-a
]
:·§g
135
{5 b7 b9 bt3}
C7(bl3/b9)
There are two applicable inversions: b7 5
b9
b9
5 b7
= Db6(# 11)
{l 5 6 #11}
bl3
b13
Dm(ll/9) G7(b 13/b 9) C(add9)
E-7( 11) A 7(b13/b 9) D6(9)
i.m
1·!
I
C7(b l3/b9) = 07(131# 111~ 9) {l ~ 9 # II 13}
{3 5 b9 b13}
b9
There are two applicable inversions: 3
b13
5
5 b9 E-9
l
;
~..a.
i
3 bl3
A7(b 13/b 9 ) Dmaj9
b.o.
F7sus4 F7(b 13/b9) Bbmaj9 I
,o..o..
-e-
~~~!
!!'' ~ ~
J±:! lf'~~ ;l
-e-
-&-
-~
~~
"I<
II
Idom7(b131#9) I {5 b7 #9 bl3}
C7(b131#9)
= Bbl3sus4
{J 4 b7 13}
There are two applicable inversions: b7
5
!iJ F-9(11) Bb7(b13/#9) Eb6(9) E,maj9
C-9(11) F7(!113/#9) Bbmaj7(6)
I
I
L
t A· (Constant strncture 1- -
0-&
1 :1 Dv:
~s
~
(F6(9 ))
Idom7(~ 13/alt9) I {5 b9 ~ 9 b13}
C7( bl3/ait9 ) = Ab -maj7(JI) {1 5 7 11 }
There are two applicable inversions: ~ o ~ 13 5
b9 E-9
&·t
b9 5 £9
~1 3
A7(!J13/a1t9> Dmaj9
'-"- ..
C-9
'
b.o.
136
F7(b 13/alt9) BP6(9)
\,..
~
I dom7sus4(~ 9) I {l 4 5 b9}
= Dbmaj7(~5)
C7sus4(b9)
There are three applicabie inversions:
4
5
1
1
b9
4
5
1 4
b9 5
J,9 C-7(11) Fsus4(1:i9) Bl:imaj7(6/9) A-7(11)
Dsus4(~9)
Asus4(~9)
Gmaj7(6/ 9) E-7(11)
Dmaj7(6)
~~~Q'£====~ ~t =====~~l·-==-~~IE~z~_: : :~---=-'__,_' : :- 0.:!_ . . .,._: : .: : : - -' "q<_l.'-·'---!,_~--=-~l1-0-I . .i i_=-.=_::-~i=.=:§J!f"-'-,:,..e--.§"=~II {l 4 b7 b9}
C7sus4(~9)
= Gbmaj?(# 11) 1 4 ~9 ~7
There are three applicable inversions:
D -7(11) G7sus4(b9)
,,§
u
'
C6
qg
C-9
4 ! ~7
b9
b9 1 4
b7
F7sus4(b9)
'
#11}
{3 5 7
B~muj7 ( 6)
Dm(add9)
I I
D.U
I 1).0.
Ii~ i=
11 11 : ;
l
~ ::5
r
I
G7sus4(~ 9) Cmaj7(~11 )
I
(Constant structure)
Idom13sus4(~ 9) I {l 4
b9
13}
C13sus4(~9)
= Dbrnaj7#5
Avoiding tension 13 on the 5th string leaves two applicable inversions:
C -9(11) F 13sus4(v9) Btimaj7(6j
f~-==-~. ;: : : :_ :-: : - - -~~n '- --'--~-==---==ti!_ . ~-=--=--=-1 1 -,-,H'- A----i_.~_:::-h?_i..___b9
13}
13
]
13
b9 1
b9
4
Am(ll) Dl3sus4(b9) Gmaj7(6}
1
{4 5
4
C13sus4(~9)
=
==II
_-qf,_,__ ·._.___:
A+~·
.'-\voiding tension 13 on the Sth string leaves three applicable inversions:
4 13 5
~9 C-7
b..a.
~!,~
F13sus4(~9) B~maj9
b.n.
A-7(11) D13sus4(1:i9) Gmaj7(6/9) E-7 -e.
II 00 ·'
--
"i 137
'-e-
i*
I!
5
13 4
13 4
b9
b9
5
Al3sus4(~ 9)
I W!
Dmaj9
;~
II
Idom9(alt5) I {1
bs #S
9} C9(alt5)
Sub V
~F#9(alt5)
{ 1 ~5 #5 9}
-1 J,, -1 t
= D7 ~ 5
/Ab7b5
{ b5 1 9 #5}
Remember to avoid tension 9 on the 5th string leaving two applicable inversions:
Not:::: T his voicing also was used in the R elative Major-Minor chapter as a min7bs (b 13/9) chord { 1 b5 9
C9(alt5)
G-9
Sub
VI
'
~
~
-e-
:g
C#-7(11) F#9(alt5)
I
E-7(11) A9(alt5 )
Fmaj 9
D6(9)
-&
-&
;!
I! !
~
Ji
avoid Sub V ... has tension 9 on 5th string
B6
I
II
II
I
' doml3(b 9) I dom7(~ 11/~ 9) {1 ~ 7 b9 13} I { 3 5 #9 #11} !
Sub V
'\
{ l b7 b9 13 } = Bb -maj9 {l h379 }
C i3( b9)
. . -1 I
" F#7(# l 11#9l
{#11 3
Ti1ere is one applicable inversion: l
I
I
~ -~-
"!;'
5 #9 ~ D -7(11 )
G13 (b 9J
C6(9)
--7~11
U--7
l
#9
b9 --7 5 b7--7 3
.j,
SubV .
A~- 9
I
~b.o.
!
I_ -~''"ii 138
DVi(#9/ #11) Gb6(9) bo
1b.e-
II
b13 ).
dom7(b91#S) I d.om9(#11) {11j5 ~ 7 b9} I {3 5 9 #11} Sub V
C7(b91# 5)
~F#9(#11)
{ 1 #5 b7
b9 } = B b-9
{ 1 b3
b7
9}
1 1 J, J, f~ 11 9
3 5}
There is one applicable inversion:
D-7(11)
C6(9)
G7(b9/#5)
II
I
Sub V
Ab-9
&1:~:
l
Db9(#11) Gb(add9)
I~
~o
II
Nore: The dom9(# 11) voicing could have a lydian function since no 7th is present:
{3 5 9
#11}
CC #1119) = Cmaj9(# 11). The following II-V-1 example displays the Lydian function: D-9
.C(#ll/9)
G7(b 9/#5)
II dom7(b9) I dom7(# 111~9) {1 5 b7 b9} /{35~9#11} Sub V
C7(b9L ......... { 1 5
b7 b9 } =
~F~71~1l/b9• {i71:9: ;;
There is one applicable inversion:
b3 6
Bb-6(9) { l
D-7(11)
Sub
1
I!
J, Ab -7(11 l
1_
;, §
~
VII
C6(9)
G7(b9)
; t& n !
9}
D~ 7 C:.llt li9)
~ , ' ·~-
139
bo
-
Glixµaj7(6/9 )
'...!:....;;.--0' l~g &----n:I
dom7(b9/alt5) I dom9(#11) {1 bs tts b9} / {t s 9 ~n}
C7(b9/alt5)
Sub V
~F#9(#II)
= D b-maj7(1 1)
{ 1 b5#5b9}
-1 j,J, j,
{l 5 7 11}
{tt ll l 9 5}
There are three applicable inversion: b5 ~ J 1 ~ #11 #5~ 9
~9~ 5
C-7(11) F 7(alt5/t,9) B1'6(9)
b_a_
!- ~ Sub V
I
G-9 C7(b9/alt5) F6/9(#11) E-7(11) A7(alt5/b9) D6(9) ~ -e~ -e-
b..o.
:ta.
&;~
•--g-+;-~-fu!j. §i
l
C~-7( 11 ) Fli 9( ~11 )
F::-7(11) B9(# 11) E6(9)
~n
,
L
i§f~!
II F~tg
1
=&_..a.
.o.
~
,..
Jig
#3,____IJ
avoid Sub V ... has tension 9 on 5th string
B6(9)
~
· o~ zt#e.__---tt1! ----~
ll ;Cf,..._ : _
Note: The dom9(#11) voicing could have a lydian func tion since no 7th is present: { 1 5 9 #11} 1119) = Cmaj9( #11). The following Il-V-I example displays the lydian function.
C(#
A voiding tension 9 on the 5th string leaves two appropriate inversions. C~ -7
F#7 ( alt5/ ~ 9)
#~
ei!
dom7(#11Jb9 ) { l 5 b9 #} l } !
Suh \'
BC# ll/9)
Ao-7(11J
11 :· ~~
.0.
~!n '~
C7( ~ 11/~ 9)
: '.
~
G7
G~ (~ ll/ 9 )
~
~~i
~; ~
J
5 ~ 9~J l ) = Al 3( ~ 9l/Eb! 3 (~0l f3!, ; !:91; ·
-i j, -1
i
'- F #7( #111 ~ 9){ # 11 b9 5 1 } T he re is one applicable inversi on :
C-7(11 ) F7(Ul/b9) Bb 6(9)
#II ~ l
~
=t ~~
i'"'
~= '!!
1
b9 ~ 5
I
~
\
Sub \' I
~
I
I
I
I I
~.;1
0..0..
F~ - 7 ( 11 )
n.
~#II Q)
140
B 7(U l / f;9 J E CU l ) .n. fi-tr
~~
I~
dom7(b9/b5) I dom7(#11) {l b5 b7 b9}/{13 5 #11} C7(b9/b5)
Sub V
~#7(#11) E-7(11)
-e-
I Sub V
'
§ Bb-7(11) I
L ,~1 'f;
{l bs b7 b9 } = Al3(alt9) {3 b9 #9 13} Thereisoneapplicableinversion:
i iii {# 11
~'8
1 3 5 }
D6(9)
A7(b9/b 5)
, .a-
I -7#11 b5 -71 b9 -7 5 b7 -7 3
-&
§¥s
II
l
Eb (#ll) Ab (add9) ~
I
0..0.
11
Ii
•'Z
II
Note: The dom7(#11) voicing could have a lydian fu nction, since no 7th is present: {l 3 5 #I I} C(#ll ) =Cmaj7( jll) .The EC# 11) chord under dom7(# Illb9) presents this function.
141
Chapter Eighteen. New Voicings By examining all of the possible interval combinations that are physically available within Lhe established framework (9,~ l 0, 10. 11, and~ 11) on the middle fo ur strings of the guitar, (excluding doublings and ~9th intervals), we see that the vast m aj ority of these voicings already have been introduced in the tension chapters. W ith the exceptio n of one voicing. the few remaining interval combinations physically available within this framework appear to be inversions of the ninth (no 3) or ninth tno 5) chord voicings introduced in the Tension 9 chapter or drop 3 type voicings. b oth of which produce some physically difficul t fingerings and potential voiceleading problems wher. inte grated with drop 2 voicings. L O\\" l merval Limits allowing. these voicings offer ail of the enharmonic possibilities previously applied to their chord tones and tensions under the Enharmonic Chordal SubsUtution chapters . ~inth
(no 5) Chord Inversions : dom7(9)
9
...
dom7(#9J
~7~b7 3~9 1
T he foll owing ninth (no 3) or ninth (no 5) chord voic ings can be produced by using the same inversion formula:
9
9
Z>
9
_1
.)
I
7
dom7(# 9)
_..,
9
9
3
b7 min 7(9)
maj6(9)
]
,,l
~7
dom7sus4(9)
6
domn5(9)
'.'J
9
J
1
b3 b7
k.
b7
I n:.: followmg drop 3 type voicings arc physicaliy available on the middle fo ur strings:
d orn7
3 J
::.
b7
dom7 b5
3 I
min7b5
b ~'
.
b7
142
b3 I b5
b7
dom7#5
min7#5
I
b7
1 b7 b3
3
#5 dom7sus4
#5
min.maj7(11) 7
b7 5 I
5 1 11
4
Obvious enharmonic substitutions:
b3 -
l -
3
l 6
b7 - 9
b7 - 5
b3 - 5 #5 - 1
1 -
bs - b3
7 5 1 11
- #11 - 9 - 5 -1
The final voicing introduced in this chapter is unique in that its chordal structure has not yet been introduced. This voicing also affords only one "legitimate" chord. although a couple of "progressive" enharmonic chordal substitutions will be offered.
C::::::::::D#
5
~ major 3rd perfect 5th<::::::B ~ 1#9 major 3rd<::::::::E ~ 1d3 C
Ab7(b 131#9)
~ 3
AdditionaJ possible enharmonic chordal substitutes: Cmaj7(#9) {l 3 7 #9 } A-9(#11) {b3 5 9 #11 }
This voicing aiso might imply an incomplete polychord. The bottom two notes form a major 3rd intervaL suggesting me root and third of an incompl~re major triad, while the rop rwo notes also fom1 a m~ior 3rd interval, suggesting a major triad a half-s tep below or major 7th above the bottom structure: D~
implies a B ;najor triad over a C m~ior triad.
B E
c
143
FJ
c
Chapter Nineteeno Enharmonic Substitutions of Ninth Chords with omitted third or fifth The ninth (no 3) and ninth (no 5) chord voicings introduced in the Tension 9 chapter produce some of the most interesting and useful enharmonic chordal substitu tions. Some of these chords have so many substitutions that it is possibie to find one voicing that will satisfy all three basic harmonic functions: Cmaj9 { l 3 7 9}
=
Am(l 1/9) {~35911}
Tonic Am(l 119) (Cmaj9)
I
F#-7b5(b 13/ll) {b5 b7 llbl3}
I
Ab 7(alt51#9) {3b5#5#9 }
Dominant
Sub-Dominant B-7 b5( b 13111) (Fmaj9)
E7~alt51#9) (A~rnaj9)
It is conunonly referred to as "constant structure harmonic motion" when moving one voicing around to satisfy different chords. This conrept will be examined in more detail in the later chapter appropriately titled Constant Structure Har monic lVfotion. The follow ing list will include all of the ninth chords with omitted 3rci or 5th and their enharmonic substitmions. Cmaj9 {1 3 7 9}
Am(l 1/9) I Fmaj7(131# 11) I F#-7b 5(b 1311 1) I A b7(alt5/#9) I D9(13) I E7( b 13)
Cmaj9(b5) { l b579}
Ab 7b 5(#9) ID 13 I A-6(1119) I F# -7 bscb J 3/11) I FI3(# 11/b 9) I B7(alt9)/E9( b13)
C-maj9 { l b37 9 }
F13(# 11) I B7(alt9) I Dl3(b 9J I Ab7(# 111#9) I A-7b5(l l/9J
C -9 Ebmaj7(6) I F13sus4 I D7(b9!#5) I Ab9(# 11 ) jl b3 b7 9 } C -9 b5/ C9b5 D7#5 IAb9(b5)1F# 7(al6)/G-maj7(11)!Ep-maj7(6)/E-7b 5(b13/9VE9(alt5)/Bf,9+ /Fbsus4( b'l
{lb5b79) C6(9) { l 3 G 9}
Am(l i) I BP maJ9(b5.i / Fmaj7(6) I D-9 1F~ -7\alt5) I G-6( 11/9) I A~ 7(alt5/b9) I D9 I E-7 #5(1 l !
C-6(9 )
Fi 3 I B7( alt9) .' D7Cb9) I A~ 7: ~ ll/b91!A-1lf, 5 I E~maj7(6/b5 )
llb369} C9 f l 3 ~ 7 9\
G? 7(alt.5J /D9+ /Ab9
C 7(b9) Gb7( ~I I) I Db -maj7<6"l I Eb l 3(bQ) I A 7< alt9) I Bb-7b 5(9) {13 b7b9} C7(lt9) {I b7 #9}
G!, 13(b5) I Db-maj7(6/9) I ..:.. 7 (alt9.' :! 1!1IEb13(b9) I Ab9
C9(b5 )
refer to C-9(b 5) abo\'e
C9(#S) { l ~5b79}
refer to C9 above (C9
C9sus4 { i 4 b7 9)
D-7 ~ 5 I G-7(1 1) I B b! add9) I F-6(11 ) I Ab6(91ff l I ) I
3
= D9#5J
144
Ab 13( #11/9) I D7 (#91#S) I E7( alt5/b9 l I Bl,9
The following "blues" progression will use ninth (no 3) or ninth (no 5) chord voicings to substitute each chord. The original chord changes are above the stave while the ninth chord substitu te~ are below in parentheses. F6(9)
'
F
Fmaj7(6)
E-7b5(b 13)
r
~
(F6(9))
(C6(9))
Bb13
Bb7(alt5)
, 1,F (F-6(9))
I'
A7(b9) ?
~~
1p
I
(Bb6 (9))
Bb-7(11)
(G-6(9 ))
I
1)
(E9)
(E b9sus4) (Db6(9))
$
~~
' ' I
(Bbmaj9) (G-9)
&[~
I
C7(alt5)
C7(alt5/~9)
1t; 1;1 I
(Gb9)
(Emaj9)
(Eb9sus4)
Am(ll/9) D7(alt9)
:~
I
(Cmaj9) (Eb -maj9)
I~
;,~;
I
I I
(F6(9)) (Eb-6(9))
145
F7(#9)
1z#~ !
(E bmaj9)
Ab-9
(F7#9)
Db13(#11)
~~,
1~1I
&~~
F6(9) D7(alt9)
Cm(ll/9)
i~r
'if
(F6(9))
Eb9
11it~
Gm(ll/9) G-9
Dm(ll) G7(alt5/b9)
I &~
(A~ -maj9)
(Gb6(9))
G13(b5) C7(alt9)
I
I
~~
(Db7(#9)) (Db -6(9))
Fmaj7(6)
II
i
(C6(9))
II
Chapter Twentyo Tension Additions on Diminished 7th Chords Ir must be noted that when tensions are added to a dim7 chord. the symmetrical quality of the chord is destroyed and the resulting voicing is often heard as something different than a diminished chord. To further compound this problem. most dim7 chords already functio n as dom7b9 chords, even before any tensions are added. Therefore, exploring tension additions on dim7 chords might prove of limited value and is presented with this in mind. All \'Oicings produced by the addition of tensions on dim7 chords have been previously introduced enharmonically as dominant chords with various combinations of tensions~9, #9, #11, and 13. Further examination of these tensions will be performed under the Symmetrical Dominant Substitutions chapter.
There are basically two approaches to the addition of tensions on diminished 7th chords. The first is the symmerr]r · approach. in which a whole si:ep above any dim7 chord tone is an available tension. The second is the diaton. approach. in which the tensions are chosen from the key or function of the moment. In either case, the tensions must be reaiized on the true function of the dim7 chord. If the dim7 chord is functioning as a dominant chord, the tensions added to the dim7 chord must be realized on that dominant chord: C 0 7(9) is functioning as F13(b9) ... the 9th of C0 7 is the 13th of F7(b9). In comrasL. if tbe dim7 chord has no dominant function. and instead is functioning as a "tonic-diminished" or chromaticallv descendin2: diminished. the tensions should be realized on that dim7 chord. Uoon further examination of the symmetrical appro'ach to tension addition on dim7 chords, we see tensions 7, 9, 11, a~d b13 appearing a whole step above the chord tones. Combining chord tones and tensions produces the traditional symmetrical diminished scale;
2
4
#S( ~13)
6(b b7)
7
8
L l _j L112_JL 1_JL l/2_J L l _J._____l/2 __J ~-- 1 _J L112 J
Tension b13 will be used instead of its enirnrmonic #5 spelling, which might apoear confusrng withm a dirr1ir.ished context (aug:rnented Sth on a dimi nished chord ). although !5 does . in facL describe this tone 's relation to the scale more accurate1Y b~;- ~ ~3. Within this chanter. bl3 \\ill nm imoiv nmurcl 5 . . since the naturc:.i 5th m!~ht -- r~c m1oiied . ... .
.
~ote that the major 7th appears as a tension above thebb7 chord tone. When the major7th is added to a dim7 chord, it is commonly referred to as a "dim.ma,i7" ..or .. tonic diminished" chord.
Since d1m7 chords duplicate the111selves tnrOL:gr. .minor .);·d inversions. b.e aware of rension relative dim7 chords:
adcfaior.~
on
~l!
four
no ~ensiom C 0 7 = Eb 0 7 = Fr'/ = A c7 oncrens1on C;maj 7 = Eb 0 7(b l 3) =.F~ 0 7(JJ~ = N,7(9) twotensionsC·maj7 (9; = Eb~maj7(1: rel="nofollow">1 ?. = F #..;7(ol3!li; = N '7(11/9) two1en:;ionsC0 maj7(11' = E~ 0 7!bl3/9 ) = F~ 0 mai7(1}) = .A 0 7(b!3/C}; threetensionsC·maj7(11/9) = E b-maj7
=D
0
7
146
Since a dim7 chord commonly functions as a dom7(b9) chord a half-step below any dim7 chord tone, tensions added to the dirn7 chord should be realized on all four relative dorn7(b9) chords: no diminished tensions
C0 7
=
E~ 07
=
F# 7
0
=
A0 7
B7(b9)
=
D7(b9)
=
F7(b9)
=
Ab7(b9)
one diminished rension
C0 maj7
=
Eb 0 7(b l3J
=
F# 0 7(1 I)
=
A 0 7(9)
B(b9)
=
Dl3(b9)
=
F7(# l llb9)
=
Ab7(#9)
two diminished tensions
C0 maj7(9)
=
Eb maj7(b 13) =
F# 0 7(b 13111)
=
A 0 7(11/9)
B(#9)
=
D l3(b9)
=
F J 3(# l llb 9)
=
Ab7(# 111#9)
two diminished tensions
C0 maj7( 11)
=
E b 0 1cb 13/9)
=
F# 0 maj7(1 l)
=
A0 7(~ 13/9)
BC# I llb9)
=
Dl3(~ 9)
=
F(# l llb9)
=
Ab l 3(#9)
three diminished tensions
C0 maj7(1 l /9)
=
Eb
=
F# maj7(b 13/11) =
B(# 111#9)
=
D ( l31#9)
=
F(131#l llb9)
0
0
maj7(b 13/9)
0
=
A 0 7(b 13/ 11/9) Ab 7(1 31# 111#9)
Note the dominant tensions (b9, ~9 , #11, 13) formed by the symmetrical diminished scale. By combining these dominant tensions and chord tones, the symmetrical dominant diminished scale is produced:
b2
#2
3
#4
5
6
b7
8
L l /2_jL. 1 _J 1- l/2 _J '._l_J:_ l /2_JL 1_JL1;2-1L1 ~
This scale and subseouem chords will oe examined further in the s,·mmetrical Dominan t Suhstitutions chanter. •
•
L
All substitute chords produced by the addition of 1ensions 7, 9. 11 and b 13 on a dim7 chord are either dominant and/ or hvbrid chords and have been oreviouslv introduced as dominant chords with various combinations uf tensiom '.'9,f.9.~11,13: , -
147
One tension; c cmaj 7 = E b 0 7(~ 13) = F # 0 7(1 1) = A 0 7(9) ._. First introduced as a dom7(# 9) (Ab7(#9)) chord. One inversion forms the hybrid chord B/C.
Two tensions : ccm~j7(9J = Eb ~maj7( b 13 J = F# 07( b1311 l) = A07(1119) First introduced as a dom7(# 111#9) (A b7( #111#9)) chord. Two inversions form t\\'O different hybrid chords, BID and Bm!Dff. Two tensions: cc maj 7( 1 JI = Eb 07(bl 3/9) = F ~ <Jmaj7(1 I) = A 07(b 13/9) First inrroduced as a d om13(# 9) (Ab 1 3( ~ 9) I D l3(~9)) chord. Three tensions: ccmaj7< 11/9) = Ebcmaj7( b 13/9) = F tt 0 maj 7(b 13111) = A0 7(b 13/11/9) First introduced as a d om 7 (b 91~11113) (F( J 3, ~ 11/b9) { I ii 9 ~ 11 13}) chord. One in version forms rhe hybrid chord Bm/F.
The diatonic approach to tension addition, on a dim7 chord can form different tensions dep~nding on the key or function of the dim7 chord. In the key of C. c~ ~7 C#I-c·7l would have tensions 7 (C), b9 (D), ~ I l (F). and b13 (A), which are derived from the key of~. Since 0 7 usuall y functions as a dominant V7 b9/II chord (A 7( b9)). the C ~ 0 7 tensions should be realizea on A 7(b9) : ~9 (C) . 11 ( D ), ;ii3 (F).root (A ).
#I
The following chan might be helpful in determin ing the ··function·· of a di m7 chord. A diminished chord will either ha\'e a dominant func tion or its own dimin ished functio n. If there is no clear dominant fu nction. the v " assume irs own tuncrion of ronic diminished (I"7 l or descendir.2 chromatic diminished (~ IIF7 I j, \ Keep in mind , since one dim7 chord equuls three other dim7 chords, there are only three different dim/ c .. possible:
= E~ 7 = F# 7 = A 7 C # 7 = E 7 = G 7 = Bb 7 D 7 = f 7 = Ab 7 = B 7
1)
C0 7
0
2) 3)
0
0
0
0
0
0
0
0
0
0
The foliowing chart is relative to the key of the moment: lI
2)
V IT0 7 = IT 0 7 = JV 0 7 = ti V 0 7 dominant tuncrions~ V7l ·)J l - of· VI. or V7( b9)
bVII07
= ~1°7 =
III07 = V07
dominant functions: \ '7fl,tl l - of - !!. o~· V7(b9 1 - f,f - TV
7 = b\'0 7 <#II 7) ( ~ TV 0 7) dominant functions: V7(,9 J - of- III. or V7C b9 i - of - V I Tonic Diminished cr·1 ! I Chromatic descending dimi nished ( i, n1c7 I~ y c:7)
3 ) VI0 7
= 1°7
=
bm
0
0
Jn the key of C: j I
s c7 = Dc7 = F~ 7 = G zc7 domin ant functions; E7 < :> 9l/ G 7<~9;
2 1 B;"7 = c : c7 = E"/ = G"7 dominant function!-. : A7( ,9 1 I C7( ,c.; J
-' > A"' 7 = C ·i
= Eb c7 = u~-7 < D ~ c7 J
domin ant function s: B7(f>9 ) I D7(b9 1 I Tonic Dim inished (C 0 7l (C"maj7 1 I Chromatic descending
148
Chapter Twenty-One. Constant Structure Harmonic Motion The E nharmonic Chordal Substitution chapters present many different chord types and functions within a single chord. It is subsequently possible to harmonize a progression of di ffe rent chord types and fun ctions with a single chord type. If on ly one inversion of this single chord is used while harmonizing a progression, it would be referred lo as "constant structure harmonic motion." The following example uses a maj6(9) (l 3 6 9) chord to harmonize the original chord progression (written in parenthesis).
G6(9) (Cmaj7)
D~ 6(9) .(A 7) ........ ·.,·,
C6(9) (D-7)
B6(9) ~ G 7)
Bb6(9) (E-7b 5)
F6(9) (0-7)
Db6(9) (A7)
Db6(9) (G7)
C6(9)
(C)
Although this approach can go "outside" of the original harmonic functions, often by symmetrical motion of one voicing, the approach here wi ll be to satisfy the original fu nctions through the use of their enharmonic substitu tional possibilities. Dominant chords offer some symmetrical constant structure possib ililies that will be examined in the fo llowing chapter. Obviously, this concept will often comprom ise vo ice-leading, but this can be accepted when the harmonic structure never varies. Voice-leading is at its best becween varied structures. Those chords found to have the most s11 bstitutions and varied functions perform best in a constant structure approach. The followin g chords will be examined fo r their most co mmon substitutions and functions, and each will be placed in a number of II-V-I situations to display their di fferent functions. Those chords that can satisfy all three basic functions have che best constant structure possibilities.
Maj or7bs Cmaj7b 5 = A-6(9) = F tt -7b5(1 1) = 07( 13/9) = Ab7( #9 #5) Tonic Function
I) D-7 2) B-7b5 3) G7
Sub-Domi nant Function
1) Cmaj7b5 {F#-7b5(11 ) )
Dominant Function
1) A-7
Cmaj7b 5 {D7( 13/9))
Gmaj7
2)Eb -7
Cmaj7b5 {Ab 7C H9#5))
Db n1aj7
G7 E7 A7
Cmaj7b5 (Lydi an) Cmaj7b5 {A-6(9)} (Minor) Cmaj7~ 5 {D7(13/9)} (Blues) 87
Em
Mult i-Function (Constant Structure) 1) Cmaj7b5 {F#-7b5(1 l)) 2) Fmaj7b5
Ebmaj7b5 {B7(#9US)} Dbnrnj7bs {A7( #9#5 ) )
{G7(13/9) }
149
Gm
C1naj7 p5 I 0 7( 1319) l
Minor7bS C-7b5
...
=Eb-6 =Gb6(b5) = Ab9 = D7(b9tt5)
Tonic Function
I ) Ab-7
2)F-7b5 3) Db7
Db7 Bb7 Eb7
C-7b 5 {Gb6(b5)} (Lydian) C-7 b5 {Eb-6} (Minor) C-7b5 (Ab9 } (Blues)
Sub-Dominant Function
1) C-7b5
F7
Bbm
Dominant Function
1) A-7 2)Eb-7
C-7b5 {D7(b9tt5)} c~b5{Ab9}
Gmaj7 Dbmaj7
Multi-Function (Constant Structure) 1) C-7b5
2) F-7b5 {Db9}
Eb-7b5 {F7(b9tt5)} Db-7b5 {E b7( b9tt5)}
G-7b5 {Bb-6} C-7b5 {Ab9}
Minor7#S C-7#5
= Ab (add9) = F-7(11) = Dbm
Tonic Function
I) Bb-7
2) Eb-7
3) G-7b5 Sub-Domi nant Function
Eb7 Ab7 C7
C-71 5 {Ab(add9)} C-7 5 {Dbmaj7(6/9)} C-7 5{ F-7(1 1)} Bb7 F7 Eb7
I) C-715 {F-7(11))
2) C-7 5
3)C-7 5{ Bb-7(11/9) } Dominant Function
l ) A-7
2) G-7 3) F-7
Ebmaj7 Bbm Ab6
C-715 {D7(b9/alt5)} 06 C-7 5 {C7(#91tt5)} F6 C-7 5 {Bb9sus4} Eb6
Multi-Function (Constant Structure) 1) C-7#5
Ab-7 tts {F-7(11)) {Bb7(b9/alt5)} Eb-7#5 2) C-7#5 {C-7bS(b l3)} {F7(~9/alt5 )}
150
G-7#5 {Eb(add9)} F-7#5 {Bb -7( 11)}
Dom7#S C7 #5 =D b-maj7(6) =F-maj7( 1 l) = Bb -7b5(9) or Bb7b5(9) = D7(9/alr5) = E7(alt5) = Ab 7 # 5(9) = Ob 7b5(9)
C7 #5 { Db-m<~7(6) } C7#5{F-maj7( 11 )}
Ton ic Function
1) Eb-7b5 2) 0-7b5
Ab7 C7
Suh-Dominant Function
1) C7# 5{B b-7b5(9) } Eb7
Dominant Function
1) B-7 2) A-7 3) F-7 4) Eb -7 5) C# -7
C7 C7 C7 C7 C7
Abm
5{ E7(alt5)l 5 {07(9/alt5)} 5{B b7b 5(9)} 5{Ab7#5(9)} 5{F#7~5(9)}
Amaj7 06 Eb6 Db6 B6
Multi-Function (Constant Structure) 1) C7~ 5 B7#5 {Bb-7b 5(9) } {Eb7(alt5)}
Eb 7 #5 ...... ... or. ......... 07#5 {Ab -maj7(1 1)} {Ab-maj7(6)}
Dom7sus4 C7sus4=B b6(9)=G-7(1 l)=Eb6(9)=C-7(1 l )=Ab maj7(9/6)=F-7( 11/9) or F9sus4=A7 #5(alt9)=E7(alt9/alt5) Tonic Function
1) C-7 2)F-7 3)Bb-7 4)A-7b 5
F7 Bb7 E b7 D7
Sub-Dominant Function
l) C7sus4{ G-7(11 )} 2) C7sus4{ C-7(11) } 3) C7sus4{F-7(11/9)}
Dominant Function
1) E-7 2) B-7 3) C-7
C7sus4{Bb6(9)} C7sus4{Eb6(9)} C7sus4{ Abmaj7(9/6)} C7sus4{G-7( 11)} C7 F7 Bb7
F6 Bb6 Eb6
C7sus4{A7#5(alt9)} C7sus4{E7(alt9/all5)} C7sus4{F9sus4}
D6 A6 Bb6
Mu lti-F unction (Constant Structure) 1) C7sus4 {G-7(11)} 2) C7sus4 {C-7(11 )}
E b7sus4 {C7 #5(alt9)} C# 7sus4 {F7(alt9/alt5)}
D7sus4 {F6(9)} D7sus4 {Bbmaj7(9/6)}
Major7(9) (1 3 7 9] Cmaj7(9)
=A-(1119) = F#-7b S(b 13/11) = D7(1 3/9) = Ab 7(# 9/alt5)
Tonic Function
1) D-7 2) B-7b5 3)07
Sub-Domin an t Function
1) Cmaj7(9) {A-(11/9) } 2) Cmaj7(9){ F#-7 b5(b 13/11 ))
07 E7 A7
Cmaj7(9) Cmaj7(9){A-(l l/9)} Cm
151
D7 B7
06 Em
Dominant Function
I) A-7 2) Eb -7
Cmaj7(9){ D7(13/9)} Cmaj7(9) {Ab 7(#91alt5)}
G6 ... Db6
Multi-Function (Constan t Structure) 1) Cmaj 7(9) {A-( 11/9)} 2) Cmaj7(9) {F #-7 b5( bl3/l l) } 3) Fm aj7(9) {G7( 13/9)}
F #maj7(9) Gmaj7(9) {D7(#91alt5) } Eb maj7(9) Gmaj7(9) {B7( #91alt5)} {E-(1119)} Db maj7(9) Cmaj7(9) {A7(#91alt5)} {D7(13/9)}
Major6 (9) [1 3 6 9] C6(9) = Am(l l) = Fmaj7(6) = Bbmaj7b5(9)
=D-9 or D9 = F #-7b5(b13) =Ab769/alt5)
Tonic F unction
G7 E7 C7 A7
1) D-7 2) B-7b5 3) G-7 4) E-7b5 5) C-7
F7
C6(9) C6(9){Am(l l )} C6(9){Fmaj7(6) } C6(9){D-9} C6(9) {Bb maj7 b5(9)}
Sub-Dominant Function
1) C6(9){ Am(l l)} 2) C6(9){F#-7b 5(b 13) ) 3) C6(9){ D-9}
Dominant Function
l) A-7 2) Eb-7
D7 B7 G7
G6 Em C6
C6(9) {D9} G6 C6(9) {Ab7( b9/alt5) } D b6
Multi-Function (Constant Structure) 1) C6(9) {Am(l l)} 2) C6(9) {F# -7b5(b 13))
F#6(9) D6(9) {D7(b9talt5) } {Gmaj7(6)} Eb 6(9) G6(9) {B7(b9/alt5)} {Em(ll)}
Dom7(9) (1 3 b7 9] C7(9) = G-6(11) = Bb(9/b5) = E-7bscb 13) or E7(alt5) = F#7(alt5) = D7#5(9) = Ab7(9/alt5) ·,,.·. •
Tonic Function
1) A-7b5
2) C-7
D7 F7
Sub-Dominant Function
1) C9{E-7bscb 13)1
Dominant Function
1) 2) 3) 4)
B-7 C#-7 A-7 Eb-7
:~··
C9 {G-6(11)} C9 {Bb (9/b5) } A7
Dm
C9{ E7(alt5)} C9{ F# 7(alt5)} C9{D7#5(9) } C9 {Ab 7 (9/alt5)}
A6
B6 G6 Db6
Multi-Function (Constant Structure) l) C9
Eb9 {E-7b 5( bl3)} {A7(alt5) )
152
G9 ....... or ........ E9 {D-6(11 )L {D(9/ b5)}
When only one inversion is used in the multi-function examples, it is considered a "constant structure" approach to the progression. If different inversions of the same chord are used, the constant structure sound is lost, but voiceleading improves and the "sound" of using one chord type remains . This might half-jokingly be referred to as "constant chord type structures." The following is an example of the two approaches discussed on the Dom7(9) chord"s multi-function progression: C9 [E-7~5(b 13)]
Eb9 [A7(alt5)]
G9 [D-6(11)] 2) (Constant Chord Type {different inversions})
I) (Constant Structure)
C9
Eb9
C9
G9
q 0.
Eb9
I~
G9
qc@
II
At this point, special attention should be given to the minor II-V-I cadences that appeared in the multi-function examples. It might have been noted, (as in the above example), that a certain interval pattern was evoi ving between the II, V, and I chords. By establishing one chord voicing that will satisfy all three functions, it can be moved a minor third from the II to the V and a major third from the V to the I:
1• . • • "\ ....... B -J"' 1p::Jt h' ,lfd) ....... G - 7 p:: ....... (ma:Jor t h'Ird, E -7pI ~- .....lmmor II-7b5 {E-7b 5} V7 l A7(b91#5)] Im {D-6}
Any chord that will satisfy the II-7b5 chord, with or without available tensions, can be moved through this interval pattern to produce a complete minor II-V-I cadence. The following is a list of some of the most obvious chords that could function as min7 b5 chords;
F# -7b5(9) = A-maj7 ....... Ab7#5 F# -7b5(11) = Cmaj7b5 .... A-6(9) (l b3 6 9]. ...Fmaj7(#11) (3 5 7 #11] F# -7b5(b13) = D7 .... D9 [l 3 b7 9] ...... C6(9) [l 3 6 9] F# -7b5(11/9) = Cma,j7#5 ..... A-maj7(9) [1 ~3 7 9J ......A-mai7(9) fb3 5 7 9] F# -7b5(b13/9) = E7#5 F# -7 b5(b 13/11) = Cmaj 7(9) [1 379]. ..... D 13 & Ab 7(#91b5) .......E7sus4 ....... F6(# 11) [3 5 6~11]
Each one of these chords will satisfy all three minor cadence chords (II-7 b5, V7, and I-) and each one can be moved through the interval pattern to establish a constant structure minor II V I cadence. In relation to their present roots, rhev . will function as Fli,. -7 bs, Ab 7, and A minor chords. Appiication of these concepts would make n possible to harmonize an en tire song with just two or three chord rypes. The following is an example of a typical "two-five blues" harmonized with just three chords; dom 7sus4, maj6(9) [l 3 6 9], and dom7(9) [l 3 b7 9). Their inversions will aid iu some harmonic. variety and voice-leading, whiie integrated with constant structure phrases.
153
F6(9) (F6/9)
Fmaj7(6) (C6/9)
E-7b5(b 13) A7(b9/alt5) (Bb6/9) (D~6/9)
D-9
G7(b9/alt5)
(C6/9)
(Cb6/9)
I
I
B b6(9) (G7sus4)
*Bb9
(Bb9)
I
Bb-7(11) (Db6/9) l
G-7(11)
G-7(11)
(Bb6/9)
(C7sus4)
E~9
I
Ab-9
D b7(alt5) (A9)
(Gb6/9) I
I
b~ 1+"' b,,~
1 ,b'
C7(#9/alt5) *C7(a1t) (Gb6/9) (Ab7sus4)
Fmaj7(9/6) D7(#9/alt5) G-7(11) C7(b9/alt5) (A7sus4) (Ab6/9) (Bb6/9) (E6/9)
I
?
l,~rfa
bf tJ
(Bb6/9)
Iii
A-7(11 ) D7(b 9/ alt5) (A7sus4 ) (Gb6/9)
(Db6/9 )
F7(alt5) CB9)
C-9 ~
II
I
F(9/b 5) (G9)
~ ·~
II
* L.I.L. violations on weak half of measure.
Here are some additional minor II - V - I cadences with two different chord types moving through the "minor rhirdmajor third" interval pattern;
1)
(A-n5) - - - - - - - - - - - C-6{9)
Eb6(9)
(D7 )- - - - - - - - - - - - - (Gm)- - - - - - - - Eb-6(9' Gb6(9 \ G-6(91 B~6(9 1 I~
'!18 71J
i fib§ 2)
i8
1~8
i
(A-7b5) _______ ____ _ _ __ (D? ) _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ (Gm) _ _ _ E:imaj7b5 E:imaj9 Gt1maj7t16 G~maj9 G-maj9 I
3)
€-"
of+
'
~§
~I
D..Q.
!~§
I
.~ ~~~
i;-&
I . ,,,.,
I ii
~
--n
.:
11
(A-7b5) _____ _________ _ _ (D7J __________ ___ ___ (Gm)_ __ Eb6(9) F6(9) Gb6(9) Ab6(9) B~6(9 ) ~.n.
-0-
41 i54
4)
(E-~
5) ___ __ __ _____ _ (A7) _ __ _ ____ _ __ _ _ _ (D m ) ___ ___ ___ __ __ _
Btirnaj7,5
E-7b5
D::imaj7»5
G-7P5
Fmaj7b5
B-7b5 ..n
!H
bu
5) <E- 7~ 5) ·- ·- __ __ _ __ _ _ ___ (A 7 J __ _ __ ___ _ ___ _ _ (Dm) _ ___ ___ __ _ __ - -
Bbmaj7#5
~tsu ~ !)
E-7~5
G-7~ f1
DDmaj7!=5
g
Fmaj7~5
~~g
I~ ';;
B-7 ~ :3
#
-e.
I±n
··f1.fajor'' cadences ; 2 ) n - Vl i - I !-7 -V 7 - iJ:
l ) (ll-7 - V7 -1);
D6(fl :E /su.s.-!
G-7(11/ 9) C7'.15\13/b 9) Fm ~i9 •D-7~ ff::C-1 !.A-7 • ;;.e-
TI
r .1
II
~-
~*
@
155
B7, 5(aJt8 l E-7' 11-
~
A7 ~5(alt9 /
I
, D.D..
~
D m a i/(9/C: iF;/sus4 ~L:_
.: ~!!
i
Chapter Twenty-Two. Symmetrical Dominant Substitutions Every dominant chord has at least one symmetrical substitution a tritone away which has been presented as the "Sub V" chord. Specific tension combinations derived from the whole-tone or diminished scales can be placed on a dominant chord which can then be moved symmetrically ("constant structure harm onic motion") in accordance with those tensions chosen: diminished (minor third intervals), and whole-tone (whole-step intervals). Any combination of tensions 9, #l l(b5), and b 13(#5). which are in common with the whole-tone scale. can have whole-step substitutions. Seven different dominant chord structures can be produced from the various tension combinations; C7f5
C7b5
C9(no5) (I 3 ~7 9]
C9(~5)
C9(b5)
C7(alt5)
C9(alt5)
i
1\ ote that it is perhaps more appropriate to refer to# 11 and b13 as b5 and 5, si nee# l I and b13 could imp Iy a natural 5th.
Three different voicing possibilities exist for each of the last four chords:
#S
C9(#5) ........ .... [3 b7 9J, (1 #5 b7 9j. and [l 3 #5 9) C9(b 5) ............ b5 b7 9] . [I b5 b7 9) . and [13~59] C7Calt5) .......... [3 b5 #5 b7J. ll ~5 its Ii 7). and [l 3 h5 #5] C9(alt5) .......... [3 b5 ~5 9], [1,5f,51' 7 9), and [J ~ 5 ~5 9]
r3
When examining the whole-step substitutions for each chord, we find only three different interval combinations exist for four-note voicings within the whole-tone scale; _,
1)
C7 h5 [1 3b5b7]
D9(#5) [3 b7 9)
E9(alt5 ) [!~5#59]
F# 7h5 [l 3b5b7J
Ab9(#5) ~3 #5~7 9]
Bb9(alt5) [1~5#59]
2)
C7t5
E7(alt5J
F#9( b5) [3b5b79]
Ab9(#5 )
[I 3 ff 5 ~ 7)
D9(alt5 J [b 5 f5 ,, b7 9)
B b9( b5) [I bs b7 9]
C9 [I 3 b7 9)
D9(#5) [! ~5 b79J
E7(alt5) ll b5 ~s b11
F~7(alt5 l
Ab9(alt5}
[3 b5 !i5b7] ,,
f3p5~59]
3)
ns
I
(13b5tt 5J
[13~59]
Bb9(b5 ) [I3b59]
Note the symmetrica l Sub V chords in the first example;
.~7 .., ....- _F "" 7'b""'-
./-·-
TT
... ,
D9l;5)=Ab9(#5)
E9(alt5)=B b9(alt5 }
Also note those voicings missing a third could function as min 7b5 chords. and the B b9cb 5): [I 3 b5 91. could function as a Bbmaj7b5(9) chord. Any combination of tensions b9, ~9 , ~ 1 I, a:id 13. vvhich are in common \Vith the symmetrical dominant diminished scale (1 b2 ~2 3 ~4 5 6 b7 8), can have mi nor third substicuuom. fifteen different dominant chord structures can be produced from the various tension combinations :
156
Single Tension; 1) C7(~I• 11) or C7b5
2) C7(b9)
3) C7(#9)
4) C7(13)
5) C7(# l llb9) 9) C7(131#9)
6) C7(# 111#9) 10) C7(alt9)
7) C7(131# 11)
8) C7(13/b9)
12) C7(13/alt9)
13) C7(131#1llb9)
14) C7(131#111#9)
Two Tensions;
Three Tensions; 11) C7(# ll/alt9)
Four Tensions; 15) C7(13l#lllalt9)
Note that all those chords containing a# l lth tension could be accompanied by a natural 5th, or function enharmonically as ab5th. Also note the dom7b5 is the only chord that can function in the whole-tone system and the diminished system. Unlike tbe whole-tone scale, the diminished scale offers many different dominant chord types with very few reappearing under a new chord type. The following will att~mpt to organize the various dominant tension combinations and their related symmetrical substitutions over four-note structures. Single tension combinations; 1) C7b5;
(13 bs b7] = Eb 13(alt9) (5 b9 #9 13] = F#7b5 [l 3 b5 b7J = Al3(alt9) [5 b9 #9 13] C7(#11); [3 ~ b7,11] = ~b7(alt9) [3 5 ~9 #~] = F#7(b9) (1 3 ~7 b9J = Al3(b9) (5 b7 ~913) [1 ,:, b7 11] reJer to Eb 7( # 11) unoer C13(alt9) [b 7 ~9 ~9 13] [13~7 11] refer to C7b5 [1 3 S 11] refer to A(# 11) under C13(alt9) (3 b9 #9 13]
# 1
2) C7(~9);
[3 5 b7 b9] = Eb 7(b9) = F#7(b9) =A7( b9) (1 3 b7 ~9] refer to F~7 ( b9) under C7(#11) [15 b7 b9] refer to E~7( b9) under C7(alt9) [1 3 5 b9] refer to Eb(b9) under C7(#9) 3) C7(#9);
[35~719) =E b (b9)_[13 5~91 =F~ 13(b9) [3 b7b9 l3J =A7(# 111~9) [5b7b9#ll] [13 ~7 9] refer to Ff7C#9J under Cl3(#11) [1 5 b7 9] refer to Et rel="nofollow">7( #9) under C7( #1llalt9) [b7 b9 #9 #11] [1 3 S #9] refer to F#C#9) under C13(#11Jb9) [b7 b9 #1113] 4) Cl3;
[13 b7 13] = E b 13(#. l I/b9) [5b9#11 13] = F#7C#91b5) [3 b5 b7 #9] = A7(alt9) [1 5 b9 #9] [3 5 b7 13] refer to F ~ 13 under C7(alt9) [15 b7 13] refer to F~ 13 under C7(#11Jalt9) [3 b9 #11] [13513] refer to F# 13 under C7(#11Jalt9) [b7 b9 #9 #11)
#9
157
Two tension combinations; 5) C7(# 11/b9); [3 b7 b9 #HJ = Eb7(alt9) [5 b7 b9 #9) = F# 7 [l 3 5 b7] = A13(b9) [3 5 b9 13) [1b7 b9 ·#llJ refer to Eb 7(# I llb9) under C13(alt9) [3 b9 #9 13] [5 ~ 7 b9 #HJ refer to A7(# I llb9) under C7(#9) [1 3 b9 #HJ refer to A 7(# 1 llb9) under C13(alt9) [b7 b9 #9 13J [1 5 b9 #HJ refer to Eb 7(# l llb9) or A7(# ll/b9) under C13(#9) [3 5 b9 #llJ refer to A7(# 1 l/b9) under C7(alt9) 6) C7(# 111#9);
[3 ,5 #9 #HJ = Eb 7(alt9) [l 3 b9 #9J = F# 13(b 9) [1 b7 b9 13J = Al3(# 11) [5b7#11 13J [3 ~7 #9 #HJ refer to F~7(#91b 5) under C13 [1 b7 #9 #HJ refer to Eb7(# 111#9) under C13(#1llalt9) [5 b7 #'11] refer to E b7(# 111#9) under C13(#1llb9) [b7 b9 #1113] [13 #9 #111 refer tO A7(# 111#9) under C13(alt9) [1 b9 #913] [1 5 #9 #HJ refer to F#iC# I ll#9) under C13(#1llb9) fl b9 #1113)
#9
7)
C13(#11); [3b7#1113] = Eb7(#11/alt9) [5b9#9#1I J= F#7(#9) [1 3b7#9J =A13(b9) [15b913] [1 b7 #1113} refer to Eb 13( # 11) under C13(alt9) [1 b9 #9 13) [13 #1113] refer to Al3(# 11) under C13(#1llalt9) [15 #1113] refer to F#BC# 11) under C7(#1llalt9) [1 b9 #9 #11] [3 5 #1113] refer to Al3(# 11) under C7(#lllalt9) (3 b9 #9 #111 [5 b7 #1113) refer to Al3(# 11) under C7(#111#9)
8) C13(b9);
[3 b7 b9 13) refer to F# 13(b9) under C7(#9) [1b7 b9 13J refer to 13( b9) under C7(#111#9) (5 b7 b9 13J refer to A13(b9) under C7(#11) [13 b9 13] refer to A13(b9) under C13(#111b9) [b7 b9 #1113] (15 b9 13] refer to Al3(b9) .under C13(#11) (3 5 b9 13J refer to Al3(b9) under C7(# 111b9)
F#
'.! ! C13(#.9); [3b7#913] =Eb7(#lllb9) [l 5h9#11J=F#13(#9) [3b7#913J = A7(#1llb9) [1h7 ~9 13) refer to Eh 13(#9) under C7(~11ialt9) [1 b9 #9 #11) [5 ~ 7 #913] refer to F# 13(#9) under C13(alt9) [3 b9 #9 13] (13 #9 13) refer to A13(#9) under C13(#1llb9) [1 b9 #1113] [15 j 9 13] refer to Ftl 13(#9) under C13(#1llalt9) [3 5 #9 13] refe r to Ff 13(#9) under C13(alt9) rh7h9 #9 13]
ll 5b9#11]
10) C7(alt9); [3h7 h9#9J =Eb7(b9) [I 5b 7b 9J =F#13 [3 5b713) = A7(~lllb9) [3 5b9#11] fl b7 b9 ti.9J refer to Eb 7(alt9) under C7(~11/alt9) (3 b9 #9 f111 · [5 h7 b9 #9J refer to Eb 7(alt9) under C7(#1llb9) [1 3 b9 #9J refer to Eb7(alt9) under C 7( #111#9) [1 5 b9 #9] refer to A7(alt9) under C13 [3 5 b9 #9] refer w Eb7(alt9) under C7( #11)
158
Three tension combinations; ~
11) C7(#11Jalt9);
#
#
[ b7 b9 #9 #11] = E b7 ( #9) [ 1 5 b7 9] {E b-7 } = F# 13 [ 1 3 5 13 J {F#6 } = A 13 ( #11 I b9) [3 b9 11 13] [3 b919 #11] = Eb 7(alt9)[1b7 b9 #9] =Fi 13 [1 5 b7 13] = A.13(# 11) [35 # 11 13] {A6(# 11)} [lb9 9i11J=E~13(#9)[~b7 # 913]=F,1 3 (#11) [15#1113] {F#6(#11)} =Al3(#111#9) [3#9#1113] [5 b9 9 #HJ refer to Eb7( # ll/alt9) under C13(#11)
12) C13(alt9); [3 !,9 #9 13] = Eb 7(# 11/b9) [l b7b9#11] = F#, 13(#9) [5 b7 #9 13] =A(# 11) [l 3 5 #11] [b 7 b9 #9 13] = Eb 7(! 11) [l 5 b7 # il J = F~ 13(f, 9:' [3 5 #9 13) =A7(# 1 l/b9) [ 1 3 b9#11] [1 b9 #9 13] = Eb13(i 11) [1 b7#11 13] = F# 13(# 111#9) [5#9#11 13] = A7(#111#9) [13 #9#11] [5 b9 #9 13] refer to Eb 13(alt9) under C7b5 13) C13C#lllb9);
[lb9#1113] =Eb13(#1llt9) [b7#9#Il 13] =F#7(# 111#9) [l 5~9#11. J=Al3,(~ 9) [1 3#913] [b7 !,9 #1113] = Eb7(# 11/~9) [5 p7 #9 #11 ] = F#(~9) [I 3 5 #9J = A 13(p9) [13~913] [5 !,9 #1113] refer to Eb13(# 1 l /b9) under C13 [3 b9 #1113) refer to Al3(# 11/b9) under C7( #1llalt9) [b7 b9#9 #11] 14) C13(#111#9);
[3 #9 #1113] refer to A13(# 111#9) under C7(#1llalt9) [1 b9 #9 #11] [5 #9 #1113] refer to F# 13(# 111#9) under C13(alt9) [1 l,9 #9 13] [b7 #9 #1113] refer to Eb 13(#111#9) under C13(#11Jb9) [1 b9 #1113] (1 #9 #1113] is enharmonically the same as C0 7; 1 b3(#9) b5(# 11) b b7(13), therefore C13(# 111#9) = Eb 13(# 111#9) = 13(# 111#9) = A13(# 111#9).
F#
Four tension combinations; 15) C13(#1llalt9); [b9#9#11131 =Eb7(#111 ~ 9) [l b7#9#11] {Eb-7 b5 } =F#13(#9) [15#913] {F#-6 } = Al3(# 11) (13 #11 13~ {A6 b5 )
Note, with the exclusion of the dom7 b9 and the domlJ(# 111#9), the symmetrical Sub V chords in the dom7 b5 and dom13
E~ 7(#9) [ 1 5 ~ 7 #9] =Eb -7 F# 13 [ I 3 5 13]_ = F~ 6 Al3(# 11)[35# 11 13] = A6(# 11) E b13(#9) [1 b7 ~ 9 13J = E~-7(1 3) {Modal Dorian} F#I3( #11) [15 ~ 1113] =F#6C # ll ) Under C13(alt9);
F# 13(#9) [5 b7 #9 13] = F.#-7(13) {Modal Dorian} A ( #11 ) [ l 3 5 #11 ] = A7 ( #11 J or Arnaj 7( ~ 11) Under C13(# 111#9);
[1#9#11 13] = C0 7
Under C13(# ll/aJt9);
Eb 7( # 111# 9) = Eb -7b 5
A 13(# 11) = A6b5
159
The following II - V - I examples will present a single voicing in all of its relative symmetrical dominant functions. 1) Whole-tone (dom7 b5):
D-7
Cmaj7
Gn 5
~
~~
Ab-7(11)
A9(#5)
..a.
..0.
..0.
'
E-7(9)
I!
Db7b5
Gbmaj7
Bb -7(9)
b.o..
-&
D6(9)
..a. ~!
F#-7(11) B9Calt5) ..0.
-&
&!
II
c..., -
F9(alt5)
Bb6
b.o.
b.o.
b..a.
/
b..a.
.0..
E6(9) ..0.
&~
II
Eb9(#5) Abmaj7(9)
Ii
..0.
II
II
~) Diminished {doml3(b9)};
E -9 ..0.
'
F6 (~11/ 9 }
A13(b 9) Dmaj9
~-
G-9 C7(P.11/b 9i
-&
11&1
B l1-9
!
~;
Db7(U l /b 9) F-9 Bb13(~9) E bmaj7b5 Ab-7b5 Gb-6
~
',#~
bo
0
I!
l
~~~
120
~
II
A:i maj7(9/ 6) n7sus4
E:;i7 ( ~9)
~m
..a.
0..0.
F~ 7(b 9 ) B6(9 ~
i~ ;J~
II
,µ..O.
~e~
l+j2
El3(~ 9 )
G7(Ul/b 9) A-maj7(6) D-7( 11) C-6(9)
B-7b5(b 13)
II B .,#~
1:~
b~~
0
II
0
231
The following II - V - I examples wW move one voicing symmetrically , "constant structure harmonic motion." over a ~ ingle dominant chord.
J) Whole-t0ne (dom7#5); D-7(11 )
D-9
G9rn5 1 (B7~ 5 ) I
I
II
;fG
I ....
G9(b5 i G9(alt5 )
>
'
c;::-
~: ~fr
~~ ~t..o'
C6(9)
G7#5 (G7;5 l
.~!
Q I
I
I
0
I
'
2) Diminished {doml3(~9)};
A7sus4
A-9
Gmaj7
()
I
·· ~
160
I
ti!
Chapter Twenty-Three. Altered Dominant .,.. As was presented earlier in the Dominant Substitute V Chord chapter, altered or "alt" on a dominant chord refers to the fifth and ninth being flatted and raised; ( b5, #5) and (b9, #9) . Adding the root and guide tones to these altered notes produces an ''altered" scale or seventh mode of the "real" or "jazz" melodic minor scale; b2 (b9)
#2
<# 9)
bs
3
#S
[,7
8
(#11) (b13)
Observing the altered dominant scale fror- its Sub V shows a "natural" dominant scale, (or "Mixolydian" mode), with# 11. This scale is often referred to as the "Lydian b7" scale or fourth mode of the "Jazz" melodic minor scale;
Eb
D 6
C Melodic Minor.. ................. C F Lydian b7 ......................... ... 5 B Alrered................................ b2
#2
~7 3
F 1 ~5
G 2
#S
A
B
c
l
5 l,2
#4
3
b7
Tension #9(#2) and~ 5 (sometimes referred to as I, 13) appear to be the most "characteristic" altered chord tones or tensjons since they are al~o tensions 9(2l and 13(6) on their relative Sub V chord. The following lists the different dominant chords and tension combinations that have been presented and could be used as "altered" chords; 1) Basic 7th chords;
dom7b5
dom7#5
2) Single tension chapters;
Tension 9; dom7#5(b9) dom7b5( b9) Tension 11; dom7#5(# 11) or dom7~alt5)
dom7b5(#9)
dom7#5(#9)
3) Two tension chapters;
Tensions 9 & 13;
dom_7b5(~ l3/b9) or (~9/alt5)
dom7b5(b131#9) or C#91alt5)
4) Altered 9th Tensions on Dom7th Chords;
<.iom7b5(alt9)
dom7(alt9/no5)
dom7(alt9/alt5)
dom7#5(alt9)
The altered dominant contains a unique and characteristic property in the placement of parallel voicings a wholestep apart on the b5th and #5th of the original altered chord. By placing either major triads, dom7ths, or dom9th chords on these notes, an altered "upper-structure" sound is produced;
G7(alt);
(#5th) - Eb , Eb7, or Eb9
(b5th) - Db , Db7, or Db9
Realize each chords relation. to the original aitered chord ; Db .......... . G7(alt) .... .
1
bs
3
9 #5
5
b9
l,7
Eb ........
1
G7(alt) ..
#5
9 ~7
3 1
Note the sixteen different dom9th voicings produced by using all four "drop 2" [3 5 b7 9) and all four "ninth (no 5)" [1 3 b7 9] chord inversions on both Db9 and Eb9. Two additional structures, major(add9) and dom9(no3 ), can be placed on the b5th and #Sth of an altered chord as well. These structures could be viewed from perhaps a more familiar enharmonic root; Dh add9)
=F-7# 5
E b(add9)
=G-7# 5
RootrelationtoGaltered;
Db9(no3) =B6(9) [1 3 6 9]
bVII-7#5
I-7#5
III6(9)
"""' 161
Eb9(no3)
=D~6(9) [l 3 6 9]
bV6(9)
Notice three of the above voicings have rhree alrered tensions while G-7 #5 has two. Also note G-7 #5 and Db 6(9) contai n the " charncre ristic" #5 and # 9 altered tensions. while F-7 n5 a nd B6(9) h<.~ve the same three tensions; (b5, ~ 5. and b9).
G-7 #5: G7(alt) ..... ... ..... .. .
F-7P: G7Calt) .. ........... .
G I
b7 ................................ .
F
D b6(9):
Db bs
F
Eh
B6(9);
B 3
#5 ................................. .
b7
Additional 110H-sym111e1rical structures built off the b5th and# 5th of the dominant altered could include the triad plus any remaining altered notes:
Eb(b 13) [1 3 5b13]
Eb(add4) [I 3 4 5]
Db6[1356]
(G alt1:
These 1riads could place their additional notes in the bottom voice producing some interesting hybrid structures that could be used as G altered voicings:
Eb/B
DbJBb CBb-7 )
Db/G
* Bottom voice should not violate L.I.L. for G altered. l\otice the B note i~ the o nly non-triadic note for both pedal under these two triads: Db/B - Eb/B.
Db and Eb triads . T his note mig ht function as an interesting
The foJlowing examples combine the altered upper-structure concepts introduced here with past altered voicings;
(D-7 )-- - - -- - - - - - -- CG7altered )- -· - -- - - - -- - - - -- - (C l D9sus4 F6(9) D:19 B~ 7sus4 E~9 B6(9 J C(add9)
J)
:&'-"
M
§
~ :z;g
j110i!
o.a:.
b!
g~
I
·f
]
(G7altered l - - - - - - - - - - - - - - - - - - - - - - - - - - - CC; B6,(9) Cmaj7(9) E ti9 D::i6(9 J Do9
') I
-1
I§
~q: ~
4)
D-9
n q)
D ~6 ( 9
•
:w
J ~
o~
!5L-;~
-
F-7z5 ?
I
'-'
"'
I)!$'
Oi9-
'lg
11
I
Cmaj7
I -e-~
(C)
Cmaj7(91
Bo7sus4
-~
II
D-9
Ii 162
¥
9 Cmaj? I
0--S-
!'iz~
o.a ~1
.0.
Ig
II
The following alrered voicings include some "constant structure motion" ideas; I)
(D-9) C6(9)
(G7alt1- - - -(Cmaj7(#11/ 9 )) B6(9) D?6(9 J D6(9)
!
I
2)
3)
(D-7(11/9;) (G7a1t) - - - E-7f5 G -7~5 F -ns
(C-7(11 )1 G-7f5
(CC13/ ~11/9 )
F#-7~5
(F7aJtL - - - F-7~5 E?-7}5
(B~ (add9))
D-7~5
II ,
I
Chapter Twenty-Four. Approach Voicings Three basic approach techniques, referred to as "diatonic," "chromatic," and "dominant," can be applied to voicings that are used to introduce established chords.
Diatonic approach voicings are relative to the key or mode of the moment, and usually resolve to the chord being approached by diatonic step. These voicings can often be viewed as diatonic extensions of the previous voicing, (displayed in the followin g example). (C-7) - - - - - - - - - ·- - - (F7) C-7(11) D-7( 11) F7(13/9)
l
I
Domiilanr approach uses voicings that have a dominant reiation to the chord being approached; (C-7 I - - - - - -- - - - - - (F7 J C-7(9) C7(b9} Fl3(h9)
l[i
II
Chromatic approach uses voicings that are the same as the chord being approached, a half-step above or belo\1: that chord. This could be considered chromatic "constant structure" mat:ion.
' ~
~i
~r:~
g.tf
!~~
l
Note the above G~ i 3 cnora could ai~o be conswercd a dommanr
"Chromatic" and "dominant" approach functions in one voicing;
II Note the above approach voicing could also have :in addirional "diatonic., function; (diatonic to G ahered scale).
164
"Dominant" and "diatonic" approach functions in one voicing; (F7) - - - - - - - - - - - - (Bb ) F9 F7(13/9) Bb6(9)
'
~~
br
!
I
I
i
II
"Diatonic" and "chromatic" approach functions in one voicing;
(C-7) - - - - - - - - - (F7)- - - - - - - C-7(11) D-7(11) F7#5(alt9) F7rn9)
~'..&l·i..;.:.- , 1 -----f'.~,._ '-----il~1f+"'--·_____.hf__"r - 1 The usual and perhaps most effective piacement of an approach voicing is on the weak area of the harmonic rhythm where traditional rules such as "Low Interval Limits'·, can more easily be violated. In the previous examples, the approach voicing was placed on the weak half of the measure; beats 3 & 4. Some of the most effective uses of approach voicings are found in "stagnant" harmonic situations. Here, the harmonic color and variety these approach techniques offer can enhance an existing "basic'' progressjon or vamp.
In the following chord progression, which was taken from a common "standard" tune, each chord receives the duration of eight beats, producing a somewhat stagnant harmonic situation. By the addition of approach voicings, the progression receives more hannonic variety and motion. The original chords are in parenthesis. -
(G7#5) - - - - - - - - - - - - - - - - - - - - - - (C-7 ) - - - - - - - - - - - - - - - - - - C-7(9) D~-7(9) D-7(11) C-7(11 ) G9 G7(#9) Ab13 G7#5
,,
~
'
~
I
j i~
jili~
19~iI
I
Jti·· 4
~
~
I
' (Ab7) - - - - - - - - - - - - - - - - - - - (Bbmaj7) - - - - - - - - - - - - - - - - - (E-7b5 .l Ab9 D7(±:!> Ab7( U ~ 1 F ?( ;it,1; bt?maj7 E 11maji Bb6<9i Df.-7b 5 E -7b 5 '
~&t! i~
l&j ~&f--i-1---~-1---~~-IHH9-&~-
li·t~ "!~
The following is an example of using only chromatic approach voicings on the beginning of the same '·standard·· tune.
(Bb7) - - - - - - - - - - - B b7(13/9) E6(9)
i
I
~@:~
r
I '-' 165
CE~maj7)
Eb6(9)
Many different voicings could chromatically approach a single chord when the various combinations of above and below half-step resolutions to that chord are considered. In fact, considering all possible chromatic resolutions to a four-note structure produces fourteen different available approach voicings to that structure, although some will be omitted due to ~9th intervals. doublings, and awkward f~ngerings. In examining these fourteen approach voicings, we see there are four possible combinations of three half-steps ascending and one descending, six combinations of two half-steps ascending and two half-steps descending, and four combinations of one half-step ascending and three descending. The following examples display nine different chromatic approach voicings to the "drop 2" root inversion Cmaj7 chord. The remaining five approach voicings were omitted due to~9th intervals, doublings, or awkward fingerings. 1) Three half-steps ascending and one descending; Bmaj7(#11)
Bmaj7(6)
Cmaj7
~#~~u
II ~=i~I
~
(?)
Cmaj7
11~#~8 ' if&
~G -&
u
-&
D ~-7
Cmaj7
® t)-0-
II
2) Two half-steps ascending and two descending; E~ 7sus4
Cmaj7
§:"b~
Cmaj7
Gb6(#11) '
~~~~.
~fl
11k;w
-&
Gbmaj7
Cmaj7
~5~
lls?i
.a.
IJ
-e-
3) One half-step ascending and three descending; Ab / Db
Cmaj7
41.~~
~9-e-
G~ maj7(~11 )
Cmaj7
II ~i
D b6
~9
Cmaj7
µ-;
""??
-&
II
-&
The following exercises harmonize the chromatic scale. (ascending and descending), with a Cmaj7 type chord. while the non-diatonic notes receive chromatic approach voicings. 1 \ Ascending chromatic
2)
lin ~:
Descending chromatic line; Crnaj7(9/6) Ab7sus4
..a.
b.o.
' t
111,!!
Gt>maj7
C6(9)
§i Cmaj7
Cmaj7(~11) G~maj7'.,5
!f G7(#9/#5)
0.0.
Cmaj 7(6 • E b7sus4 -&
§~s
9§
Cmaj7(9)
.9).l>err! B6(9)
I
I};;
l
# ; u
166
'iS
C6(9)
C(#ll)
~;
\~§ c ~9i
Chromatic approach voicings could also involve one common tone while the remaining three tones resolve in various chromatic combinations. Thirtv-two potential approach voicings can be produced from these combinations! While one note remains common; four different chromatic approach voicings are produced by three ascending half-steps, four more voicings produced by three descending half-steps, !\velve more voicings proC:uccd by two ascending and one descending half-steps, and twelve more by two descending and one ascending half-steps. Of course ~9th intervals, doublings, and awkward fingerings will omit quite a few voicings, (although some doublings will be occasionally used). The following examples display twenty-four of these chromatic approach voicings, (with some doublings), to the drop 2 , root inversion, Cmaj7 chord. Common ronc&will be darkened for reference. 1) Three half-steps ascending ;
B-maj7(11) Cmaj7
@fi
; -e-
B
llt~~
Cmaj7
s
U'
-&
Db7
Cmaj7
Bmaj7#5
1 #f~ 1 U'
Cmaj7
~
-e-
c-ns I
11~~~
Cmaj7
§i~
~
-e.-
Fm
Cmaj7
II
2) Three half-steps descending; Db-maj7
4~2
Cmaj7
; -e-
I \?
~
Dbmaj7b5
Ii
-e-
&*
Cmaj7
D t).
Ii 1l8 •
~
-<>-
=ii
3) Two half-steps descending and one ascending;
Db-6
'"·~? G-7b5
~t!
Cmaj7
Gb7(#11)
Cmaj7
D b9(n o3)
I
-e-
II ~~g
§8
Crnaj7
Eb13
Cmaj7
Ab6(9)
q~
..
§s §~ -e-
1
II~~ 0
Crnaj7
-&
1 1i§[? l 1z~~
-e-
4 l Two half-st:eos - ascending - and one descendin£: F#7 Cmaj7 Cmaj':' BC~ll J
98 -&
Cmaj7
!~ 4i>-
Gb-maj7(11) Cm aj7
11~vi Ab/C I
~2
-&
Cm aj7
.. ..
111;'11
II
~~
II
~
~;:~ii ·;-a4L
Eb7
;f&[!
; q-&
Cmaj7 '
r~
-e-
I ~~ u
F~maj7b5
i ;~~
' -0-
~
-e-
D#.- ,.,)J . ( ,,0 II
Cmaj7
~
=1~ . ::-sC-7#5 '
- ii ~;z:~
'fir
-0-
167
Cmaj?
~
q-eCmaj7
a~~
'°'
G~m/ B
11 ~1 u
cc
11~:~~ . -<>-
Cmaj7
6g-e;..
Ii
Cmaj7
~ -0-
II
Two or three common tones in chromatic approach voicings are possible, but begin to destroy the "approach" quality of these voicings. Some of these voicings will be explored along with additional concepts in the Chromatic Guidelines chapter. The following example uses the three chromatic-one common cone approach voicings on the beginning of a "standard" chord progression;
(E-7b5)_ ___ _ _ E-7b5
B ~9(#5)
t~ CF-7}__ _ __ _ _ F-7(9J
Eb7(#9)
(A 7 ) _ _ -· _ _ _ _
A7(#9/#5)
C # 7(~9 l
I~
~
(F7L ____ _ _
C-7( 11)
F13
\&bi (E C, maj7) _ _ _ _
(Bb 7) __ _ _ _ _ Gb/Ab Bb13
~~
(C- 7)_ _ ____ _ _
E b6(9 l
A7~5
Dmaj7
d
A6(# 11)
(Ab7)_ _ _ __ _ Ab 13 E!i -7(9)
(BPmaj7) B b6(9)
~~!
The following is an example of a backward cycle-five chord progression that could be considered a chain of chromatic and dominant approach chords with one lead common tone;
A13
~
fr
D7(#9) 19-
G7(13/9) fr
B9
C13<#9J ~
1=:-
i
168
E9<#5) ;i6
A7(13/9J
I.... -
___u
Ii
The following "F Blues" uses a variety of chromatic approach chords with the emphasis again on a lead common tone. Voicings not fuily notated are drop 2 type voicings;
Fl3
Bb7(#9) Fl3
f F13
~
tf
r
Bti 9(13) B9(#5)
C9
E9(13)
B9
#•
Bb9
1¥
A9(#5) Ab9(13) A9(#5)
:
r
Bb7(#9) E b9(13) Bb7(#9)
B?9
r 1:
E7sus4 Eb7C#ll) E b 7(~9 )
F7
F13
1r------'-r_ __._r-----+~r-1~-+-~r-----l-r---+:---+r--I
r
E9(13) F9(13)
f
B9
B9
#r
b.c.
I ~#jii~ II
1
r
9
Eb9
*
D7(#9) Ab-6
t~ i~ r
F13
'i
~!··1
I
o..a.
;
I
b..a.
b!:§ ·~
I
C7(#9/#5) B13(#9) F13 Db7(#9) C7(#91#5)
#r #r #r
F~9
G-7(11 )
b..e..
~ #r
Bb9(13) e
II
169
G-7
If
Db7 C7sus4 Gb13
f
r
\~
!,
II
Chapter Twenty-Five. Fourth Voicings There are five b asic fourth-type voicings available to the middle four srrjngs of the guitar. The following will list each voicing as well as the initial chord type to first introduced it. Additional enharmonic chordal uses for each voicing can be fo und in the appropriate Enharmonic Chor dal Substitution chapter containing these chords. l)
C. .. 4th ..... F ........ 4th .....
BL.... 4th .....
E~ (perfect fourths) {F7sus4}
2) C.. #4th ..... F #· ···· 4th ..... B .. ..... 4th ..... E (one tritone) {Cmaj7~5} 3) C ... 4th ..... F....
#4th .....B ....... 4th..... E (one tritone) {Fmaj7 (~ 11)}
4) C ... 4th ..... F ........ 4th..... B ~ . ..
#4th..... E (one trjtone) {F-maj7(1 l)}
5) C.. #4th ..... F tt ........ 4th ..... B...... ~4th.....Eff (two tritones) {Dl3(#9) or Ab 13Ctt9)} Of course different inversions of the above chords are available. but do not contain all fourth intervals as do the specific inversions listed. When all or most of the voicings used in a comping situation are fourth voicings, a contemporary and sometimes .. modal'· sound is produced. It is also comm on to find a good deal of chromatic and diaronic approach chords using fourth type voicings in this conrem9orary environmenl. Occasional fourth voicings can and do appear in many different styles. bur a contemporary ··quarntl" sound can only be produced by using many fourth voicmgs. Fourth voicings can be found in " modal" or ''diatonic" situations, and each requires a different approach. Modal music, where many fourth voicings are commonly found , does riot contain the traditional "avoid" or weak notes that are commonly fo und in diatonic harmonies. In fact, many of the avoid notes in diatonic harmonies are the desired "characteristic" notes in modal music. The incomple te or ambiguous nature of fourth voicings seem to enhance this modal sound. It is certainly easier to play many different fourth voicings in a modal situation. where ~voicing is available, than it is in a diatonic situation where voicings that contain avoid noces should be omitted or placed on weak harmonic rhythms. Of course in many diatonic situations there are places where the harmony can be stagnant. allowing for a temporary modal approach to those harmonies.
When trying ro make the majority of voicings in a Diatonic situation fourth-type voicings. a difficult irony is produced by the need for !lliillY voicings cc clarify harmonic function. (often two o r more incompietc rounh voicing" are needed to clarify one chords function), and a consequent reduction in voicings due to diatonic avoid notes. Often a compromise between these two proi:>!en:s 1s needed ro ham1omz.c. ..changes.. \vith fourth type voicing~. Perhaos the .. need·· for harmonic cmrificarion 111 diatonic progress1om could De reducea and .. avoid. notes· could oe acceprcd more often . The following will examine fourth voicings oy diaconicall:: moving them through specific sca1es nnd determrning their modal and applicable diatonic use.:. .
MAJOR SCALE Modallv, all seven of the fourth voicings produced here will be arnilao1e to any one of foe seven maj or scale modes. Fourth vo1cmgs in C major scale . (or any of ns seven relative n.odes 1;
-n
e
g
§
-&
g
..0.
~
-e-
~
.£!..
-e-
~
jj
Nole that four of the five basic fourth-rype voicings originally preseQted are contained in the major scale.
170
A unique and contemporary chord symbol notation depiciing the different modes has recently evolved and appears quite different from traditional chord symbol notation since many of the characteristic modal tensions are "avoid notes" in traditional harmony. The following modal chord symbols are not uncommon in today's music. m aj(add4) rninl3 or min7(13 ) min6 9) or sus4(b 9) or min(l lib 9) maj7(# 11) dom7(addl I) or dom7(add4) min( add b13) min7b 5(b 9l
Ionian; Dorian; Phrygian: Lydian: M ixolvdian; Aeolian: Locrim;:
Descriptive modal chord symbols haYe also become quite common: C C C C
(lydian) = Cmaj7(# 11) and possible tensions 9 and 13(6) (dorian) = C-7(13) and possible tensions 9 and 1J (phrygian) = Cno3rd( I lib 9) or Cmin(b 9) und possible tensions 11 and~ 13 (aeolian) = Cmin(add bi3) and possible tensions') and 11
These symbols which are most common in modal mu.sic have also found there way into diatonic tune s, modifying many of the basic harmonic func rions by rhe use of traditional av0id noles . Contemporary diawnic runes ofrcn coma.in modal approaches to some or all of their hannonies. his nor uncommon to find a TI-7( l 3), V7(addl l l. or r·-n scb9) chord in today's diatonic nrogre ssions. Although these chords can involve many difforem types of voicings. fourth voicings still play a major role in supporting their "modal'' sounds. lts worth noting at this time that the dorian mocie is the relarive rninor of the lydian mode, allowing past maj7 (~ 11 ) and maj6(# 11) voicings (with or withour available tensions 9 and 13) to function as dorian voicings. As an example , Cmaj7(# 11) [ l 5 7# 11 ) = A-7(13/9) [b 3 ~7 913]. T he following wili examine o ne of the fourth voici!lgs established in "C major.. and apply some of the relatiYe modes and consequent chord notations.
G .....
Fourth voicing:
l ) D dorian........... ... .... ..... ..... ::'.iEphrygian ............ ............ 3) F lydian ... ..... ...... .......... ..... 4 ) G mixolydian .................... 51 A aeolian ............... ......... .. 6) 10cri
a
C .....
F ...... H
b7 ...... b3 ......
13 ...... D-7(13/9) ~ 13 .. ... b9 ....... 5 ...... Em(b 13/~9 ) ':! .. ..... . 5 .. ...... ! ..... tll ..... F(~ll/9) 1..... . 11...... b7 .. ..... G7 1add 11 j ~ : ..... . !) 3..... b13 ....... 9 ........ A-7(~ 13/9) ~ := ···· v ~ ... b: ........ 1 ....... R-7 i·~:',.~13/bQ
11.. .. .
~=1
.....
J .......
Addirion3l dominant possibilnies of above voicinf: G7( add 1 i ) - G mixolvdianh 91~ B (C harmonic minor!
B7(b9/alt5J
.
E7(b J~/alt9 J
::.:~
applicauons of fourth voicmgs usually involves finding one or mo re "safe'· voicings. <no aYoia noces and c:1ear harmonic function ). to begin and en.:i with whiie the mncr voicings conraining uYoid nores anci rncomol~~:: strucrures are used in between. It is aiso common to find "chromatic ap!Jroach .. voicings and/0r ·· s~·:nmemcal constant struclUre .. \'Oicm2s in 1.1crween or lillhlTI£ mese · · s~:L-- · voicins:c;. The follo wm!l ex:i.m.o1:!S . ,,·iii !:res::'nt som:: of these diatonic ideas with fo~1 rth voicings over typical II - \ · - l chord cadences
-
..._
\,:.
171
~
This first example uses~ diatonic fourth voicings in the key of "C ",ending on C lydian. D-7_ _ __ __ __ _ _ _ __ _ ___ G7 __ _ _ _ _ _ _ __ _ _ _ _ Cmaj7
~
@
f ~
1
~
F
'
II
This next example introduces chromatic approach voicings to the diatonic fourth voicings.
D-7_ - - - - - - - - - - - - - -
~~
G7 - - - - - - - - - - - - - -
Cmaj7
-f ___,_~ ~-: : t. .1- 'i9- f,._-- _-_ -=: . ,.·.,ll:-.-._=~.i---===-:=::.::=:....:..1.. __-_-_-_ ----'"-r-t..--f
---H---111
The following examples will examine symmetrical constant structure fourth voicings in different II VI situations. Some of these examples will present a major7th n0te on a dom7 chord; a very unique and contemporary sound.
# I 1 Whole-steps; c)
~
c)
D-7 _ _ _ _ _ _ G7_ _ __ _ .g
.
I
Cm aj7
~ ~
I
G7 _____ _ _
D-7_ _ _ _ _ _ _
G7 _ _ __ _
b) D-7 __ __ _ _
b.a.
I
Cmaj7
I
!:.~ ; ~--!--!F.l....,_---till
ba ~
Cmaj 7 (Lydian)_ _ __ _ _ _ _ __ _ __ _
b-e-
1>
Ii
#e
I
I
I
z -&
~F
II
#2 ) Symmetrical diminished, \whole-half-whole-half):
b l D- ':° _ _ _ ·- _ _ _ _ _ .a. -19-
'
~
#3 ) Minor thirds;
~ I
07 - - - - - - - - - - - - - - - - ·- -
i~iI
B- 7___ _ _ _ _ __ a ...a.. 1T
~;
:;~
•
, p...
·/[
t±I:
:j
it
9~e
'I
I
II
• t
E7_ _ _ __ _ _ __ I
I
if"'9-
l'''f 172
~
'Amaj7
i
The major scaie modes also have some aitered dominant possibilities that can be examined. There are four major scales; E b, Ab, D~ , and Gb, which produce altered dominant tensions on a G7 chord. The following will. ennarmonically realize the notes of each major scale in relation to the G7 chord. A~
Eb major scale (G phrygian) .. G G7 chord ................. ................ l
Bb
~9
it9 "
A~
Bb
A b major scale (G locrian) .....G G7 chord ................................. l
j,o
Db m~jor scale ........................ Gb G7 chord ................................. 7
Ab b9
Gb major scale ......... ., .............G ~ G7 chord ....................... .......... 7
b9
A~
c
D
Eb
F
4
.:::. _,
b13 Eb
b7
"'
B~
c
#9
B~
#9
D~
C'
#9
Ip ,)-
A
Db
~5
E~
4
~5
4it)
Cb ....
Db bS
#5
.)
E~
F .',., 'V I
F ~7 F
I
I> 7
Note the porentiai probiems wi th A l7 and D~ maj or :-;ca1es. The lith and b5tb in the same voicing strongly suggest a min7 ~ 5 chord. and the l lth and natural 7rh produce dominant guide-tones a half-step above the original gujde- tones. 1 he fo liowing lists those fourth voicings rhar are in common wiih more than one of tbe above major scales. Of speci al note is the B D-7sus4 or F-7( 11 ) voicing which is in common with all four scales. Db and G~ major scales share the voicing: Ab7sus4 [Eb, Ab, D~, G~] Eb and Ab major scales share the voicing: C7sus4 [G, C,F, B~] A~, D~, and G~ major scales share the voicing; Eb 7sus4 [B~, E~ , Ak D~] Eb , Ab. and Db major scales share the voicing; F7sus4 [C, F. Bb, Eb ] Eb , Ab , Db , and G~ major scales share the voicing; B b7sus4 [F. Bb , E b. Ab ]
The following II V I examples \Vill examine all four aitered dominant sounds presented. i l E:J major (G phrygian j:
(N ore the following D-7 voicinf!s are the same as those VClicing.:: under G'7 rransposed un a minor third' G7CS ~ n:a::or sea~~. _ _ _____ _
D- 7 __ _ ·
G7(~ 13/17 Si
G7sus 4 G7(b l 3/ a lt9 1
I~
j
~ : V~·!~~-$'---~~·~-.--Ja ~ ·- -~---~ ~~~~~~~--,-
~~~-====7-.===========~~======-:::~~------~-------~~'.-.:.:;~::.===========~€-.~---_-_-_-_-~:,~~~:-;__.-::.::.::.::.::.::.~1::.·~::.===-=--=--=--=--=-=====~ ~ ·---~~--~~-,--~-~ l 'r'l-V~----~~ .....
....
2 ) Ai}
m ajor (G Jocrian~ : D- 7 ___ _ _ _ ______ _
~ ~
--~~-----.<..,;:._
_ __
_L.._ _ _
~~r-----~-~I -:;
G7(A, maior scale. ___ _____ Cmaj'; G+7talt9 · G7(i:i 9/alt5 J Chrom A pp. >
~
_ _...,.... , ...,.,....-·_ __ _ _
..J...~~----E'-1- - - , -,...,---
~""~t+--!.L. -<~'>'------~~-----~=""-·===~::!"1~11-0~~~,~·====-=-=-=-=-~~or~~~:~-~=-=-=-=~--=~-J:-~ ~1;,.~·.~~~~~=-~l-l;:,-·i7,~:~~~~~=-~=-~=--~==-=~=-n31;1 tn:
.....
~
I
173
' -tr
3) D~ major;
D-7 __ __ __ _ _ _ ___ _
G7
major scale) _ _ ______ _ Cmaj7
(D~
Note the chrol.latic motion of each voice in lhe above approach chord: three voices descend while the 4th-string voice ascends in upproaching Cmaj7.
-+ J Go major;
G?< G~
D- 7 _ _ _ __ __ __ _ __ _
m ajor scale.) _ _ _ _ _ _ _ _ _ _
G+7talt9 ) G7~ 5 (maj 7) G7(b9/alt5/ maj7 J. G+7rn9>
c
~~~~--~~~~1b~~=~-1r~; ~"--~~~J~~~1~a~I
II
I
Although the major scale offers the most diverse uses of fourth voicings in a modal or diatonic situation , other scales can be examined for their potential use in quartal harmony. T he remaining seven-tone diatonic scales, (without consecutive half-steps). are the melodic minor, harmonic minor, and harmonic major. Primary interest will be placed on the examination of the me lodic mino r and its modes. as well as the th ird mode of the harmonic major. The harmonic minor will be omitted due to its limited modal uses and problematic «avoid notes." The usefuif{flh mode of the harmonic minor(Mixolydian ~ 9/b 13) can besubstiwted by the thirdmodeofthe harmonic majorwhic:h. unlike the harmonic minor, has no avoid notes. Both modes are dominant modes and commonly func tion on a V7 of a minor chord. The following modes are related to a G7 chord: C Harmo!1ic mm or t rrom its fi !'th moac : G7 chord ........... .......................................
G
Eb Harmonic IlliUQI (from it:; third mode l: G7 chord .............. ................................... "
G
.AL ~~
A~
bl
B _,
B~ ~Q I
~
"-4
cb .... _1
D 5
D 5
E~ I
1-
p • _1
Eb
~ J3
b: r
,_,--..
F
G
~7
Students are encouraged to examine and experiment with tne additional harmonic major and minor modes.
l 1nlike rhe ma.io1 scale. the melodic minor and han:ionic major cannot maimain fourth intervals on each degree of tne1r sca1e::i. When atten7pring LO construct fou:tn voicings on each degree, a mnj orthird inte rval is produced on those voicings containing the~ 3rd and nmural 7th in the melodic minor, and the ma.ior 3rd and~ 6th in the harmonic majo:.-. In addition. both of these scales contain two trit0nes each while. by com!Jarison. the major scale contains only one. Altho ugh admi ttedly wc:aKer than the ma_1or scale:. there is some quarrnl value to these scales since the m~jority of their voici ngs will contain fourth intervals. In their fa vor is the Jack of avoid nores . mai<mg mor~ voicings avai lable to their differem modal anci dimonjc runcuon::i.
174
MELODIC MINOR SCALE Examination of this scale and its modes will include the same intervals ascending and descending, commonly referred to as the "jazz" or "real" melodic minor scale. With the exception of the fifth mode, there are no avoid notes in the melodic minor modes, allowing use of any one of the fourth voicings produced. The 4th degree of the fifth mode is the only avoid note. Diatonic use of the second mode will be omitted due to its "unstable" nature. This mode has limited harmonic use with the possible exception of a modal II-7 chord in an established melodic minor key, or as a modal I minor chord ; ( Dorian~ 9). This mode does contain a valuable "melodic" relation to its parallel dominant chord; D dorian b 9 .... ............ .
D
D7 chord .................... .
E~
G
A
B
c
D
~9
4
5
13
b7
8
Unfortunately, the dorian b9th mode appears rather unstable "harmonically" in supporting irs parallel dominant sound. C Melodic minor scale harmonized in fourths;
@Ii~-e-
i
9§
..a.
bf
§
-&
~
.0. 1-&
11~
*Note the major third interval in the above voicings containing E~ and B. The following will examine each above fourth voicing, from left to right, in relation to the available modes. First mode (C melodic minor); C-maj7(1 I) C-(11/9) C-6(9) C-maj7(1 l/6) C-maj7( 11) C-6(9) C-rnaj7(9/6) * Note the 9th is in the bass, (L.l.L. violation), on the second voicing. Third mode (E~ Lydian augmented); E b +(9/6) Eb maj7(9/6) Eb maj7 ~ 5 E~ +C# 11/9) E~ +(9/6) Eb maj7~ 5(6) E~ maj7(alt5)
Fourth mode (F Lvdian b7): F7(ffll ) F6(9) ~7(13i9; Fib.:' F(~ll/9) F6(9) F7~5(1 3) Fifth mode (G Mixolydian ~ 13); G7(b 13iadd4) G7sus4 G9(b 13) G9(b 13) G7(add4) G9sus4 G9(b 13) Sixth mode (A Locrian-namral 9 ); A-7b 5(b 13/9) A-7~5(11! A-7~5(1 1 ) A-7ii5(bl3/9) A-7#5(9) A-7(111 A-7 ~ 5( 11/9} * Note the 9th is in the bass, (L.I.L. violation ), on the last voicing. Seventh mode (B altered); B7b5(b9) B7(alt9/alt5 1 B7#SC#9) B7 ~ 5 B7( b9/alt5) B7(alt91#5) *Note the #9th is in the bass, (l.I.L. violation) , on the second voicing.
175
B7(#9)
II
The fourth and seventh modes offer the best and most common use of these voicings in a diatonic situation; Lydian~ 7 is common on dominant Sub V chords. Altered is common on dominant V7 chords. Thefirsr and sixth modes also offer some common diatonic uses; Melodic minor is common on I and IV minor chords. Locrian-natural 9 is common on min 7~ 5 chords.
The third and fifth modes are not quite as common as the above modes, but offer some interesting uses nonetheless; Lydian augmented is useful on a Imaj7# 5 chord. Mixolydian ~ 13 is useful on a V7 chord, (commonly V7 of II-7). The following examples will examine the four most common melodic minor modes in their related diatonic functions. ~ 1)
,,
C-maj7 (C mel min) ___ _ _ _ ___ _ _
D- 7P 5 (F melodic minor) G7(alt) (Ab mel min )
;,i
*'
#2)
~
~:
I
F7 (C mel min)_ _ _ _ _ _ _
' C>*
1q
Ii~
t -&
~§ bf I~ f'
I
'
..0..
1>
.£!.
~
I i'~
I
J I I
E7 CF mel minL _ _ _ _ _ _ _ _ _
A-maj7 (Amel
min)
&r==== ===~==1br=====~===-'==-~@-==--=:::::-1~ :_.-_---nll 1
::=::'
1.= = -
~3 )
C6(9) (C major) _ __ Bb7(F mel min) _ _ Ab7(Eb mel min) _ _ G7(a1t)(Ab mel minL C(lydian)
,._ •
~
. I ~
ba.
,~
t5 d
:
~ -r~;---~~F-1[~ ,~ ----;~ ~ F ~1&~~~~5b~=~1~~·s~iits~ 1 ~!~~ #4)
C6(9) (C major) ___ Gb7(D, mel min L _ F7 (C mel rninJ_ _ .a.. .L .Jll.
~ ~ eJ
...
5== 1~·~
&; ~~
~IJ.L
I ~
:
I!~
5 bf I:,;
I
i76
Bb7(F mel min , __ C6(9 l
I
I
~
~
~: I
1§
HARMONIC MAJOR SCALE
C Harmonic major scale harmonized in fourths;
*
:,:§
~
:0:
~
~
~
-e-
..0.
g
lz~
II
*Note the major third int~rval in those voicings containing E and Ab. Only the rhird mode will be examined in this chapter. The following will relate each above voicing, from left to right, w this dominant mode:
E7(b 13/b9)
E(b9)
E7(b 13/alt9)
E7(b 13/alt9)
E7(b 131#9)
E7
The most common function of this mode is on t.l-ie V7 chord of a minor chord, although it could aiso resolve to a major chord. Both resolutions are displayed in tl1e following example.
F#-7b5 (F# locrian)
'#~ t.i
~ I
ef~
-6-
A-7
B7(G h a rmonic major) __ Em(E dorian) ____ _
.,,.
1 .~. ~I ttfI g "
E7 (C harmonic major)
j,; ~ & I 5 "i f ~
~a.
1~ ~
I
I
II
D7 (Bo harmonic major)_ _ _ _
I
Gmaj7
The following summarizes the modes and related fourth voicings available to a single dominant chord:
G7 Chord; Major scale dominant modes; G Mixolydian (C major): G Phrygian (Eb major): G Locrian (Ab major); G furered/natural7 (D~ majorj, G Aliered/natural7 (Gb major);
9
3
b0 f 9 1
b9
'°!
I
~9
7
b9
Melodic mmor dominant modes; G lv'lixolvdian b13 (C meiodic minor); G Lydillii. b7 (D melodic rninor); G Aite.red (Ab melodic minor);
·~9 .!lo ~ -"'
'#9
5
11
11 11 1'.l 3
13
b13
5
bs
1i;-
~5 ~5
:i
177
b~
*9 ff
b7 b7 b7
b7 -·' bl3 13 b7 bs #S b7
9 3 11 9 <_, #11 b9 #9 .J....
Harmonic major dominant mode; G Mixolydian b13/a1t9 (Eb harmonic m~jor);
b7 b7
5
3
5
bl3
~7
Out of the five different fourth type voicings originally introduced, only one: D1 3(#9)/Ab 13(#9), has not appeared in the scales presented. This voicing will be included in the followin g exa~ple of a "standard" tune harmonized with fo urth voicings. Both of its dominant functions will be used; Dl3(#9)/A~ 13(#9) and B7(# 1llb9)1F7(#1 llb9). Originally presented in the Constant Structure Harmonic Motion chapter, note the multiple functions of the F7sus4 and Cmaj7b 5 fourrh voicings presented in the beginning of this chaprer. and their subsequent varied use in the following standard rune. Given their many functions, it would be possible to harmonize an entire song with these two voicings. Voice-leading and variety could be enhanced by introducing additionai inversions of each voicing, even though the quartal sound might be compromised some. In the following "standard" tune. all different approach chords, chord patterns, and modal sections will be labeled. Be sure to realize, with the exception of certain approach chords what chord tones and tensions each fourth voicing produces on the ori!!inal chords. Also note the "B"' section has single chords sustaining for two measures. allowing them to be approached as temporary modal modulations with a specific scale for each chord voiced in fourths.
E -7b5
~
(Dia. App .)
I~ DV-
'
~g
j q~
~
~fr
F-7
b~ I
B~ maj7
~
•"~
~
Fmaj7 (Dia. App. ) Lydian __ __ _ _
i
~
'
I
~I
E~maj7
1.~
:.a.
1 ~%f
i:>i9-
[1&% !
•~
h!S l
, fr
i~ l
Ab7
~
If
A7
I
042.
f
I''' B~ -7
D-7
I
1\f
II
E b7
Constant Structures _ _ _ _ (Dia./ Chrom App.) I
~~
Ii
A7
A-7b5
~~
~
o~
E -7 b5
_
_
_ _ _ ·-
._
' -6-
~ l~ I
19;
;'.'g
I~, ~
I
~
1
D7
I
&~
(Chrom App. ) fr
~~~I
~
C-7 C dorian _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
1
It~
·l~~
(Dia. App. )
1 .~
I
-· _
1
I
;r;~
Ip
~
I~
I
~:ta.
').t:;_
_ __ __ 1 _ _ 1e1o di.c mmor A>v. J\f · 1
·b
(Chrom App. )
(Chrom App.} Whole-tone pattern _ _ __ _____ _ _ _ _ __
G7(alt) I
'
fr
i~
~
-6--
'
E -7 b5 (Dia. App. )
I
!~~g
jZ~
F7
(Dia. App. )
C -7 I
]!• -6'-
Bb7
~'1
-
I
(Dia./ChromApp. J I
@]
I
I
II
(Chrom App.)
A7
~
ba
•V
,:g
1
e
,~ ~i; ~
D-6-
Ab7(13'# 1119) Eli Melodic minor _ _ __ __ ____ __ _ _ _
B"maj7 B~
I 5
I~ 178
lydian _ _ _ __ __ ___ __ _ _ _ ___ _
~ I ..
-:$--
i ~~ I
o.a
~
II
A7(alt) D-7b5 B~ Melodic minor ___ (Dia. App.)
E -7b5
~
fr 1"'J
r
~
.(2.. -\9-
~~
ff
'
ilz&r
.G7 (Chrom App.)
I
I D-!9-
11~f
"b~
I
I
I
pi ~~
I
Fine
PENTATONIC SCALE Although seven-tone scales probably offer the most useful applications of four-note quartal voicings, the traditional pentatonic scale; ( 1 2 3 5 6). has some quartal qualities worth examining. Unlike seven-tone scales, this pentatonic scale contains no half-steps. Since the half-step is often the source of "avoid" or weak notes in diatonic harmonies, the pentatonic scaie might offer some voicing alternatives to seven-tone. scale voicings. While fourth voicings are constructed by skipping every two notes in a seven-tone scale; (1)-2-3-(4)-5-6-(7)-8-9-(10)-11- 12-(13). etc., pentatonic fourth voicings are produced by skipping every other note; (1)-2-(3)-5-(6)-8-(9)-10-(12)-13-(15), etc. The following voicings are constructed off each degree of the pentatonic scale. Notice that two of these structures are complete fourth voicings while the remaining three structures contain two fourth intervals and one major third. C Pentatonic fourth voicings; C6(9) C(add9) C6(9)
4i
g
C6 -a-
~
~
C6(9) -a-
~
II
Al though the major third interval does compromise the quartal sound to some degree. the majority of fourth intervals produce an overall satisfactory quartal sound. What is equally, if not more important to their quartal value is the strong and descriptive "pentatonic sound" these structures contain when at least two, and preferably more, are used as chordal substitutions. Further more, this pentatonic scale can often reflect the different music styles it is commonly used in such as "country," "rock," and "blues." These styles can be "heard" or imnlied by using several of the voicings produced by the pentatonic scale as substitute voicings. The following relates D~ major pentatonic to B~ minor, (Db ' s "relative" minor), and G Altered; D~ Pentatonic ......... B~ minor. ................
G Altered...... ..........
D~
b3
bs
r ·I
c~
F
'"t
5
,
#S
b7
DI
B~ (possible D~ '·country" sound) (possible B ~ "rock" or "blues,. sound)
b9
#9
A~
! -
I
When two or more of the five possible Db pentatonic voicings are used as G7(alt) voicings, a "duality" of sound is produced. DI> major or B bminor are clearly "heard" while G altered is also "heard." lt might also be possible to "hear" two styles at the same time; Db "country" or Bb "rock,. against the dark "jazzy" G altered. The following will list the possible pentatonic scales, (and subsequent voicings), that can be used as substitutes for the four "basic" chord groups.
179
Major7tb or l\.1ajor6th; ]) C pentaronic ............ Cmaj7/C6 ...............
c l
,,.,
D 2
E 3
A
G 5
6
2) G pentatonic ............ Cmaj7/C6 ...............
\J
A
B
6
7
D 9
E
5
3) D pentatonic ........... Cmaj7/C6 ..............
D 9
E
Fi!r. li 11
A
B
6
7
Eb
F lJ
G
~
'
(I pentatonic of C)
(V pentatonic of C )
3 (II pentatonic of C)
Minor7th; l)
2)
Ebpentatonic .........
Bb
c
b7
1
D 9
F
G 5
(b VII pentatonic of C minor)
G 5
A 13
\.._,
D 9
(IV pentatonic of C minor)
5
6
c
C-7 ..... ...................
b3
Bb pentat0nic .........
B~ b7
c 1
F
C-7 ........ ................. 3) F pentaronic ............ C-7 ......................... (C-6 or C-maj7) .... ....
l! 11
s
11 ,..
(bTII pentatonic of C minor)
9
l\linor7~ 5; l) 2)
Ab pentatonic .........
Ab
Bb
C-7b5 ....................
b13
b7
Db pentatonic ........
Db b9 Gb b5
Eb b3 Ab
C-7b5 .................... 3)
Gb pentatonic ......... C -7b5 ........ ............
b13
F 11
(bVi pemaronic of C-7 b5)
F
Eb b3 Ab
Bb
(bii° pentatonic of C-7b5)
11
bl 3
b7
Bb b7
Db b9
Eb b3
(b V pentatonic of C-7b 5)
1\ote that tension b9 is traditionally considered an '·avoid" note on a min7~ 5 chord, yet it is not uncommon to appear as an available tension in today's mus.ic. Keep in mind. placement of a voicing that contains this tension on the weak harmonic rhythm of a measure or phrase \\'Ouid produce the least dissonance. The most "characteristic"~ Sth wne is contained in only one pentatonic which also incluaes the b9th.
Dominant 7th: The following pentatonics will be organized into three groups depicung their differences and possible ar
Group I; '-
2l Gb pentatonic ....
G~
.,.-
[,
~
1) C pentaronic ..... C7 ....... ..................
c 3
9 I
,.... 1
G 5
r.
t L pentatonic of C7 J
1"-~
D •>
~5
D~
f'.'
b9
#9
(b V pentatonic of C7)
b7
F
G
f\
c
D
(IV pentat0nic of C7 sus4)
~
5
13
I
l)
r\....,
D
F
G
C7sus4 ... ....... ........... b7
i
9
4
5
3) D~ pentatonic ...... D ~ C7sus4 ................ ..... b9
Eb
C7 ..................... .....
~.:; v.
A ">
Group II: l) F pentatonic .... ... C7sus4 ....................
2)
Bb penta tonic ...... Bb
#9
h
i
4
Ar
B~
b 13
b7
180
(b VII pentatonic of C7sus4)
:.:ations.
Group III; 1) E pentatonic ..... C7 ........................
bs
G# #5
B
C#
D I\r.
.Ftt
F~
E
,,
.)
2) B pentatonic ........... B 7 C 7 ........................
b9
#9
C#
..., I
b5
b9 G#
(Ill pentatonic of C7) (VII pentatonic of C7)
#5
The first group includes the two most commonly used pe ntat0nics in a dominant capacity; C pentat0nic - '·natural'' tensions. and Gb pentatonic - "altered" tensions. The second grour includes those pentatonics most commonly used on dom7sus4 chords; B~ pentatonic - C9sus4, F pentawnic - C9sus4(1 3). and Dbpentatonic - C7sus4(b l 3/alt9). In an appropriate s ituation and with care, it might be possible to use these pentatonics against a dom7 chord without the suspended 4th. The Db pentatonic, wh ich contains altered tensions. is probably the best c hoice for this application. The third group includes two different pentatonics that contain altered tensions and a major 7th. The B pematonic appears most characteristically altered of the two, supporting the major 7th with all the altered tensions; (b5, b9, #9). Again, this is a "progressive" sound that should be used in an appropriate context.
#5,
Note those pentatonics that contain dua1 functions; (C .Pent. - Cmaj7 or C7), (B b pent. - <;:7sus4 or C-7). (F pent. - C7sus4 or C-6), (D~ pent. - C 7sus4 or C-7b5). and (G~ pent. - C7 or C-7b5). The followmg examples wiil present the pentatonic voicings discovered in various Tonic, Sub-dominant, and Dominant capacities. Be sure to realize the tensions imposed on the basic 7th chords by these pentatonic voicings. In more musical applications, these voicings would most likely appear within isolated phrases over an entire song form. These first two examples present pentatonic voicings over major and minor II V I cadences. Note in both examples the dominant chords use the typical "altered" sound by selecting pentaionic voicings a tritone away. I ) Minor II-V-1 cadence;
B-7b5 _ _ _ _ _ _ _ _ _ _ _ CF pent) (G pent)
1
E7 _ _ _ _ _ _ _ _ _ _ _ _ CB~ pent) _ _ _ _ _ _ _ _ _
A -7 _ _ _ ___ __ _ __ (C pent) (G pent)
1
__..~L---t___=-n__. = !. . .-,.~ _ -=:_-:=_-f-:_ _,_,~ . I._ -:~.=_ - =;~.J~-_.__t: -._ ;. .c_~-:_-=-_ii- ':~ _-:=_-:=_-:._ .1 .; . ._f-
¥-"'-¥--'
_ __ __
2) Major II-V-1 cadence:
B -7 ___ __ - - - - - CD pent) (A pent 1
E7 ______ _ ___ _ ..
___.. ¥ "',, -
--
?:~===f===d
-+--ri
Amaj7 __ ____ ____ _ _ (E pent) ____ __ ____ _
The next examp1es present .t he.four different pentatonics that produce altered tensions on dominant chords: C7(alt): G\1 pent. (b V). Db pent. (bU), B pent.(VII), and E pent. (III) Note the chromatically ascending pentatonics over these first four I1 VI examples. The first two examples use the
bVth pentatonic o n the dominant chords while the last two use the Vllth. 181
I ) D-7 (C pent) G7 (C# pent) Cmaj7(D pent)
-~" " 1- -~+c--+F11~~ ;:~:F 3) D -7(F pent )
:f
2)
F-7 (Eb pent) Bb 7(E pent) E bmaj7(F pent)
I
I
"I
4*"i
II
G7(F# pent) Cmaj7(G pent)
4)
~~
1f
"I
I
'
Wa I
B -7 (D pent) E7 (Eb pent) Amaj7(E pent)
I
I
I
This next example uses the bII pentatonic on the dominant chord. G7(Ab pent)
D-7(F pent)
I
~
' ,,
1
~
Cmaj7 (D pent) i>.a.
D-6-
?'-
-~
I!~
ll~
I i~I· ~
:!
I
This next example uses the ill pentatonic on the dominant chord.
F6(9) (F pent)
C7(E pent)
G-7(Bb pent)
bi
11~
~~;
1§
I!
•1
This next ~xample uses the bV pencatonic on both the II chord and the V chord.
F#-7b5(C pent )
*~
B7 (F pent,
~
E -7(111
f
If
1!
i
This next example mixes pentatonic voicings with other voicings over a domi nant chord. Note the natural tensions on the first three voicings and the altered tensions on the next three voic ing~. This natural to alcered progression o~ tensions on a dominant chord is quire common.
F6(9 )
!I
182
This next example will notate the lead voice orJy. The complete voicings can be derived from the pentatonics listed. G maj7 __ _ ____ ___ _ D pent _ ___ ___ _ __ _
C7 __ _ _ G11 pent
G-7 - - - B~ pent I
o.a.
r
I!
Fmaj7 __ - - - - - - - - C pent ____ __ _ _
I '
r
1 ·
F -7 ____ _ _ Ab pent
i
1:
A-7b5 _ _ _ _ _ D7 ___ - - E b pent Gb pent 0
Gmaj7 _ _____ _____ _ __ _ _ D~nt _ __ ____ _ _ ____ __ _
p
1r
1 ·
F7 _ __ ___ _ F pent
C-7 ______ _ Eb pent
Gmaj7
This last example mixes pentatonic YOicings and fourth voicings in a "II-V Blues" form. Since the ''effect" of pentaronics requires two or more voicings from one pemarcnic sc-ale. it will be lost in many of these II--v pane ms. although the voicings used are in common with pentaronic voicings. Note the ascending whole-srep founh ,·oicing pattern produced in measures eight and nine, while the same pattern descends in measures eleven and tweive.
~f
i
,
A-7
D7
A~ -7
Fmaj7 _ __ C pent ___
~
I
~
#~
E-7b5 A7
G7
D-7
C -7
-9
I ~ Ii~
bi D b7 I
!
1 1(~ h~
I
G-7____
.C7 ____ I
I
, b'~ f~ .., ~
Li ~ "J.a..
111 ~"' .
B b-7
Eb7
i~f
l9;
I
I
B b7 __ _
F7
Bb pent ___
..
v
D7
.L'
-fr
It
I
[}.Q.
G7
C7
Fmaj 7
I~
I
Measures eleven and twelve would maintain the descending whole-step fourth voicing pattern on the rop three strings if ·'guide-t0nes·· piaced in the JO\'.·er voice were desired to ciarify me harmony;
=4-~
w ~
r
~bf
l;
I
I O& IDft:= : -~j9--··
• b-2
b~e. ~I
,;
"I
183
"'.~ II~ .
~
Chapter Twenty-Six. Chromatic Guide-Lines Sustaining voices, (common tones), and chromatic motion are the two strongest techniques used in voice-leading. While common tones are most effective over chord changes. chromatic guide-lines can enhance a single chord as well as a series of chord changes. Up to now, emphasis has been placed on voice-leading the top note or 2nd string of every chord voicing. This chaprer will examine the chromatic voice-leading or chromatic guide-line possibilities of every voice or string in a given chord or series of chords. One, two, three. and four chromatic guide-lines over chord changes will be presented while just one and rwo chromatic lines over a single chord will be examined. All possibie voice or string combinations of two, three, and four chromatic guide-lines ascending and descending, (including parallel and contrary motion), will be explored.
As more chromatic voices are added, they become more difficult to continue over a series of different voicings. Contrary motion only complicates this situation while parallel motion and an obliging chord progression might continue further. For this reason, the three and four conirary chromatic guide-lines presented later in this chapter will be limited to two adjacent voicings. Some isolated examples will explore three and four contrary chromatic lines over three adjacent chords. The following string combinations will be used for the various chromatic lines; (strings will be notated as hold numbers in parenthesis).
One chromatic voice: (four combinations); ((2)] [(3)J [(4)] [(5)] Two chromatic voices: (six combinations); [(2)(3)]
[(2)(4)]
[(2)(5))
[(3)(4)]
[(3)(5)]
[(4)(5)]
Three chromatic voices: (four combinations); [(2)(1)(4)]
[(3)(4)(5))
[(2)(3)(5)]
Four chromatic voices: (one combination);
[(2)(4)(5))
[(2)(3)(4)(5)]
All possible voice or string combinations of ascending and descending chromatic iines, (including contrary and parallel motion), will be examined. The follow ing model will be used to portray the chromatic motion of each string or voice; (a) will refer to an ascending chromatic voice while (d) refers to a descending chromanc voice. No reference will imply no motion or "common tones." Strings will again be depicted as bold numbers in paremhesi:.-i. Example:
(2a)(3d)(4d)(5a). would depict the 2nd and 5th strings ascending chromatically while the 3rd and 4th strings de5.cend chromatically.
The following i:nodel dicrar.es the chromatic motion over the three di fl;;rem voicings in the accompanying musicai example; (2d) (3a) (4a) (5)
The following wil1 examine all possibJc combinations of chromatic motion in a four-note structure:
1) One chromatic voice; Two different directions: ascending and descending. for each scring gives eiQht different possible chromatic iines.
184
2) Two chromatjc voices; Four different direction combinations for each of the six two-string combinations gives a total of twentv-four different possible chromatic lines. Parallel;
[(2a)(3a)] [(2d)(3d)J
[(2a)(4a)] [(2d)(4d)]
[(2a)(Sa)] [(2d)(5d)J
[(3a)(4a)] [(3d)(4d)]
[(3a)(5a)] [(3d)(Sd)]
[(4a)(5a)] [(4d)(Sd)]
[(2a)(4d)] L(2d)(4a)J
[(2a)(5d)J [(2d)(5a)j
[(3a)(4d)] [(3d)(4a)l
[(3a)(5d)] [(3d)(Sa)]
[(4a)(Sd)] [(4d)(Sa)]
Comrary;
[(2a)(3d)] [(2d)(3a)]
3) Three chromatic voices; Ei£ht different direction combinations for each of the four three-string combinations gives a total of thirtv-two different possible chromatic lines. Parallel;
[(2a)(3a)(4a)] [(3a)(4a)(5a)] [(2a)(3a)(5a)] [(2a)(4a)(5a)] [(2d)(3d)(4d)] ((3d)(4d)C5d)] [(2d){3d)(5d)] [(2d)(4d) (Sd)] Contrary, (Two parallel/one contrary);
[(2a)(3d)(4d)] [(3a)(4d)(Sd)] [(2a)(3d)(5d)] [(2a)(4d)(Sd)] [(2d)(3a)(4a)] [(3d)(4a)(5a)] [(2d)(3a)(Sa)] [(2d)(4a)(Sa)] [(2d)(3d)(4a)] [(3d)(4d)(5a)] [(2d)(3d)(5a)] [(2d)(4d)(5a)} [(2a)(3a)(4d)] [(3a)(4a)(5d)] [(2a)(3a)(Sd)] [(2a)(4a)(5d)] [(2d)(3a)(4d)] [(3d)(4a)(5d)] [(2d)(3a)(5d)] [(2d)(4a)(5d)] [(2a)(3d)(4a)] [(3a)(4~)(5a)] [(2a)(3d)(5a)] [(2a)(4d)(5a)]
4) Four cnromanc
voice~ :
A total of sixteen different direction combinations and chromatic lines are possible. Parallel:
[(2a)(3a)(4a)(5a)]
r(2d)(3d)(4d)(Sd) ~
Contrary, (Three parallel/one comrary):
[(2a)(3d)(4d)(5d)] [(2d)(3a)(4a)(5a)]
[(2d)(3a)(4d)(5d )) [(2a)(3d)(4a)(Sa)]
[(2d)(3d )(4a)(5d)] [(2a)(3a)(4d)(5a)]
[<2d)(3d)(4d)(Sa)] [f2a)(3a)(4a)(Sd)]
Conrrary. (Two paraliei ascending/two parallel descending);
[(2d)(3d)(4a)(5a)] [(2a)(3a)(4d)(Sd)J
[(2d)(3a)(4a)(5d)] ( (2a )(3d)(4d )(Sa) J
lf2d)(3a )(4d)(5a)] [(2a)(3d)( 4a)(Sd)]
*Remember the 5t.h string has the additional problem of L.l.L.. omitLing some of the line possibilities available to the other strings. 185
While observing the chromatic guide-line possibilities on or through different chord types, it becomes obvious that dominant chords contain the most chromatic possibilities. This will be most evident in the examples showing chromatic lines over a sin!!le chord. A chord progression containing many dominant chords will also yield more chromatic line possibilities than one with less dominant chord types.
In the following examples, before preparing an entire exercise. begin first by isolating and playingh!fil the chromatic voices. This will allow you to better "hear" the quahry and motion the lines have to offer. It might also be beneficial to record the chromatic guide-lines and play them back while performing the entire exercise. This chapter will begin with the examination of one and two chromatic voices on a~ chord voicing. But for a few isolated examples, (some of which will be presented at the end of these single chord examples), three and fou r chromatic guide-lines over a Single chord will not be included. This many chromatic voices on a single four-ncce chord can begin to lose or compromise the function of that chud.
In the following examples, an occasional non-functional voicing might appear. \Vben this occurs. it can simply be considered a "chromatic approach" to the next functional voicing. The following example will demonstrate; (E7) _ __ _ _ _ __ _ __ __ _ _ _ E7f.5C#9> M7 E7 ~5(b9 ) (Chrom App.)
o~~
:&:ii ~l
(A) A6(9 )
!i
II
One chromatic guide-line on a sin&le chord
The following rhythms are arbitrary and it might be most effective to attack the full voicing with each chromatic note. "Chromatic approach" voicings are put in parenthesis.
Bb9(f,5 ) Bb9 Bb7~5(#9)BH3(# 9 ) Ebmaj7(9 )
1) 2nd string ascending;
I
I
~ i.~
•
Ji
I
~..-~
J
l~I
ii
i 2) 2od string descending;
a) Gl3(~9 ) Gl3(9) G7~5( :>9 ) G7 ~5
~
I
b) D-7ii 5(ll)(D7,5) D-7ii5 D-7 , 5(f'
Cmaj7(U1/ 9)
I Gn5
G7~5(1 3)
G7(alt 5) G7(Hl 1
--~-+---Ii~_b.!___,.....,h~..,..---· ---+-j&i_ i~·__.~.. . . . ._~-
186
C-6
:l-*-r---1~:i-----"-[!
3) 3rd string descending;
___
Bb13Bb?(b13) Bb7
Bb7b5
Ebmaj7
~~.-.-'9-,_bJ~t~~;- J. : : : : : -: =r-1~:~ ,'--_--------ttlj 4) 3rd string ascending;
a)
Bb7b5(9) Bb7tt5 Bb7tt5(b9) Bb7b5(#9) E bmaj9
br
t ; j ij
l&~--11
nJ
(D-maj7(11)) G7(b 9)G7tt5(b 9) Cmaj7(6)
b) D-7(11)
~-#}.,----!.Jl~~1~JOL.--'-1'7-__ 1J _.._,i·- -111 5) 4th string ascending;
b) C-7(11)(C-7b5)
a)
B7
B7(b9) B9(alt5)B7(#9/alt5) Emaj7(9/6)
ff~J~1t·~~~~j~-~l#f_·~~--11 C-7
6) 4th string descending;
C-7#5
F7tt5
E9(13) E9(b 13) E9
~#~! qF 7) 4th string ascending and descending; C-(11/ 9/b 6) C-(11/9) C-7(11/9) C-6(11/9)
8) Stb string ascending;
(Eb9)
F7(alt5) F7(b13)
E9(b5)
F bf
Amaj?
1#-i
F7#5(b9) F7#5(9) F7#5(#9) F7#5
A13(9) Al3(b 5) Al3 ~~ Al3sus4(9) , ~
Bb (add9)
~
Bb (add9)
Dmaj9
~~4r~=~~r~~l~~r~~r~~~~·~~~--~_-_-~1 187
9) 5th string descending; A-(add9)
i
A-maj7(9)
A-7(9)
A-6(9)
G(add9) -e-
.0..
~
#f
I~
~r
§f
Gmaj7(9)
G7(9)
#r
G6(9)
qr
r
11
The following example will demonstrate ascending and descending on one string and one chord; D-7
vE
(9)
(D7)
j ~j
J
G7
(b 13)
I~
1iJ
J
(b5)
Cmaj9
~J
I~
~
~
(C9)
C6(9)
~~
I~
I
The following examples w ill demonstrate different string or voice combinations of one chromatic guide-line; a)
C9(ttll)
~~
C9
~
C7 tt5(b 9) C7 #5(9) C7tt5Ctt9)
(7)
&'
§~
§J
'
188
C7 ~5(tt9)
'~
Frnaj9
18
II
Two chromatic guide-lines on a
sin~le
chord
After playing each of the following twelve examples, prepare their chromatic guide-lines in the reverse direction ror ali twentv-four possible line combinations for two chromatic voices in a four-note structure. A new target or ending ch.o rd might be needed when lines are reversed. Before examining rhe following twelve examples, two examples of reversed guide-lines and new target chords are given; Parallel chromatic motion, [(2a)(3a)];
-c
0 l c~· to·t:J '1v
I
,~~i
cn5
C9
-e-
~e
~~; --e
~J
Fmaj7 ~5 I p
Ii
I9~ -
II
The above example in reverse direction, [(2d)(3d)] . with new ending chord: C7#5(#9 ) C9 cn5(b9) F6(9)
#~s:
b~ 1 ~··Q_~:-:---~~be ~ -~-~+-tll, ~i,_.:::=-= ---Tl~11 I
Contrary chrom:uic motion, [(2d)(3a)J ; C7 ~5
C7 ( ~9 )
F6(9 )
The above example in reverse direction, [(2a)(3d)] , with new ending chord; C9(~11 J C7(b9) F(add9)
cn5
J&; ~~!
&~i
I ~§
&!:
I!
~
Tne fo llowing twe1ve examples display 1wo ch:omacic guide-iin::'.s on a single chord ; I) Parallel. [(2d)(3d)]:
2) Contrary, [(2a)(3d)J:
EIJrn9 ! E9(b 13\ E7('.,9
r; . ;-
E ' -'-'
El.:
E7(v13/ t>9 ~ E S
0
3) Parallel , [(3d)(4d)]; E7o5 (.~ 9) A(~ll/9 )
r.
E7C13/9 ) E7
_J1__.~1}
•
.
-.
5) Parallel, [(4d)(5d)]:
e ~!
!U
~1 ~
(Ee) ...LO_
~D~
:!1-t-
0
4) Conrrary. [(3d)(4a)];
,., El3 E7(b13/~9 ) E9
G7b5
A(a.dd9
(,
•_'._
-, G
6) Conrrary,
G9(alt5 } G7
~=
. I~ '.)
! 1!L f:' f',
crn111 ....
I =t~ I
G9(b5 )
I]
8====:JJ
189
' ~
~;
cg -..i
U c __
I :
a
I~
~
Ala
-.:::--
~
f< -
. ~-e-
H .
((4a)(5d)]: (E<>)
~~;
G7(alt5 \
ff
C(add9 ' i
'.e
_j
8) Contrary, [(2a)(4d)];
7) Parallel, [(2d)(4d)J ;
F7(~ 13/#9)
F7(13/ 9 )
A 7b5(#9 ) A 71'5(13/9 )A7b5(b 13/b 9) Dmaj7
+~?i
1 1~
~~a
§~
f1
II
E7~5
(E6)
~i~~ u ...
~!
I ~®
::§
(1~
I 'ii
E7(13/9)
~~i @~i ~I
II
~ -&
II
A6(9)
~tg i '-&
II
12) Contrary, [(2a)(Sd)] ; E7~5(1' 9 )
(Ab7)
~v ~~
Ii~
E (add9) (Af7)
Amaj9
11 ) Parallel , [(2d)(Sd)] ; E7~ 5(tt 9 )
-a-
10) Contrary, [ (3a)(5d)] ;
9) Parallel, [(3a)(5a)] ;
E 7(alt5)
Bbmaj9
F7
r,.._
ii
eli
C7(b 13/b 9) (E-6)
A6(9 )
I
'~
b.L
~~i~
II
~··-e-
~
~~
~
C7b5(b9)
Fmaj7(#11)
-0-
..0..
~
I~~
II
The following example uses different combinmions of strings or voices and parallel or contrary motion "vith two chromatic guide-lines;
...
D -7(1 119) (F-7 )
'
~
i,;~
A7#5
A13
· ~ =;S v
~
~~
D-7
G7# 5 (~ 9 )
....G9
I,.
D-9
A7(alt5)
f~E
18
!
#~
I~
•ij
D-7b5 (D7a dd4)
b~
C6(9)
Gl3
~
a
1$ G7b5(b9)
I~,~
(C9#5 )
...
Cmaj7(9/ 6)
ii
=
G7sus4(b9) G7(h 9/alt5) C6(f
~~ 11~
Iqf_ _A
The following example combines ascending and descending chromatic motion on any one of two strings over singie chord ; G13rnll ) G13(# 11) G7rn9/ alt5l C6(9 ) C(U l / 9) (D6(9)) (Dli 6(9)) (F-6) (F-6)
~
C 6~9)
The following presents three and four paraiiel chromatic guide-lines on a sinirie chord. Contrary motion w many chromatic voices is much more difficuJt to extend over three or more different voicings on a single eh(, The following example presents four parallel chromatic voices on a single chord, and requires a chord that when transposed up or down a whole-step. \'\'ill still function on the originai chord. The chords in between fu nction as chromatic approach chords. (E ~ 7-5 )
E7b5 C E7~ 5 )
&ii
__ _
(E b7b5 ) _ _ _
9~~ 110
(Db7b5) E9(~5 ' E9
I~ ~
~i 190
~~~ ~
A6(9 )
i#i+-e,. ~
II
The following is an example of three parallel chromatic voices; E9<#5)
':;
(Db7)
E7(alt5)
,~!
~9;
Amaj7(Ul/9)
..
Ii~
II
~
CHROMATIC ';UIDE-LINES OVER CHORD CHANGES ln this half of the chapter chromatic voices will be examined over chord changes, beginning with II V I chord cadences and followed by more extended musical examples. Three and four chromatic voices present some unique problems. Contrary motion with this many voices is difficult to extend over three or more chord voicings . For this reason, the contrary motion examples for three and four chromatic voices wi!J be combined into a single II VI example; II( three voices) - V(four voices) - I. Some isolated examples of three or four contrary chromatic voices over the entire II VI cadence will appear later in thjs chapter. Parallel motion for three or four chromatic voices will be attempted over a complete II V 1 cadence. Three and four chromatic guide-lines will share some voicing cadences with a few of those previousiy introduced in the Chromatic Approach Voicings chapter. The primary difference between "chromatic guide-hoes .. ancl '·chromatic approach voicings·· over chord changes is the guide-line must be aware of chord functjon while the approach voicings need not. If a functional chord with three or four chromatic guide-lines cannot be found , a chromatic approach chord with no function could be used to continue a desired chromatic motion.
One chromatic guide-line in a chord progression The followi ng II VI examples present the same chromatic line on each string or voice; Descending chromatic line; I)
C-9
~l!
F7(b9)
~8
~o
3) C-7
F7(b9)
li.n: ~ .--IiLO_ _J -~ ·-- I
·-
r rel="nofollow">-4'u
IV
-0-
-e-
2)
B'::>maj9
8 0
II
ff,maj7
F7(',9)
-e-
1-0-
E!-ff=
h~
4\
F7(b9)
C-7 0.0.
~~-~-
- - e -===tj ' g-
C-7
...,
>I
t:rcr
1-e-
i'B ~
B bmaj9 -0-
~
II
B ~ maj7
-e-
b!
ii
Ascending chromatic line; 11
~
...,
C-7<1 11
9~
F7i,9 ·
-&
9i
C-7( 11J
F7(:i9;
- J
Bnnaj7(9/6 '
~
f&~ ~IB$ .-e-
-~
;:;, -e-
4 > C-7(11 )
B~6
--?~
F7(b 9 i 1-0-
bll!!
B~maj7( 9/6 ·
. -e-
~
tJ
":> )
l;!
C-7Cl l >
~<> ~· ~
:~
..i
19J
F7(b9) I
-&
1111 ~
!I
Bb6(9)
b.o.
~~
II
The following example presents an extended descending chromatic guide-line on the 4th string; C6(9) -a-
'
~
A13(b9) D-7(11/9) G7(bl3/ b9) E -7b5(11)
b.a.
~=..
~a
~
lz~~
-
A7#5
~s
D-%5
G7(alt5) Cmaj7(#11)
~te
f,9!
j±~
II
" -&
Using the same chromatic line in the above example on various strings or voices establishes an interesting way to "pull-together" chords that are not voice-leading to each other. This chromatic guide-line acts like a thread holding these leaping voicings together : Cmaj9
'
i
A7(alt5)
wl
D-9
qq~
G7(b 13/ C. 9) E-n5(11 ) A7(#9)
,* I~
~
~~! 1
D-7b5(11) G7(b9) Cmaj7(13/#11) I
'
l
i,q~
~
II
The following is an example of octavely displacing every other note of the above chromatic guide-line. Note the interesting line pattern produced on the iop voice. Cmaj9
'
.._
A9(13)
!!
~i
.a.
D-7(11)
~l
G9(#5) -a-
'!
E-7b5
b.... ~~
A7
#~
D-7b5
G7#5
~ qc~
#!
C(#ll)
#i
II
The following examples present a chromatic guide-line that ascends and descends.on one string or voice, and finally on three strings or voices; 1) 4th string chromatic guide-line; Bbmaj9 G7jt5(b9J ~
=' @.!
~
J~ !l
~
C-7
,~.a. ! !~
F7#5
!~
D-71;5 ~
G7#5(P9) I ~
llj~
b~
C-9
I
b.a.
!~
F7(P 13/P9) Bbmaj9
'ltf! ~i
~
~~
II
2) 3rd string chromatic guide-line; Bb6(9)
~i
G7(b9) e :1~
Cm(ll) e
~8
F7;5(b9) D-7b5(11) G7(b 13/ b9) ,~ ~e
~\~
1
it ~
1:·!18
C-9
ti
F7(b 13)
e, t~
Bb ( ~ ll/9 ) I
!:!
II
3) Single chromatic guide-line continued through the 2nd, 3rd, and 4th strings; Bbmaj9
Wi
G7 ~ 5(b9 )
I~ 1! ~
Cm(ll )
~1
F7#5Cb9) D-7b5(11 ; G7(alt5)
~
I
:a
bb5
192
C-9
~§§ -&
F7(alt5) I
~9a
Bbmaj9
n
b-u
II
Two chromatic guide-lines in a chord progression The following examples will present all twentv-four possible combinations of two chromatic guide-lines over a TI V I chord cadence. Many of these examples will also contain additional chromatic voices, some of which might reappear in the sections containing three orfour chromatic voices. Some exercises might also contain more than one example of two chromatic voices. The foliowing example will display three different two-chromatic guide-line combinations, [(4a)(5d)] [(2d)(4a)] [(2d)(Sd)];
G9sus4
C7(~9/alt5 )
Fmaj7(9/6)
l>e~~~
~!
~e
j
1n two of the following contrary motion examples, [(3a)(4d)) and [(2d)(4a)), a progressive new approach to dominant resolution is introduced . In these examples. the chords that are substituting the original V7 chords, (Fmaj7# 5 for F7 and Emaj7 for C7), contain the major 7th of those original V7 chords. The Emaj7 chord could be considered a "chromatic approach voicing" or an altered C7 chord with natural 7; (3 #5 7 #9) , while the Fmaj7# 5 chord is a direct parallel substitute for F7; (YmaJ7#5). The ..reason" naiUral 7 appears to function in a V7 capacity is its chromatic resolution tendency to the natural 5th of the I chord: The natural 7, (B). of C7 resolves to the natural 5tb, (C), of F. This chromaticresolmion is characteristic of "altered" V7 chords, and is probably why the natural 7 functions best with alrered tensions; (b9 #9 b5 #5), if tensions are desired.
Notice how above and below chromatic approach notes to a major triad include the guide-tones, altered tensions, and major7th of that triads V7 chord; (E, Gb ) (G#, Bb ) (B , D~) are half-steps above and below an F major rriad (F) (A) (C).Realize these notes on a C7 chord, (Fs V7 chord);
C7 .................. 3(E) ....... .
bS(G b) ..... .
#S(G#) .. ....
b7(B b) ..... .
7(B ) ...... .
b9(D~)
*Natural 7 on dominant chords should be used in an appropriate context where this contemporary sound is desired.
Two chromatic voices ascending in parallel mOLion: l)
C-7(11)
ti ~
3)
[}
C-7(11) !l :
t.
5)
~~§ F7#5(!>9)
Bbmaj7(6)
~8 I
Cm(llj
1-B-
;!;;:
~=
~
u
B?maj7(6J
F7Calt9 ;
~
C-7(11)
2)
~
4)
I
~ · '"
-:/ .
F7#5(b9)
l'I
-e-
~~r
C-7
F7(alt5)
I
. 0.£!.
~ !' ~!'
=fl
~
~
IJ
BPmaj7(9/6J
e
6) C-7(11)
j 193
F7b5(b9)
::Le. ,.e
~~ =t I
F7Cb9/alt5)
B b(l3/#ll/ 9)
ij!
::
B~6(9 )
b~
TI
~~
B ~(~ll/ 9 }
=!ijj
Two chromatic voices descending in parallel motion; I)
C-9
'd
,
Bb6(9)
F7(bl3/b 9)
2)
I
\§
~i
q I
II
Cm(ll/9)
F7(bl3/ b9)
~:
&t:
Bb(#llf 9 )
q:
II
3)
C-7
~~----1~i------""'l-"<-t!--i--- - H1
4 -ll'k---'-'"-11~---_------IL-'11~~Ce---=--~~·~~ E-(, -====II rr-
5)
C-9
6)
~ij
F7b5(b9)
F7(alt5)
&!i
Bbmaj7
4)
Bi'maj9
~=
Cm(ll )
I
C-9
'PJ1'$
i%1
F7(b9/alt5 )
F7#5(alt9) ~
q~~
Bb (add9)
Bb6(9)
&~
II
Two chromatic voices in comrary motion, (upper voice ascends/lower voice descends): 1) C-7(11/9)
'u 3) G-7(11/9)
' ' ~
5)
F7(bl3/b9)
~~~ f)O
C7(b9/alt5)
D-e~
~
l ·~
G-9
C7!)5(b 9)
~
li+
::· ~ ~
C-9
2)
~
[
~o
~~
_....
4)
,,
Ii
F maj7(~ 11 > ~
~~
' -e-
!).D.
II
'O
JI :: j:ll•
tl
B~6(9 )
a:
II :I
tJ
Fmaj7(916:
~~
Fmaj7#5
b G !i.~
B!)maj7(9/6)
Cm(ll l
.
6) Emladd9,
A7(U9/ alt5,
t)
194
i± Q
~ . , ~15
~ z;
~
F7( ~9/alt5 ; I
iJ~ ' ~o
9g
B:ima_i7t>5
•
-~
~
-11
Dmaj9
µ;~
r ...
II
Two chromatic voices in contrary mmion, (upper voice descends/lower voice ascends); G-9
1 I
I J
C7(~13/#9J
Fmaj9
.~
•
&§
#bg
*
9;,
II
'
it:
&i G-9
G7 #5(~9 )
D-7(11)
~ '
'
~: ~
!
Cmaj7(#11)
..
"!:o
ff
3/ ~9 ) 5 ) G-7b5(b13/9) C7011 I
fbt!...
~
4)
,..
=°
-~
-
4u
r-
,~~
' 5~ ~
.
q
i:i <S! b
e
..
I!
~l
!i
' r-G.
.+
r
§~~
~
ll
e
F'~~ ll/ 9 )
C7Calt5;
-y-:-! 1'. 9.
II ==-±i
Fmaj9
~ ~~
.~
6) G-7b5 ( ~ 131 ~c
,
9!
Cmaj7#5rn9) CEmaj7)
~l
F6(9!
,1)-t?
B~maj9
F7(~13/ # 9)
2) Cm(ll/9)
~
.
if
;1
Applying two chromatic guide-lines over an extended chord progression introduces problems the single chromatic line did not offer. This is especially true of rwo contrary chromatic lines over an exrended progression. The following example uses two parallel chromatic guide-lines over an extended progression; Cmaj7 f..
=l, ~~ ~I
v
A7b5(b9)
.II..
b.11..
fj
litt" "e
e
G7b5(b9) Cmaj7
D-7
....
.~ 55 t;
b. ;e
A9(13) D-7P5(P 13) G9(13)
z:;
;
,\i•
p
G7(~ 13/ ,llt! ·
P9) C(add9) I
::o
I"
The follow mg two examp1es use c:0ntrury mouon berween twc cnromauc voices OYer an exreuaea progression. T r: lI nes must change strings or voices to continue tneir ci1rommic motion. Before displaying tnese examples, It should be noted that there are only two possible contrtlfy chromatic lines over exrended chord progressions;
1 J Ascend ................ . £, Descend .. ............. B Inrerval ................. . 1
B~
c
c:
B
B;. ~3
2 ) .'\scend .............. Descend .... .... ..... ImervaL ... .......
b2
;.
c~
r
D:'
A' .) "
b.:
~.)
r, L•
D~
..::
r\
/ -\ I)
4
5
G 6
A~
G ~t -
,.
J
,_
Fl'
,-.
G~
F F
' 1= ,_
E~
•p.
8
;, "
10
F Gr 7
F ~,,
'")
r-
b9
~
•--~ ._; L
-
~ 10
~.J
o; D ~l
3~
.t:.p
11
Note the doubling or octave (8) in the first example and the b9th imerval in the second example. I~ either lm:: is K continue chromatically. it must include tb.e$e in~ervai ~.. T he following example containmg ihe b9rn mrervai i:; supported by a hybrid chord.
19S
l) (Asterisk denotes octave doubling)
Gmaj9
$? ~
E7#5(b9)
A13(b5)
w~i
~E
D7Calt5) I
ire-
~§
B7Calt5) 0
~ew
*E7
=-~r
A7(alt5)
D7(#11)
§#i
~:i
G(#ll/9)
~~
II
2) (Asterisk denotes ~9th interval) Cmaj7
~q
A7(b9J
Dm(ll )
g
~ ~a
G7#5(~9 )
!~~
Cmaj7
A7(b9)
.a.
0.0..
~
~~
FIG~
~s!
*BIF
C(add9)
~~!
§,:
I
II
The following exnmple uses both parallel and contrary motion while also ascending and descending in one chromatic voice: f
G(add9 ) -e-
~ i et..'
F~9( 13 )
~
Fmaj9
~~
Bb9
E-9
E7(#9J
~2
~!
ir-~
A6(b5 J
Dn5(~9 ) ~
G6
fS??l
~#§
Three and four chromatic guide-lines in a chord progression Three and four chromatic guide-lines have a total of fortv-ei£ht different string and motion combinations . Three chromatic lines have ei£ht parallel and twenrv-fou r contrarv combinations while four chromatic lines ha\'e rwo parallel and fourteen contrarv combinations.
As mentioned earlier. applying only one of the thirty-e ight possible contrary combinations over more than cwo chords can be extremely difficult and in some cases impractical. For.this reason , a three and a four contrary chromatic line combination will be combined into one II V I chord cadence: II - (three chromatic lines 1 - V - (four chromatic ii nc:-. 1 - l. or 11- (four chromatic line:;' - V - t three chromatic lines) - I. Some examples ';viii contain four chromatic lines between all three cadence chord~.. Of course. e~ich four-chromatic line exa mple contains at ienst one tbret.:chro matic line t:xample within it. Applying a ' 'arier_\' of the thirty-e ight possible contrary chromatic com bina1iom \\'Ould be possih lc O\ er an extended \.'11orLi pro;:e<;s ion. and some exam91es v;ill be orcsentl.'.d Jarer rn thb section The e ighr oarallel examples for three chrom..ur voice<; will be exammcd ove.r me entire ~T V I cadence . Th~ descending paralkl example for four chromatic voices will be included in the contrarv motion example:-. The ascending parallel exam olc for.f'our chromatic ,·oicc:• will nor be incl uded. bm can easi!v be ex amin~d b~· fmd111 ~ one chord th:.it v;hcn mowd chrom::nicaily funcuo ns tor eac h chord of the TI VI cadence;
I1
') \
D7su:-...! [D-70 1))
£., 7su~~ E7su~-t [G7(alt9/alt:' )] [Cmaj7(9/6)]
TI
v
C6(9
D~6(9 l
[D-9)
[G7(#91alt5)] [Cm:ij7(# 1119))
D6(91
Some of these examples will produce physically mvbvard fingerings. an
196
Descending parallel chromatic motion in three voices on a four-note structure; 1)
B-9
't'
#~
.. -~
3)
~
Gm(9)
~-
E7(b 9/alt5)
b.£!_ ~: I
..
C7(b 9/alt5)
!I
~w§ -9
' '
4)
F(#ll/9)
b~
' t>*-
C7(b9/alt5)
~
1~;~
~
2 ) Gm(ll/9)
A6(9)
II
~
D-9
FCUl/9)
b'.9in
~~
G7(b9/alt5 )
Cmaj9
II
I
~u
;l~:a
II
~~
0
I
'"""
Ascending parallel chromatic motion in three voices on a four-note structure; 1)
D-7(11)
~ ~
3)
'
D-7(11)
~
G7b5(alt9)
~~i
2)
Cmaj7(9/6)
~
I
G7(b9/alt5)
~~
E-7(11) ~
-6-
!~
II
..!
4)
Cmaj7(9/6)
C-.7(11)
'~;
II
Dmaj9
A7(#9/alt5)
. -e-
-&
I~
~~
#::
..
Bb6(9)
F7(b9/alt5)
~r:
~
23
The following is an example of parallel "indirect" chromatic mmion using three voices. (Note the doubling);
D-7(11)
4!
(E-7(1.1))
s
G7~5(#9 )
G7Cb 9/alt5 1
4.
~'!
C6(9)
IS
i
Contrarv chromatic motion in three and four voices The following examples will include three and four chromatic guide-lines, but will be organized in accordance with three chromatic hnes. since they comain nvemy-four different combinations while four chromatic lines conrnin oni:·· fourteen combinations. Reference lO individual fouI-line con1oinations will oe organized and presented immediately following these exam.pies.
197
TWO CHROMATIC LINES DESCEND WHILE ONE ASCENDS, (TWELVE COMBINATIONS) 1) 2nd, 3rd, and 4th strings; a) II - (2d)(3d)(4a) - V - (2a)(3d)(4d)(5a) - I b) II - (2a)(3d)(4d) - V - (2d)(3d)(4a)(Sa) - I D-9 G7(b 9/alt5 ) C(13/Ul/9) D-9 G7(#9/~5 ) C(13/ #1119)
'TI
*~
·~
G7(b 9/#5)
Cladd9J
1
~
j±.e-
Ii*
II
;;
II
c) II - (2d)(3a)(4d) - V - (2d)(3d)(4a)(5d) - I
D-7
I
1P-&
II 2) 3rd, 4th, and 5th strings; b) II - (2d)(3a)(4d)(5d) - v
a) II - (3d)(4d)(5a) - V - (2d)(3a)(4d)(5a) - I
E-7
& ._, i
A7#5(b9)
&#o:!
c) II - (2a)(3d)(4a)(5d) -
D9sus4
Db7
D-9
D(#ll)
IR ..
=w~ 9!!~
II
~~
b.o.
~,;3
Cmaj7rn11)
1-"-
2
v - (3d)( 4a)(5d) - I C7(13/9)
3) 2nd, 3rd, and 5th strings; a) II - (2d)(3d)(5a) - V - (2d)(3a)(4a)(5d) - I G-9 C7(b9/alt5) F (13/Ul/9)
'~i
- (3a)(4d)(5d) - I
Db7
i~§
b) II - (2a)(3d)(Sd) - V - (2d)(3d)(4d)(5a) - I G-7 C7(b13/b9) F(add9)
Ii
c) TI - (2d)(3a)(5d) - V - (2a)(3d)(4d)(5a) - I G-7 C7b5(#9) F6(9)
&~1
:1~!
lg
::
4) 2nd, 4th, and Sth strings;
a) II - (2d)(4d)(5a) - V - (3d)(4d)(5d) - I C-7(11) F7b5(b9) Btimaj7
b..a..
@Ii!!
1-e-
b) H - (2a)( 4d)(Sd) - V - (2a)( 4a)(5a) - I
C-7( 11/91 A
l Q)
c) II-((2d)(4a)(5d)J(3d) - V - (2a)(3d)(4a)(52) - I G-9 C7b5(b 9J F (!: ll/91
~
~~!
.:~"-..---;·-=--==11
198
b..a..
F7(b9/alt5 l ~
Bb6(9 J
be-
II
TWO CHROMATIC LINES ASCEND \VHILE ONE DESCENDS, (T\VELVE COMBINATIONS) 1) 2nd, 3rd, and 4th strings; a) II - (2a)(3d)(4a) - V - (2a)(3d)(4d)(5d) - i D-7(11/9) G7(~9/alt5 ) C6(9)
b) H - (2d)(3a)(4a) - V - (2d)(3d)(4d)(5d) - I
D-?
-r;,,,;-&~Q-~ii#~ .'Q-____....._.·=a----i-~ ~
c)
~ ~
: ·:;
tttJ
G7 (b9/alt5! 1
·'tt::~
C(add9)
.z
II
--£i~tiO.-----~
!I - (2a)(3a)(4d) - V - (2a)(3d"li4a)(5d) - I D-9
Cmaj 7(~11 !
G7(#9) ~
.n
~£-"-'-TI_ _ s -~tt!·-'~ -~ (..'
3rd. 4th. and 5th strings;
'.:?.'!
a)
II - [(3a)(4a)(5d)](2dJ - V - (2~)(3a)C4d)(5a} - I
G-9
C7b5(~9 )
b) IT - [(3d)(4a)(5a)](2a) - V - (2a)(3a)(4d)(5a·i - I
D-7(11/9 \
F maj9
c
- t,J
e,.
c) If - [(3a)(4d)(5a))(2a \ -
D-9
&~
\! -
G7(b9/alt5J
1t!
G7#5(!:> 9) f
0
(2a)(3d)C4d)(5al - ! C(U1J
~
I
3) 2nd, 3rd, and 5th strings; a) II - (2a)(3a)(Sd) - V - (2d)(3a)(4a)(5a) - ! n
,.,
\.::- ;
C7~5rn 9 ·
b) II - (2d)(3a)(5a) - V - (2a)(3a)(4a)(5d) - I C7(;f9/alt5; Fmaj7(:;1:;. , G-!?
Fm a_i7(:'.!1 1/9i
i-4!~~--~~~-·1~~~__;_,~8~~~--+l!i c)
kJt~:i-=--=--=---. : -.+-/- + <~t-+=-§,. .-__ -_-_ - G+'1~§f:: :~==---=Ji
U - lC2a)(::id)t.5 a)](~li ! .. v - \ ka j(3~J\ 'tah5~ , -1 G-9 C7(b9/alt5) F<::ll )
::;c::.i~ fi-==--:=:...~9b:~ · iq.__-==-~ -97::::::_ · -==-~:r @)
4 ) 2nd , 4th. and 5th SLrings;
a) U - [(2a)(4a)(5rl)](3a) - \! - Cd)(3d)(4d) - 1 G-9 C7(~ 13/~9 ) Fmaj7(9/6;
b) H - (2d)(4a)(5a) - v - (3d)(4d)(5d}- I
C-7(1l l
i
.!/£..
f&, ~ !
t
~
~
i1
c)
II - (2a)(4d)(5a) - v - (1.a)(3a)(4d)(5d) - : C-7(11 ) F7(altJ BPmaj7
c)
199
F7(b l3/b9 j B t>(13/nl/9 l
t!
~~
1:
The following wilJ organize the four chromatic guide-line examples already presented for easy individual reference. Each of the fourteen four-line combinations will be listed along with the three-line combination it can be found under. 1) Four descending chromatic lines; (2d)(3d)(4d)(Sd) refer to (2d)(3a)(4a) 2) Contrarv; three descending chromatic lines while one ascends;
(2a)(3d)(4d)(5d) refer to (2d)(3a)(4d)(5d) refer to (2d)(3d)(4a)(Sd) refer to (2d)(3d)(4d)(5a) refer to
(2a)(3d)(4a) (3a)(4d)(5d) (2d)(3a)(4d) (2a)(3d)(5d)
3) Contrarv; three ascending chromatic lines while one descends; (2d)(3a)(4a)(Sa) refer ro (2a)(3a)(5d; (2a)(3d)(4a)(5a) refer to (2d)(4a)(Sd) (2a)(3a)(4d)(5a) refer to (3a)(4a)(5d) (2a)(3a)( 4a)(5d) refer to (2d)(3a)(5a) 4) Contrary; two ascending and two descending chromatic lines;
(2d)(3d)(4a)(5a) refer to (2a)(3d)(4d) (2a)(3a)(4d)(Sd) refer to (2a)(4d)(Sa) (2d)(3a)(4a)(5d) refer to (2d)(3d)(5a) (2a)(3d)(4d)(5a) refer to (3a)(4d)(5a) (2d)(3a)(4d)(5a) refer to (3d)(4d)(5a) (2a)(3d)(4a)(5d) refer to (2a)(3a)(4d)
The following three and four contrary chromatic line combinations extend over the entire II VI cadence. Additional string and motion combinations are possible, but in many cases require "doublings" or seventh-width sized voicings. Some of the following examples will include such voicings. 1) (2a)(3d)(4a);
2) (2a)(3d)( 4d);
F7#5(alt9) Cm(ll/9) B~maj7(9/ 6 )
4
3) (2d)(3a)(4d); D7(~9/alt5)
'"If~"'- +I-:~ ~~ ~II ' "fi 1{~ ~;
,1:-H-
...
4) (3a)(4d)(5a);
G6(9)
I
~ i &
j
t.
5)(3a)(4d)(5d);
C(Ul/9) D-7(11) G7(bft/alt5;
.
6) (2d)(3a)(5d);
E-9 A7(~S/alt5J Dma_j9
~) (2a)\4d)(5dJ;
7) (2a)(4d)(5a);
E-9
A-7(11/9)
Dm(add9) G7(h9ialt5)C(#ll)
An5Cb9)Dmaj7(#11 )
C-9 h
'
l
Ii~ ~~~g
. -6-
~~
~
11)(2d)(3a)(4a)(5d);
D-9 G7(b9/alt5) C(#ll )
D-9
F7~5 (alt9 )
~
10) (2a)(3d)(4d)(5a);
9) (2a)(3a)(4d" :·a);
B.,maj7(#11/9}
Gm(11/ 9) C7(altJ Fmaj7(9/ 6 )
II
II
200
i
~
g
G7(~9/aL5)
. ~e
!z:+ ~~ f
C(Ul/9)
""'
~~
I!
The following example uses three chromatic guide-lines with a single common tone over an extended chord progression; Fmaj9
'
D7b5(b9) Gm(ll/ 9) C7#5rn9) Fmaj7(#11) D7(b9/alt5) Gm(ll/9) C7(b9/alt5) F6(9)
8 11~
I
-&
b.o.
Ii~
~
~ l
I
b.o.
I ~
~
l1h8
~
:i,
~!
~~
II
The following example uses three and four chromatic guide-lines over an extended progression; B~maj9
~
F7#5(~9 )
G7b5(b9) C7(b9)
b.a.
~
-&
~hg
§
D7b5 I
~rz
~~%:
{)--0-
$.g'Q
G7 ~5
'~i
C7(alt5)
F7b5
Iii
f'~ 09~
Bb(add9)
b.o.
~°it
II
The remaining examples are II V I cadences that contain a variety of chromatic guide-line combinations. 2) II - (2d)(3d)( 4d) - V - (2d)(3a)( 4a)(5a) - I ;
1) Top two voices descend chromatically while bottom two voices ha';e indirect chromatic motion; D-7 G7(alt) Cmaj7
D-7 G7(b9/alt5) C(add9)
~:i ;~ q.!
I
o-&
II
4) II - (3d)(4a) - V - (3d)(4a)(Sd) - I;
3) II - (3a)(4d) - V - (3a)(4a)(Sd) - I;
D-7(11)
G7b5(b9)
C6(9)
Dm(11/9)
4~
II 5) II - (2d)(3d)(4d) - V ; D-7 Gl3(b9)
II
G7#5(#9)
~"!
Cmaj9
§i
6) II - (2a)(3a)(4a) - V - (2a)(3a)(4d)(5a) - I; G-7(1119) C7b5(b9) F6(9) CD-7) (Gb7)
Cmaj9
(E7)
jj~I C7(b9/alt5)
F9(13)
G-7
b.o.
I
[I.e.
j
' !
9) V - (3a)(4a)(5a) - I ; D-7#5(11) Bb6(9)
&·~
I
8) II - (3d)(5d) - V - (2a)(Sd) - I ;
7) (2d)(3d)(4a)(Sd);
G9sus4
G7(#11/b9)
1,#~
II
C-6(9)
~~1 201
C9(alt5)
Fmaj7(6)
Although the following exercise contains some three and four chromatic guide-line examples, the most interesting element is the contrary motion produced by the top voice and the chord roots. Since some of the drop 2 type voicings contain no root, sing or record-and-playback the roots while playing the exercise.
E -7 0
Eb7sus4
#o
D-9 -e.
Db9(13)
ie-
Cmaj7 .n.
II
'
202
Chapter Twenty-Seven. Triad over Bass \loicings This chapter will explore all inversions of major and minor triads on the 2nd, 3rd. and 4th strings while non-triadic notes are placed on the 5th string. Omitting the three notes of the triad being used leaves nine possible bass notes underneath the rriad. The followin g will organize these bass notes intervallically in relation to one major or minor triad; b2
b3 or 3
2
4
#4
6
b6
b7
7
Above in relation to C major and C mino- triads; CID~
CID
C/Eb Cm/E
Cm/Db Cm/D
c·i;:
CIF~
CIA~
CIA
C/Bb
C/B
Cm/F
Cm/F~
Cm/Ab
Cm/A
Cm!Bb
Cm/B
Tne following will organize major and minor triads imervallicaliy in relation 10 one bass note; I 'J
D-
b:
2
Above in relation
to
3
a C bass
DblC
DIC D~m/C Dm!C
~ .:1
b6 or 6
5
b7
7
norc~
r ·i::f..._
EblC
E.' ~
c~ l.
E brn!C
Ern/C
FP.mlC
1
GIC Gm/C
/VC A11n1/C
B blC
B!C
Bbm!C
BmiC
The above chords consist of both hybrid chords and 7th chord inversions. The five chords containing the bass notes; b2, 2, b3 QI 3, 4, and #4 of the given triad are hybrid chords while the remaining four chords containing the bass notes; b6, 6, b7, and 7 of the given triad are specific inversions, (root and third inversions), of 7th chords . The following lists the 7th chord inversions;
CIAb = A bmaj7 #5
CIA = A-7
C/Bb = C7
C/B = Cmaj7
Cm/A~ = A~maj7
Cm/A= A-7b5
Crn!B b = C-7
Cm/B = C-maj/
With the exception of those conraining b9th intervals. all of these structures, (hybrid chords and 7th chord inversions). ha'.'e t>een previously introduced as specific inversions of different chords. The foliowing \Vili show the fi:sc chord that introduced each hybrid structu1e, \minus those srructures comaining b9th inrervals):
C/Dl, = A7(~ 9) Cm/D;;
= .L\7b5(#9 '·
CIF = Gl3(sus4) Cm/F = E ~6(9)[i 3 6 9}
CID= E-7#5 Cm/E = F~7( l31fr,. I 1/~C1 1 ,,
in past cnapters, those voicings containing b9th intervais were avoided. Because of the unique sound of hybrid chords and upper-structure triads, the b9ch inrerval will be made available to them in this chapter. Sin~e these structures often imply two different sounds or chords within en~ voicing. the b9th interv:ll p::-oduces less dissonar;ce than it usualiy does on a ··singular" harmonic structure. The following hybrid chords and 7th chord inversions contain b9th intervals: C/E~ C/B Cm!D Cm/Ft C/F~ Cm!B I
lt t.s imere$ting m note that of cbc eigiueen ma_ior and minor structures presented: Six are 7th chord inversions. (minus ~9th intervals): CIA~ CIA CIB~ Crn!Ab
Cm/A
Crn!Bb
Six are hybrid chords, (minus b9th imervals); CID~ CID CIF
Cm/D~
Cm!E
Cm!F
Six are structures contain:n!? b9th imerva1::· C/E~ C!F f:CIR
Cm!D
Cm/F~
Cm!B
203
Again, because of the unique sound these structures contain, and the limit of available voicings within this text' s framework, the outside voicing width of a major 7th will be included. This might pose some voice-leading problems when integrated with drop 2 voicing widths, but the "sound" and "style" wiJl often circumvent a temporary lack of voice-leading. The width of a b7th will still be avoided. There are six different structures that contain a major 7th width on one of their inversions;
CIDb
CI F
Cl A7 (Abmaj7#5J
I
'~
l\!i
Cm! Ab (Abmaj7)
Cm!E
Cm/DP
1,U
~E
&~so
tl
lz~
II
*Cm!Db will be omitted due to the awkward fingering produced on the middle four strings of the guitar. This voicing is quite comfortabl e on the top four strings. The following views the remaining five sm1ctures containing a major 7th width from a common bass note;
EIF
~b~~ e.)
I
CIF
A/F(Fmaj7#5) C#m/ F
~u
tl ~I~
Am/F(Fmaj7)
qu
ib~
II
Four structures; CIA, Cm/A, Cm!Ab. and Cm!Bb, will be omitted from the eighteen major and minor structures presented due to their limited use in a hybrid or upper-structure environment. These structures lack the "dual" quality the remaining structures contain, and seem to demand their "singular" identity;
CIA= A-7
Cm/A ~ = Abma_i7
Cm/A = A-7b5
Cm!Bb = C-7 or Eb6
They may reappear as triad-over-bass structures when these specific in.versions are desired. Triad-over-bass notation may also be more appropriate when the surrounding chords are notated that way as well. The following is an example of the triad-over-bass notation being most appropriate :
E/F
C/F
G/E
F/D
(E-7)
(D-7)
EID
Em/C (Cmaj7)
We no,x.· have a total of iouneen structures that will be examined in this chapter, CID~
Cm/D b
CID Cm/D
C/Eb
Cm/E
C/F CmlF
CiF#
C/Ab
C/B
C/B b
cmJF;
Cm/B
The foll owing inversions for each structu re will be used;
CID
C/F:
CIF
C/B
I. g Cm/ Db
Cm/D
1.
Cm/E
Cm/F
204
Cm/ F~
8 g Cm!B
u
u
II
This section will begin by examining each structure as a root inversion chord. This will produce a few rather incomplete chords as well as some structures that are best used in a "modal" context.
C/Db = D b0 maj7 CID = D9(sus4) C/Eb = Ebl 3(b9) CfF =Fmaj7(9) or F-maj7(9) C/F~ =F#7 b5(~9) or F#-7b5(b9) C/A b = Abmaj7#5 C/Bp = B ~(1 31# 1119) C/B = Bsus4(bl3/b9) or B phrygian
Cm!Db =D bmaj7b5(9) Cm/F =F9 or F-9
Cm/D = D7sus4(b9) Cm!Fff = F#(l31# 11/~9)
Cm/E =E 0 maj7(bl3) or E-maj7(bl3) Cm/B = B(bl31b9)
Although considering the bass note as the root produces some interesting chords, the most useful chords are often found on different roots other than the bass note. This concept introduces the "dual" quality these structures offer and begins examination of true upper-srructure triads; triads over 7th chords. When a different root other than the bass note and triad is c hosen, a chord is implied underneath the triad and the bass note now becomes a chord tone or tension on this lower chord structure and is subject to that structures Low Interval Limits. Since the chosen root is nor part of the voicing, it should be recorded-and-pJayed-back or sung while playing the voicing in order to hear the function of the voicing in relation to the root. The following hybrid chord is examined for its upper-strncture possibilities: CfF ......................... . (Assumed root) D ........................ G ........................ Bb. ..................... E ........................
F I b3 b7 5 b9
A ........................
bl3
c I b7 4 9
~~
E I 9 13 # 11 1 5
G I 11 1 13
(S ingular-strucrure) D-7(11/9) G13sus4 B b(131# 1119) E7(alt9/l5) A 7( bl3/ 9)
~~
(Upper-structure) Cover D-7 Cover G7sus4 Cover Bbmaj7 or B b7 Cover E7(b9) Cover A7(b13)
Again, it is important to know what the bass note is in relation to each new root. The above structures range, (F located on the 5th string), will satisfy L.I.L. for all of the new roots listed. If this structure were placed lower, for example F/Bb, L.I.L. would allow only the new root that produced the 5th in the bass; E b(131# 1119), and of course the root inversion Bbmaj7(9). . The following will examine all the new root possibilities, (minus those structures containing b9th intervals), each structure will afford. Only the root inversion . which has already been presented. will be used on structures conrainir..~ a b9th interval. The following strnctures, minus the C/F structure already presented, will be examined; C/Ab
CID~
CID
C/B b
Cm!D~
Cm!E
CmE
The root inversions, which have also been examined. will be included in the following models as well.
C/Ab ........... .... .. (Assumed root) Ab...... ............ .. F ...................... D ......................
Ab I 1 b3 b5
c I 3 5 b7
E I
#5
E ......................
"'.!
~5
7 9 I
B b.................... G ...................... C .....................
1-
PI
9
~11
b9 bl3
4 1
13 3
"
\J
( ~ing ular-structu re) A~maj7#5
7 9 11 ~9 '
13 I 5
205
F-maj7(9) D-7b5(1119) E7(#91~5) BP7(131#11!9) G l 3sus4(b9J C7(b13)
(Upper-structure ) C over Ab C over F-maj7 Cover D-7b5 C overE7 C overBb7 Cover G7sus4(b9) C overb13
CID .................. (Assumed root) D ..................... E ...................... A ...................... C ....... ...............
0 ...................... B b....................
F ......................
Fli .................... At ....................
C/Db................
D I 1 9 11
9 5 3 6
~; Db I l 3
c
E
I
I
b7
9
~i
1 5 ,.,
1
4
9 5 b5 3
c
~
13
#
11 i J.
7 b7
#5 E I b3 5 b9 .) "
G I 4 b3 b7 5 1 13 9 7
(Singular-structure) D9sus4 E-7# 5 A-7(11 ) C(add9) G l 3sus4 or G-6( 11) Bb(l31# 1119) Fmaj7(9/6) F i7(b9/alt5) A maj7(alt5)
(Upper-structure) Cover Dsus4 Cover E-7b5 Cover A-11 Cover 9 Cover G7sus4 or Gm Cover Bbmaj7 or Bb7 C over F6 or F-6 Cover F~7b5 Cover A1'm:lj7b5
(Singular-structure) Db 0 (maj7) A7(#9) E bl3lb9) C7(b9) Gb7(# 1 l/b9)
(Upper-structure) Cover D b 0 Cover A7 Cover Eb7 Cover b9 C over Gb7
(Singular-structure) Bkl31# 11/9) A7(alt9) Abmaj7 #5(9)
(Upper-structure) Cover Bbmaj7 or B b7 Cover A 7(b9) C over Abmaj9 C over Gm Cover Gb7 Cover Fm~ 1) C over E-7 5 C overE 0 Cover E7b5 Cover Eb7 cover D-7 bscb 13) C over Dh 0 -:Cover b7
b9
(Assumed root) D ~ ........ ........... . A ..... .. ............... E b....................
b7
ob....................
b9 5
ti,, 11
b7
G I bs b7 3 5 b9
Bb
c
E
G
I
I 9
I # 11 5
I 13
c .....................
CfBb................ (Assumed root) Bb ................... A ..................... Ab ................... G ..................... o b...................
F ..................... £ ..................... E ...................... E ...................... Ep...................
1 b9 9
b3 3 11 bs
bs bs
5 bl 3 b~ 7(6 '
i
7
#9 13 1
#9 'l ...;
11 11 5 b13
#
#S 6
b7 7 1
b9
b7 7 1 I I
b3
-
9 '. r
3 1I r: _.;:,
b13 ~ t!) 13
1,..,
b9
9
b3
~9
G-6(11)
G b7(# 1 llb9) F-maj7( 11/9) E-7 b5C bl3) E 0 (bl3) E7(# 9/alt5)
Eb13(~9)
D .... ................ Db .... .............. C ....................
b7
l
3
Cm/D~ ........... . (AS.\! med root) D~ ....................
D~ I I
c
,... ' I
I
7 ~9
9
bs
( Singular-strucru.re) D~maj7b5C~n
b7
A,7~5 ( ;9)
.'.I
E ~J3
1
..;....... ................
'
Eo ................... B h................... G .......... ........... C .....................
b3 bs b9
F .....................
5 bl3
ob...................
bi
D;
c.-
'p~-
I;
11
9 Il
bn
... -
13
~ 11 .J
lt9
b7
D-7b5(b13/11/9) . ...... :, -ma.1 -: C7
T'\ ' •
r
'-'
,..,
6 J 5
~9 9
Bti-6(11/9) G-7 b5(b l3/1]) C7(alt9)
G b7Cl3/! l llh9) F9(b13J
206
( Upper-srrucrure) Cm over Dbmaj7 Cm over A7 Cm over E b7 Cm over Bbm Cm over G-7 b5 Cm over b9 Cm over G b7 Cm over F7(b 13)
Cm!F ............... (Assumed root) F ...................... E b....................
c ......................
Ab.................... Db.................... B b............. ,. ..... Bb....... ............. G ..................... . A ..................... A ..................... B ........... ..........
Crn/E ...............
(Assumed root) E ...................... E ....................... A .................. .... C ............. ...... ... Eb. ...................
F# ....................
F I 1
5 5 b7 bl3
c I 5 6 1 3 7 9 9 11 b:
~ff
~t
E I 1 l 5
c I
bl3
1
1
b9
1 ...,
9 11 6 ,.,
.)
b7
b13
~9 1 .)
#11
Eb I b7 1
b3 5 9 4
11 b13 b5 bs .., .)
Eb I 7 7 ff 11
i9
1 13
G I 0, /
3 5 7
#11 13 6 1 b7 b7
#9 G I
b3 b3
b7 5 3 b9
(Singular-structure) F9 orF-9 E b6(9) Cm(l 1) Abmaj7(6) Dbmaj7(# 1119) Bb7sus4(13/9) Bb-6(11/9) G-7bscb 13111) A-7bS(bB) A7 9/alt5)
(#
B7(~9/alt5)
(Singular-structure) E 0 maj7(b13) E-maj7(b 13) A7(li 111# 9)
c7(~9)
E~13(b9) F# 7( 131# 1 llb9)
(Upper-structure) Cm over F7 or F-7 Cm over Eb(add9) Cm over 11 Cm over Ab6 Cm over Dbmaj7 Cm over B b7sus4 Cm overBbm Cm over G-7b5 Cm over A-7#5 Cm over A7,# 5 CmoverB7~5
(Upper-structure) Cm over E 0 Cm over Em Cm over A7 Cm over Cmajor CmoverEb7 Cm overF#7
We have now completed isolating any one hybrid structure or 7th chord inversion and examining all the enharmonic chordal functions it contains. Another approach, (and perhaps more useful), would start with a basic 7th chord and determine all the upper-structure triads and consequent hybrid voicings and 7th chord inversions it would contain. After establishing a desired upper-structure triad over a basic 7th chord, construction of different hybrid chords and 7th cho.-d inversions is possible by using the chord tones and tensions of the basic 7th chord below the established upper-structure triad. The following wiil examine the different hybrid chords and 7th chord inversions produced from the most common upper-structure triads over the most basic 7th chords. II - V - I chord cadence examples will display each hybrid and 7th chord inversion discovered. All examples will use a conunon "C" root for the basic 7th chords. If this key produces L.I.L. problems, (tension 9 in the bass for example) . that exercise will be transposed to satisfy L.I.L. Although listed, the "obvious" 7th chord inversions will not receive II - V - I examples. Also listed will be all the structures that contain a b9th interval, while only their root inversions will receive a II - V - I example. Additional inversions containing the b9th interval will be examined under the dominant chord examples. Since dominant chords generally contain dissonance by their nature, the b9th interval is more readily accepted on these chords . The b9th interval rn.i.ght be easier to accept on tonic or sub-dominant functions if the surrounding chords contain similar triadover-bass voicings. *Some of the following examples will have already been presented in part or whole under previous chapters. The available upper-structure triads to any single 7th chord type will be notated in Roman Numerals. Immediately following the triads numeral, in parenthesis, will be the tensions or chord tones that upper-structure triad forms on the original 7th ch~)fd. For example; Vm (5 b7 9) ..... is a Gm upper-structure triad over a C7 chord and it contains the 5th(G), b7th(B ~ ), and 9th(D) of C7.
207
MAJOR 7th CHORD Available Uooer-Structure Triads;
VIIm (7 9 #11)
v (5 7 9)
II (9#11 13)
1) II over Imaj7; Dover Cmaj7
DIC (D7) Chord tones in bass; DIE DIG D/B (B-7) Tensions cannot appear in bass because they are aiready contained in upper-structure triad. D-9
a)
&[~
TI D-9(11)
c)
DIC C6(#1119)
G7(#91alt5)
CIF
~ ~
is
" -&
b) D-7(11)
C6(#1119)
~~
~h~
~
~
v
d) G-7(11)
v
Fmaj 7(131#11/ 9)
j~:u
~:!
-&
II
G/E
F#7
F#/E
II
9:~
i "~
&i
~
DIG C6(#11/9)
G+7(#9) EblF
DIE
G+7(b9)
i
II
2) V over lmaj7; Gover Cmaj 7
Chord tones in bass;
GiC
Tensions in bass;
GIA
D-9
a)
'
g
Gmaj7(alt5) BIDb
#~i
G/E (E-_7 or Cmaj9) GIF# (~9th imervaI) b) D-7(11)
GIC
FIG
Cmaj9
~§ -0-
II
I
'
GIA
G7(alt9)
a
Cmaj7(916)
~
II
I
* Note the maj7th on the above V7 chord. This will be further examined under the dom7 chords in this chapter. 3) V1Irn over Imaj7: Bm over Cma.i7
Chord tones in bass; Tensions in bass: a)
D-9
G7(#91alt5 )
Bm/C Bm/A (B-7\ Bm/C
Bm/G (Gmaj7)
Bm/E
b)
D-9
G+7
Cmaj9 (~il )
Bm!E Cmaj9(#11 )
-~ _ o~---,r~,~~~---....-t,o~· ~~~~~~:§.-~~~--,. n !1
D-9 G7sus4(b9) Bm/G(Cmaj9#11) Fmaj? __ __ __ _____ Gmaj7
'~
~
d) D-7(11 )
G7sus4(b9) -e-
8
#"
0
208
+te
Bm/A
Cmaj7(13/Hl/9; ...c.
'8
''
--ii ,.
. I
.,
MINOR 7th CHORD Available Upper-Struccure Triads;
IV (11 13 1) {dorian } Ilm (9 11 13) {dorian}
bVII (b 7 9 11)
Vm (5 b7 9)
1) IV over I-7; F over C-7 Chord tones in bass; F/Eb (F7) FIG Tension 9 in rhe bass will be avoided due to the potential b9th interval.
F/B b
This complete structure: F major triad over C-7, produces a specific modal dorian chord. When isoiating the three possible triad-over-bass voicings. oniy the one containing the b7th in the bass (FIB b) dictates a modal dorian voicing. <>. )
D -7(11)
G13(b9)
F/Eb
EID
C-6(11)
b) D-7b5
G13(b9) E/F
FIG C-6(11)
I I
t4 c) A-%5(b 13)
Cm/F
D7b5(b9) Ab/Gb I~
l
D-e-
II
CfF G-7(13/11)
II 2)
bVII overl-7; Bb over C-7 BblC Bb/G (G-7) Bb/E~ Bb/A {dorian} (concains b9th interval)
Chord tones in bass; Tensions in bass; a)
D -9
BblC
G+7(#9)
D -9(11)
b)
CID
C-9(11 )
G7(b91alt5)
Ann/Db
Bb!Eb C-9(11)
I
~§
ro, c)
G7(b9)
D -7b5
-e.-
-e-
1zb:M
' ~~
!OJ
I
II
Bb/GCC-9(11)) DD.
:!
tv~
@~
I!
~
l
3) Ilm over I-7; Dm overC-7 Dm/C (D-7) Chord tones in oass; Tensions are not available in bass. a)
Fj:-7b5(11)
Dm!Eb
.D• \
FP,m!E
B+7(b9)
I
Dm/G
D-7:i5(11)
G7(~ 11/ b9 '
Em.(13/ 11/9) I
'#l c)
D-7b5
~~ ~;;
qc
~ ~
#
G7(alt9) Bb7
b.a.
lz~
Jo;
f .e ~
§
I·
Dm/G Cm(13/11/9)
!
I! 209
-& <:'.)
t,~
!,;+~
d) A-7b5(b 13)
D+7(#9)
F9
Bb/G~
~
hs
"
~~
Dm/B ~ (B~maj7)
Dm!Eb Cm(13/11/9;
b9!
II
Am!F G-7(13/1119)
~p i
II
4) Vm over 1-7;
Gm over C-7 Gm/C Gm/F (G-7)
Chord tones in bass; Tensions in bass; a)
D-9(11)
CID
G7(alt5) Eb+7
Gm!Eb (Ebmaj7 or C-9) Gm/A {dorian} (contains b9th interval) b)
Gm!C
'
~ ~~ -e-
&!
G+7(b9)
C-9
I
M
D-9
'
Ii
~
I ~ I! lz ~ ~
-&
~:
Gm/F C-9(11)
~!
II
1\-fiNOR 7 b5 CHORD
Tension ~9 on a min7 b5 chord will be introduced for the first time. It must be used in an appropriate context. Tensions b9, natural 9, and 11 will be avoided in the bass . Tensions 9 and 11 produce potential b9th intervals when placed in the bass .
bVII (b 7 9
Available Upper-Structure Triads ;
bl! (b9
(contain b9th imerval);
1) bVIIoverI-7b 5;
F13(b9)
B b/C
DIC
C - 7~5(11/9)
B b/C B b/Ab (B b7)
-&
F+(b9) a :, -maj7
Bb/Gb
b.o..
'
. ~1
~~
II
!
~
!
2J
Ab over C-7b ~
F +7(b 9)
B,-9(11
I
#s[i
F+7(119) Bb/A'D C-7b5(b 1311119) O..J..
'
h~
l)
bVIIm(b7 b9 11 )
..
~
~ ·:-:;
'
[M
II
B?-9
~!1-0-
'ii
,,
!I
A b/B~
Eb!F
l:i)
C+7rn9)
F-maj9
G- 7~ 5( b1 3)
C -7~ 5(b 13 )
ii.J u
b13
BbfEb F7(b 9i alt5) Bb-6(1119) C-7b5(111 9) BID" Cm/D'
' ~!. d)
Chord tones in bass; Ab/G~ (Gb7l Tensions not available in bass
Ab/Gb
Nm(il
Bb/Gb (most characteristic)
b)
Bb-9(11) F-':' I ~
~
2) bVI over I-7 b5;
a)
Bbm(ll) Db 6(9)
#[H
#8
C -7.~5(11/9 )
bV(b5b7 b9 l
Bb!Eb
I
'j! c)
l l bBJ
1 b3)
Bb overC-7b5
Chord tones in bass; Tensions in bass; a)
bVI (b 13
11 )
~I~
' b.e. 1!
·~;
II
210
-G I hA :@f> g ._,
I I 0-S-
tt:
1n
/jj
II
Fm over C-7b5
3) IVm over l-7 b5;
a)
C-7b5(b13/11)
c)
B7
Fl3(b9) FrnlGb C-%5(b13/11) D/Eb
b)
F/Db
Cm/F C+7(f,9) G-7b 5(b 13/ 11) Ab /E
Fm!Bb
Fm/Gb
Fm!Eb (F- 7) Chord cones in bass; Tensions not available in bass Fm!Eb F7P5(b 9) Bb-maj9
~
"'
F-6
Bb -6(9)
&~i
it§
II
II 4)
D~ over C-7b5
bn overI-7 b5;
Chord tones in bass; a)
Bb7rn9) Gb/F F-7b5(b 13/ll/ii 9) B,m'D
4&ti
Db/C
Db!Eb
Eb-maj7
Db!Bb (B b-7)
F7b5(b9) Db!Eb C-7b5(j, 13/ 11/b 9) B(Ul)
b)
~s[!
~t!
Db/Gb
§:U
II
~'g
Bb -6(9)
§~i
II
·'
c)
F(b9) C-7b5(b 13/1 1/b9) F/ Gb
Db/Gb
,&[! 5) ~ V overI-7b5;
=
b..a.
~~~
Gb/C C-7b5(b9)
Gb/C Gb/Ab
F13(b 9~
-*&~i
B b-7(11)
B~m/C F7(a1t5) C-7b5(11/b9) C#+7
~
0
II
~tu
qfg
Bti-maj9 Ff Do
~e
~
"~ Bbm over C-7b5
Bbm/C
Chord tones in bass: Tensions in bass; a)
F7b 5
C-7D 5(b9)
J
6) bVllm over I-7b5:
Gb/E~
b)
Etirn(ll )
D/C
Gb/A ~ F7(b9) C-7b5(!i 13/ b9)
4~'1
~
Gb!Eb CEb-7)
~ c)
i~!
1& \i
II
E b-6
G b over C-7b5
Chord tones in bass; Tensions in bass; a)
d) Gb!Eb Bb+7(#9) F-7b5(b13/11/b9) Gb/D
Bb -6
B b m/A ~ (B b-7)
B~m/E~
Bb-7
b)
BbrnlGb CGbmaj7)
Bbm!Eb
F+7
C-7b 5( 11/ b9)
~t!
II 211
Bb-9(11) Ab/ D b
1. ;~
II
c)
F13(b9) B~m!Gb C-7b5(11/b9) D/ F
~~~
§·&i
B b-6
d)
~~!
I
l
II
I
D7(b 9/alt5) Gm/F A-7b5(b13/11/b9)
~!
&~!
G-6(9) -&
~~~
II
MINOR 6 and MINOR (maj7) CHORDS Available Upoer-Structure Triads; '~
Gove r C-6
Chord tones in bass; Tensions in bass;
D-7b5
G7(alt5) E b+7
GIC G/Eb (Eb maj7# 5) GIA G/F (G7) ..... As was done in the Tensions 9 & I 1 chapter, this structure will be avoided as a C-maj7( 1119) chord due to its "ambiguous" function.
-a-
B-7b5(11)
E+7(alt9) C/ F
E+7
J; "M
ill
G7(b9/ alt5 J A,mfDb
G/E~ C-maj9
I
f,h:g
~
®i
~
EJF# A-maj7(9/ 6)
la 2) TV over I-maj7:
b) D-7b5(9 j
GIC C-maj9
?!fr
c)
Ilm (9 11 13 {6})
Tension 9 in bass will be avoided.
1) V over 1-6;
a)
IV(l l 6 {13 } 1)
V (5 7 9)
II
F over C-maj7
Chord tones in bass: FIE~ and FIG exampies can be found under "MINOR 7th CHORD" in 1rm chapter. FIB contains a b9th interval and will not be examined for its C minor function. It is exammed for tts min7 b5 and dom 7 function s under tho~e chord heading:;.
3) Ilm over 1-maj7;
Dm over C-maj7
Chord tones in bass: Dnv'C. Dm/Et>. and iJm/h examples can be found under "lVIINOR 7th CHORD.. in this c hapter. Dm/B (B-7b 5 l will be presented. bm \Yill be transposed to Am/F¥. L ike the pre vious strncru;-e G/F. \\'hich was being useci as a C -maj7( 11/9 l chorJ. Am!Fff produces an am1guous func tion when u~ea as a G-maj70 3/ll/9) chord. forming G minor s complete V9 chord: (D9 ).
Am/Fli(G-maj7(13/ 11/9))
A-7b5
212
DOMINANT 7th CHORD
Available Maior Ug,Qer-Structure Triads~ II
*Ill
bIII
bv
b VI
VI
Vm
*bVIm
Vlm
*VII
Available Minor l.igger-Structure Triads: bu m
bvm
bIIIm
*These triads con tain the major 7th of the original dom 7 chord and will be supported by altered tensions. Tensions #9 and 13 will be avoided in the bass while tension 9 will appear in the bass. Tension 9 in the bass should be used cautiously. As me nrioned earlier, different inversions containing the b9th interval will be examined on dominant chords with a V7 funct ion. The follow ing is a list of those structures containing theb9th interval and functioning as a "CT' chord ;
Major: Eb/G~ Minor: D bm/C N o~e
E/Bb
E/G Dbm/G
Ab/G
F#IC Gm/F~
G bm/C
AIC
Abm/G
B/Bb Abm!Bb
that only three major and three minor srructures are used:
1) II over 17:
l) Major triad over b3rd: 2) Major triad over b5th; 3) Major triad over 7th;
EblGb E/Bb AblG
E/G
1) Minor triad over 7th; 2) Minor triad over b5th; 3) Minor triad over 9th;
Dbm/C D bm!G Abm!Bb
GmJF# Gbm/C
P.JC
F#IC B/Bb AbmJG
Dover C7 (Tensions not available in bass)
Chord tones in bass; · DIC (D7 )
DIE
DIG
Tensions 9, ~ 11 , and 13 appear most commonly on S11/J V chords in a dominant capacity. The fol.lowing examples will use these tensions on \"7 chores. producin? an interesting if not unexpected V7 souw:l a)
AID B-9(11)
'#~
., C)
DI G E-9( 11j
~
b) G-7(11)
BIE E7(131#11/9) Amaj7(13/ Hl/9 )
F#IE
#f§ B/E A7(131ttll/9j
$;;1
~~
. ~ Ff~+
==t
ND
d)
D-9
Dmaj~i
~~
- >
DIE C7( 131~ 11/9 ,
~!
A!F
C/F F maj9
ea#
J
C(add9)
G7C13/?,ll/9) -e.
~v ~:
II
213
-&
~~~
~(:
11
2) bIII over 17; Eb over C7 Eb/C (C-7) Eb!Db (Eb7)
Chord tones in bass; Tensions in bass;
Ab/F
a) C-9
Eb/E Eb/Ab
Bbmaj7
b)
F7(#9)
I~ tz : ~
~~~1
I
ij
'
II
Ab/Gb F7(alt9)
~I~
I
b.&
I!~~
e)
FIG G-9(11)
Eb/Gb
~l~~
~~
D-9(11)
:itJ C)
CIF D - 9(11)
~ ~ ~
e) G-9
BIG Gmaj7#5
~I B/F G+7(maj7)
E-9(11)
II
EIF#
C/F A7(~ 13/#9)
D(l31#11/9 )
;~
92
;:
!l EiC (Crnaj7# 5)
DIG
g
E!Ff.
C/F Fmaj9
1!i
b) G-9
~ ~1
!I
~
C1add£
&
~~
E!Bb
EIF#
CC13/Ul/9)
~~! I
E/G
E!Db (Db-7)
§1~
C7alt5(maj7 l
~~ ~~
~
I
E over C7
Chord tones in bass; Tensions in bass; a) C/F
~~1
CIF Fmaj9
CIF Fmaj9
3) III over 17;
~~
@~
II
c1rn111~9 >
!l
,..
be-
tJ
Eb/E C7(#9)
d: DIG
B~maj9
1;;
F/Bb G-9(11)
~
tJ
c) C-9
Eb/Gb (contains b9th interval)
d)
C- 9( 11)
t:~1
~
v
II
214
E/G C7(P 131maj7)
~~~
C/F Fmaj9
q~
i
AJF; FI G F -r7(,9/ maj7 ) Bti maj9(6) ~
$~?
~
=tl
4) bV over I7;
Gb over C7
Chord tones in bass; Tensions in bass; a) Bbl E b C-9(11)
B/F F7'15(1>9)
4~&!
GblG C7(#1llb9 )
~bi
'bn§
§
6VI over 17;
Q
i
FID G-9(11)
i.~§
c) CIF D-9(11)
Eb/F G+7(#9)
~ 2
~Ii~
~
e) FIG
G-9(11)
AblGb
C7(~91 alt5 ) I I ()-&
~!
!!~ ~
6) VI over 17;
~ ·i u
¥!
F6(9)
C7b5(1>9) ll.
#f u
. ~~ ::
f
II
FttlG# GIA C7(!i91alt5) F(l3/#1119)
~
~; ,,_
~
-
;
II
Ab/E (Emaj7 #5) Ab/Db
b)
C/F Fmaj9
B~/G
G-7 l>..O.
!
II
'
GIE Cmaj9
~gi
d)
~
II
Ab/Bb
AblG A b/Gb (A 67)
v
! CIF D-9(11)
I~
AblG C7(!> 131#9J
CI F Fmaj9
ll~ EblAb G+7(alt9 )
q2
r
II
DI G C(13/Ul/9 )
~~
i2g·~
II
C/F Fmaj9
~~a
i
A over C7
A/C Cl3(1>9)
~'
c) C/Ab E/F D-7b5(11/9) G13(b9)
~
d) FIG
II
AIC
Chord tones in bass; Tensions in bass: a) Bl>/C G-7(11 )
_, j!•
~
G-9(11)
~~
F~/E
Ab o ver C7
Ab/E C+7(#9)
~
F#IG
b) G-7(11 )
F6(9)
Chord tones in bass; Tensions in bass; a)
G b/E (Gb-7)
CIF B b(131#11/9)
g#~!
c) G-7(11)
5)
GblC F#IG#
~~
A!F'p cr:.11 1 1:; - ~I)
b) Bb/G
Fmaj91C
~~
~
G-7
i
Ii
b..o.
~
A/G Cl3(b9)
CiF Fmaj9
-e-
~~
#~
Q.;
d)
G/Eo C-maj9
I!
AIBb
AJG (A7 )
G-7(11)
A/F~
..
II
Fmaj9(6)
C7P5(13/b9) ()
~
!& ~
215
b..o. e
g
-e-
#II ~·o
cJl I
r:m I
II
II
VII over 17;
7)
B over C7 BIC BIC#
Chord tones in bass: Tensions in bass; a) BblC G-7(11)
'&l c)
GIE E-7
BIC Comaj7
~·= \~
'
b)
II
'
8)
\, Ilm over 17;
be-
~~
~I
h~8...
t)
D\,m/C D\,m!Gb
G#mlF D-7b5(b13/9) G+7(b9) I
~\11
i ~~... tJ
I~ t!
!?
. b-e.
ft1 ~ '.1l :~ :~
l'I
E bm!C C7b5(#9J
~~~....
d) FIG
G-9<11 )
I~
Ebm!C (C-7 h:1i
Eb m!D \,
(Eb -7)
...
D~m/G C7(b131b9)
~~ D\, m/G\, C7('v9/ alt5)
~~~
E~m/E E~rn/A~
~ ~~1
II
216
C/F Fmaj9
~n
2J]
Fmaj9(6)
•t2
=t1
Ebm/G
E bm!E b) E b7 G-7b5(b 13) C705C#9;
Fmaj9
~~I
D \, mJB\, (B\, -7\,5)
' I '
E\,m over C7
Chord tones in bass; Tensions in bass: G-7(11)
II
A\,/F A/ F~ Amaj7(#9/al t5) Dmaj9
I
B+ 7 C-maj7(6)
I
B~/ C
G/E E-7
b) Dm/G G-9
II
;j
~~~1
9) \,TIIm over 17;
a)
!
'
D\, m/G
Fmaj7(6) C6(9)
~=1
c) C+7 P.O.
~#~§
DbmoverC?
D\,m/C C+7(b9)
~ ~§...
GIE
F#IF
~I
i
I!
G7b5(#9i maj7) Cmaj9
et>
f)
F maj9
,· ~
e#!
~§
fl
II
#
Chord tones in bass; Tensions in bass; a) BblC G-7(11)
B/E Cmaj7(Ul/ #9)
d) D-7(11 )
D6(9) I
~R
G-9 -&
e) EblF FIG EIF# C-7(11) F7b 5(alt9/ maj7) Bbmaj9(6)
,,i.R
BIB\,
Fmaj9 i
~
i
CIF
b1~
A\,/E Amaj7CU 11 tt9)
BIG
B/E BIG# (G#-7)
~!~i I
E7(#9) F -maj9(6)
@li
II
c) F/ D D-7
e) Am/D D-9
10;
Bbm!D G7(::11/ #9)
Bbm!E~ G7rn9/ alt5 )
c)Dm/G G-9
'
F~m/E (F#, -7)
~
Gbm!Bb
b) G-7(1l'i
DrrJC
F6
,,
d) C/F
F!hn!G F(add9) " C7(13/#ll/ li9)
'·~
,k>
(Tensions nor available in bass)
Gbm/C
Fihn!C C?:, 5(13/~ 9 )
!
i
B~ maj 7
Bm/E
G ~ m over C7
~ Vm over I7:
Bb/C G-7(11 )
~
A~m/Gb F7b5(alt9)
Cmaj9 ( ~11 )
Chord tones in bass; a)
d) C-9
GiE Cmaj9
bi
!I
D-9(11)
Q
F#m!E F -6(9) C7(UV# ll/ li9 )
Dbm!F C(add9) G7(13/#11/li9)
.~3
~,:
ii
*Note the contrary chromatic motion in rhe above example "b ( ; (2a)(3a)(4d), and above example "c)"; (3a)( 4d ). J]
1
Vm over I7;
GmoverC7
Chord tones in bass: Tensions in bass;
a J B:;> I E:i C- 9(11)
x_._ m/r G-7
F9
~----!--?~ ~ ~--_,_8;...,._ , c)
G6(9)
Em\11 )
Gm/E iE-/ ~ 5 o: C<J Gm/Ab
GrrJC Gm/f'P,
Em/F A9
-1
E.'F~
D( 131::; 11/ 9;
-_-_--_-_-i->
~ ~~ ~ ~--g..._ . ====-=--=-..c_ ~- -=---=----~ -~ .,,__ ~I
217
Gm.!F.:. C90illi
FC13/ :: 11/ 9 i
12) b VIm over 17;
Abm over C7
Chord tones in bass; Tensions in bass; a) Gm/C
Abm/C
G-7(11)
Cmaj7#5(#9)
'~!
Abm!D~
e) Gm(l l/9)
Abm!Db
4~!:'
' i ' '
II
C+ 7(alt9/ maj7) Fmaj9(6)
Am/G (A-7 or C6) Am/Db
Chord tones in bass; Tensions in bass; a) G-7(11)
Am/G
'~fi§
b) Gm/Ab
Q
Dm/Q
C-7(11)
t~
t '.,
~
!!I~
II
d) G-7(11)
C/F
F13(b9,
BH 13/~ 11/9 )
,!re-
.be-
Ii''.-e ~.
9b!;
Em/F
11
tHl.
~
!I
&~!
AmlF#
C/ F Fmaj9
-e-
~
II
b~
lt~ ~
~-
Dm/Eb Cm( 13/ 11/9)
~2 C6(b5 )
I
11~~
II
A~m/G~ Am/F Cmaj7(#9/alt5) Fmaj7
D-7b5(P 13/11) G 13
-&
~
ii
Am/Bb Ami£# CF#-7b5)
C/F Fmaj9
C6
I~
C6(9) E~m/F G+ 7(!t9/ maj 7)
I
~§
!I
Am over C7
13) Vlm over 17:
~
'!l~~ h~
-e-
~~~
=~~
hi!~
t) Gm(add9)
CID
C/ F Fmaj9
,!,e.
d) D-7(11 )
~~~
'·"[~
Abm!E
~~
II
C/F Cmaj7(b13/ #9) Fmaj9
'~i
G-9 -e-
Abm!G
be.
A~ m/B b
A bm!G
Cmaj7#5(#9)
~
hlz~
c)
b)
Am/D Fmaj7(6)
q~M
1ilziZll
Gm(add9)
c)
Abm!E (Emaj7) Abm!Gb (A~ -7)
Abm/C
11
DOM 7sus4 CHORD Available Upper-Structure Triads ;
bII
(b9 11 bl3)
1)
bII over I7sus4 ;
I\' (11 13 l l
vn (~ 7
I>
9 11 J
I
D ~/G
D- 9
1 !7 7 !7 9
l J,
D v!G !contains b9th imer\'al 1
A~!F C(add9) G7sus4(o 13/ b9 ~ I ~
I~
d
II
CIF
C7sus4(b 13/ ~9 ) Fmaj9
~1
I
b) Am/F
Bb/C D b/C C6(9 ) G-7(11) C7sus4(b13/ ~9 ) Fmaj7(6)
Dm!G G-9
'
0 11/Bb CB1;1 -7l
II C)
bVlim
(Te nsions not available in bass)
Db over C7 sus-+
Chord tones in bass: a)
Um \9 l I 13 ·
~
*Nore parallel chromatic motion in above example ..b:· (2d)(3d).
II 218
2l
IV over 17sus4;
F over C7 sus4
Chord cones in bass: Tensions in bass: al BblG
it,_
G-7
Cm (ll)
'-
F/B~
FIG F/D (D-7)
FIG
CIF
C13sus4
Fmaj9
F/Db (Db maj7#5)
b) Am/D D-9
=& g BblG F9sus4( 13)
FIG B:ima.i9(6J
I
t az -&
Dfi ....
D-9(li)
~
tl
E'
~
n
-('.
b\."If O\'er 17sus.!l :
GIC A-9(11)
'
§
~
B b/(, Bb/A~ (B~7)
c)
DIG E-9(11;
~~ 4i
~
GIF
A/F~
Dmaj9 -e-
llm over 17sus4.
it~ ~
:
Dm ove r C7sus-i
Bb/G C9sus4 V.fi
-&@l
I!
-11..9sus4(~ 13 i
FIB~
G-9(11)
Gmaj9
:!
Q)
!
~
~
l
: ........ '
A/F Fmajn 5 -&
j±~
!
C/F Fmaj9
~n
!~
,.
!I CT ensions nm a\'ailable in bass 1 Dmf.tn tb:imaj ';
Cnoid cone::. m bass: a1
i'l~
DIG C(13l i;ll/9 l
BblG (0 -7 I b)
DIG
CID D9sus4
M
-&
C/Ab G 13sus4(b 9 l
B~ over C7~us-4
Chord tones in bass: Tensions in bass; a)
GIE Cmaj9
Q
CIF
d)
(.'!,;
3:
C!F
G13sus4
B,IC
Dm/C
C6rn 1
G- 7Cl1
C9s us4l 10 i
i: maj7(6'
hJ B:,6(9 1 G- 7(11 -a-
G"isus~
D- 70 1 -e-
CIF F ma: ·~
~ ,-·~ R-----~"ft":.t--~-~-~f-~~~~
~~:======~u=======::c:2======~1 C)
Dm!CT CSsus40 3
-'~ ~c;,~-=-i"======----l.:._-=--:..-:..-:..-:_-:_-::_---r,;-------
AwJI G9sus403)
G/E. Cmaj9
~ '----·~---'r'-------;· _ f; ; ! _ ~'------~ .__ ._ _ _ _ _~---
21G
5) bVIIrn over I7sus4;
B~m over C7sus4
Bbm/C Bbm/G (G-7b5) B bmfA b (Bb-7 or Db 6)
Chord tones in bass: Tensions in bass;
b) G-7(11)
a) DIE B- 7(11)
Dm/E
EiC#
E7sus4(b9 )
Amaj9
~m
~s
~ ~~~
tE
~
tJ
-e-
'
II
-e-
~
Gm/F C#7sus4 E-7(11) A7sus4(bl31 b9 ) Dmaj7(~ 111 6)
c) G(add9)
~!
1, i t.J
1~
Bbm/G C7sus4(b9)
Fmaj7
b..o..
~
!
€-
!
~~
II
II TRIADS over TENSIONS
.-\n additional approach to the use of triad-over-bass structures as "upper-structure triads" would be 10 consider the triad to be the root or original chord with censions placed in the bass . This approach will be applied to dominant type chords only since it ha~ very limi1ed use on other c: hord types.
The following structures will receive II-V-I examples. They are presented here as substitute strucmres for a C7 chord; C/D =C9 C/Eb =C7(#9) CIF# =C7(#11 ) CIAb =C7(b13) {Abmaj7#5) (Major); C/Db = C7(b9) (Minor); Cm!Db = C7(alt9) Cm/E = C7(#9) Cm!Fff = C7(# 111#9) Cm!Ab = C7(b 131#9) {Ab maj7 } *Tension #9 will be temporarily allowed on the 5th string for the C/E~ structure.
I l Major triad over ~9; B~ IG
1
~
FIG~
2) Major triaci over 9:
CIF
!
ft
~g
~ <""!
!!
4) Major triad over #11;
:;
BP/G:> FIA ~ B:irn/G C-7b 5(11/9J F7(#.9) B l> -6
E~/ F
c ,- 9(11) F7(?9) Bb6(~1119) D.O.
3) Major triad over P.9;
C-7(11 )
(1 ~f!:.€- ---=-- - - .
~o
a••
b.o 0
.j
~
5) Major triad over 9 ! 3:
6) Minor triad over b9:
G/E A/F Cilm/F±: E-7 A 7(~ l3 j Dmaj9(~ llJ
1tR<'
8) Minor triad
over F. 11:
u
7) Minor triad over maj:lr 3rd;
G-7(11J Cm/E CIF C7(#9) Fmaj9
~f-§
~ :(k ~ t:J
G-7( 11 1 Cm!Fi C7(~ 11/#9)
~! 1
II TI
9) Minor triad over l> l :;:
CIF Fmaj9
G6(9) Am/F NF~ E-7(il) A7(b 13i~9 )Dmaj9
-Fk-~~i,___,.f.~....__-~i(f>~~!----+Ill
220
TRIADS over BASS ARPEGGIOS The following exercises can help establish the "dual" harmonic sound inherent in upper-structure triads over basic 7th chords, which can be hard to establish with just one four-note structure. By assigning different chord tones of a basic 7th chord under a single upper-structure triad, the complete 7th chord can be "heard" along with the complete upper-structure triad . Moreover, by alternating between the bass and triad whiie ascending through the different structures in te mpo, the basic 7th chord can be heard indepe ndently of the upper-structure triad. Those structures that can form consecutive thirds orfourths in the bass, which in tum forces inversions on the upperstrucmre triad. work best in these exercises.
3) Bii over C-7;
Bh/C
B~IE:i
i
-
I.'i
ii
t)fr
I
5) Dm over C-maj7;
Drn/C
II
I
I
i
6) Bb ovei: C-7b 5;
Dm/Eb
I Bb/Eb
Bb/C
-
II
r
8) Gb over C-7!:> 5, (G~ I Ab );
7) Db over C-7b5;
D:i/C
Db/Eb
G b/ C
.
I
G blE b
-61
9) Bb m over C-7b5:
Bb rn/C
1
BP m/G~
BP m/E,
~~·
~i
o.a
&I
I! DOMINANT CHORDS
J) Dover C7;
D~C ~
$
!" # i
DIE
DIG
#! ~ ~ I
3) Dover Bb7, (Dover
D/ Bp
·~ ~
I
r
~
I
I!
~a I
2) Eb over C7. (Eb over C+);
I
EblC
J Ii
t: 4)
DIA')
~:
EblE
~~ s ~ '
!If
I
F~
~
IJ
221
EblAb
~b~
iz~
ii~:
F#IG
over C7;
F#IC
~bf
I I
'I
I
E(~5) );
DI E
#s
r
D/B b
r
I
F#IE
I
#i±#~ ,,
..
r
,o.,.I I
[J
II
I
r ~t¥
II
5) F over A7 (~9), (F over C# 0 7): FI C# FIE FIG
6) A over Bb7;
7) Ebm over C7;
8) Fm over B7: Fm/B Fm/Eb
AIB~
-t 'l-Er-b" "-m-/C- -'-f '"l~l -E__,.b_m/_E~-~_E'f ~~' G
A/Ab
AID
II
9) Gm over C7, (Gm over C+);
Gm/C
I
Gm/E
Gm/Ab
b'
The following exercise uses the triad as the root or original chord while tensions are used in the bass. Note the tensions form their own lower-strucrure triad. The following structures are functioning as "C" dominant voicings; (Cm over D[,m) = C7(b13/alt9)
Cm/Db
Cm/Ab
Cm!E
SYlVlNIETRICAL MOTION Hybrid chords and upper-structure triads present a unique "marriage" between diatonic and symmetrical harmonic approaches. These structures can produce various symmetrical harmonies and line-patterns that h:ive littie regard for diaronic functions and rules, or•they can enhance a functional chord progression without compromising its diatonic integrity. The following examples will present some different ideas that will incorporate one or both of these approaches through the use of triad-over-bass structures.
PEDALS While either the bass QI the u-iad sustains, tne mher can move synunerricaliy or diatonically. The foliowing examples will present symmetrical triadic motion while the bass sustains. 1) Tri ads move in minor thirds: C~IF#
I# ~~
B~I FF.
~~#!
G/ Fti
EIF::
ii
~H
C~IF~
#,~
ff, IF:::
GIF~
b.o.
\!
~~! f
CMFS:
E/Ff
r;~
1,iF.tz
I!
2) Triads move in whole-steps; EIE~
~~i It,..!
DIEb
CIE ~
BblEb
EIE11
DIEb I
:m
·~
5
~~~!;¥
tl§ 222
t~
CIEb
~;~ ~
BblEi> I
&f!
II
3)Triads move in major thirds;
Bb / C
'
~~ -e-
Gb !C '
DIC ' -e-
-a
BblAb
DIE
I
~~1
I~!
is
~~ ~
GblE
BblE
'1
*b~ ~~~ Ii=
b.u
~~
DIAb
GblAb
11,~
II
4) Triads move chromatically;
GIE
AblE
&!1
FIE
Ftt/ E
q~§
4§
I
II
5) Triads move in "cycle-four";
FIE
Bb l E
~ ~
Ab l E
E blE I
:iiB
~1
,.e
tJ
BIE
I
b~r1
1,t[
!!~~
.p-e
Gb l E
DblE
f,.e.
1£1
r
I
The following examples present symmetrical bass motion while the triad sustains. Although the triad remains the same, different inversions will be used for harmonic variety and motion.
CIB
1) Bass moves in minor thirds;
CID
CIAb
C/F
-e-
¥ 2) Bass moves in whole-steps;
C/F
Cl Eh
;& n \:,.J
A~I B ~
3) Bass moves in major thirds;
1E
H CIB
CI D ~
~g
CI A
M
~g
1J""H-~
II
::i-u-
AblGb
AblD
II
Ab lBb
i
I~
I o-&
!i 4) Bass moves chromatic2.lly;
EiC
'ii u
~
EiC#
EID
--~
#!
;;;
~
-e-
EID,,
EID~
1-~!
'i'"
1t! 223
EID
~1§
EiC#
EiC
I~
--~
*
-e-
~
-e-
:I
-,,
5) Bass moves in "cycle-four";
CIF
CIBb CIEii
g.~
C/ G~
~~ ii~ &H ~~
ii
~
CI A b CI Db
CI B
-a-
e~
II
DIATONIC MOTION The following exampies will present diatonic tr; 1dic motion while the bass sustains. If a diatonic bass note is chosen, it will usually reappear in one of these basic progression's triads, producing a doubled note or an octave. For this reason, at least two examples for each progression will be presented; one containing a diaionic bass note and one containing a non-diatonic bass note. 1) Triadic progression; I - IV - V - I
DID G/D AID DI D
DIE' GI Eb A/Eb DIEP
D.'F GI F AIF
DI G GIG A!G DIG
I~
i ;f ! :ta
* fn
EIF~
!~ l
2) Triadic progression; I - Il - Ill - IV
CIC Dm/C Em/C FI C
'
i
8
-&
Em/Db CIDb Dm/Db F I Db
!
8 lb s: ~a &i ;~ I 1~ ~ ~
~ -&
Dm/Ab Cl Ab Em/ Ab Cj,_A
CI F Dm/F Em/F FIF
-&
11.e
~
i!
~
II
3) Triadic progression; IV - I
B fn n/D F/D
¥~!
Bbm/Eb
FIE~
n !&!! ~rn
Bbm/F
1~&~
Bbm/G FIG
F
i
0.0.
I ~!
E
Btim!Go FIG,
b.o.
!
,~ , CL
BbmlF Am/F i
0.0.
~!
-&
1& y
II
!!
The following examples present diatonic bass motion while the triad sustains.
l) Bass progression; I- IV- V A/C
A/F
Air. u
-
-&
'
WI
~~u
#~
A./F
;:ii
2) Bass progression ; I - VI - II - V
DIC
Il±8 "-e-
D 1F
DI G
:n ~
DIF
tn
D:i l D DblB DblE D~IA
:~ ·~! ·~ ~= &! 224
A'DIC
~ l~ l I 1:z:
A~IF
Ab/G
A~IF
11>-&
,i,:g
,z : ;
'l
1-atl~ '
~
:
-&
CID CIB
!M
~ u
CIE
I
CIA -&
~ !*
C(add9 1
II
·!
p
=ij
CONTRARY MOTION Different symmerrical and diatonic pmterns can be introduced ro both the upper-structure rriads and bass at the same 1irne. Obdously this can produce many different combinations of which some will be presented here. Some of the most successful patterns w ill produce contrary motion between the bass and the triads. Tbe followrng examples wili combine different
~vmmetrical
patterns.
CIA
BIB~
BblB
€,, .. ~ " trc>
~§
oj'
~
2 1 Contrary whole-step motion: 111 example ·'a," the roors of the triads ascend while the acrual voicings (different inversions} descend. Use of different inversions are required w physically stay on the middle four strings. In example "b." the triads ascend using rne same inversion while the oass descends requiring the use of the. 6th string on the last two voicing:;.
CIF
a
~ ~\ ~1
~
DIE,
F~ /B
EiC:::
!I
ii
bl
" u
Contrary minor-third motion:
FIDb
Ab /Bt>
~,d~
F·~/ K ~' .......,
EiC::
·~
t~
,j.i.~
....
·~ ;
:!I P
i!
II
u
BIG
DIE
~~~
,qs ,, u
~~
DIE ~
~
~
"'~li lftf ~:
CIF
§~~1
~e
I!
h 11
I
4J Ccmrary fifth motion; 1_rriads move in cycle-four wnile bass moves in cycie-five)
B:' /_A. (·
r'I !
.'T
11.., / B
L 'J /l:.
.,.., _
I
~~i
~ e.J
!Zli 12 !:U
C ~/F;
~~
~
5 1 Triads move m cycle-1 0:..:r while ·oas~ ascends cimJ 1~1~n icai'. :;; (1his exampie corni.1incs ma of ~ne pre....-10u: svmmetrical examples)
G/ C
4e.,:
§ -e-
C/ D u
~g
B:>IE[,
F/D -~
I
t;~;
E~/E
AblF I !J-E,-
I ~
. ~
--,,-
! f} e .
! v/ ;.
be
-
'\'>
I
The fo llowing examples will c o ~bm e diffe::em diatonic !Jattern ~;.
1) Bass move:-. l - I\ . - ··../ - l while triads move \I - I - fV - V;
EblF
~
b§
225
I
bg
FIB,
f) ;J:
i:
2) Triads move I - IV - V - I while the bass uses three different progressions in three different keys; a) I - II - III - IV in "C", b) I - VI - II - V in "A~", and c) I - bVII - bVI - V in "F". a)
~
GIC
§ -a.
CID
DIE
GIF
b)
t ! 9· ~
M
GIAb CIF DIBb
~I,~
II
4l)
#I
~
GIE~
~i
c)
~
GIF
CIE ~
'~
DIDb GIC
~~ ~~rn
§ -a.
II
3) The following examples mix symmetrjcal and diatonic patterns. ln example "a." the bass moves chromatically while the triads move I - IV - V - I. In exar ;Jle "b," the bass moves in minor thirds while the triads move I - V IV - V - I. In example "c," the bass moves diatonically ( V - IV - III - II - I ) while the triads move in minor thirds. a)
CIF
FIE
~ .~ b)
CIA -a.
'
!*
GIE b
g G/F~
&i FIEb
· ! ~~
GIC
§
~
CID
CID
FIE:i
GIE
,M
I§
92
~I
CIA
c)
~~
-&
':&
BIA
~..a~ .. n
~
A~ IG
FIF~
~~
I [)-&
I!§
.z DiE
=~
~:
tJ
CIF
II BID
#~S
!I
4) The following example uses no particular patterns, but concentrates instead on contrary motion between triad roots and bass;
CIF
' .~
DIEb
F#ID
~! ~&B
GIC
AIB
~
=~~u
Bbl A
GIC
. ~~
:;;
C1
' -e-
FID
EIF
CIA~
q'2 !!~
~G
DIG
~~
i
"UNA YAILABLE'' HALF-STEPS As has been stated and in many cases presented, established harmonic rules, (i.e. b9th intervals and L.l.L. ). can often be relaxed when us in~ triad-over-bass strucrures. This is esoeciallv evidem in dominant functjon<> where an\" note can be ..justified:· In fact. all but four ( ~ 9 - ~1 • ':i - tt 9. _, - -+. anc F, 6 1 of the twelve possible hai:-sreps n:.i v~ been used in a dominant function. The fo llowing examples will attempt tO use these remaining fo ur half-steps in a dominant capacity. Verbal justification \.vill be given to each half-step. but the contrary chromatic motion used to resolve each one is perhaps the best JUStificarion.
<-
I) !:> 9 and natural 5-1 might be available together because they are the 5th and~ l 3rh respecti\·ely on their Sub\· chord.
AJF-:. Dmaj9
B:rrJF EP IE EID E9(add HJJ A.7(#11/ ~ 9 ) D (131#1119J
& ~tn
II
226
2) Natural 9 with ~9 might be available because of the "Blues" sound they possess together. AIF~
CIF#
Dmaj9
E9(#91~ 5)
BIG EIF# A7(13/fll/9) D(131#1119)
3) ~5 with 6(13) might be available because they are .2 and
#2 respectively on their Sub V chord.
FID
AID~
Ab l E
CIF
D-7
0+7(131#1 119)
C··-7(#9)
Fmaj9
-tH
I
I
1i~:2
JM
~
II
t
4) The 3rd and 4th are available together because the 4th is simply tension 11 on a dom7 chord. They are also~ 7 and natural 7 respectiveiy on their Sub V chord; (namral 7 on a dominant chord was introduced eariier). The 3rd with the 4th on a dom7 chord is not an uncommon sound in today's "jazz" or "pop" idioms. Di1 IE
G-7(11 l
CIF F maj9
C7(b 13/~9/add4)
'
.»
h~!
~:·
II
DOUBLINGS
In some situations the doubling of a note an octave higher might be necessary to continue the desired chordal or voiceleading ideas. Chromatic motion and "pedals" can often produce the need for doublings. l) The following example contains doublings in order to continue the desired chordal ideas over a bass pedaL Omaj71D DblD Gmaj7 E13{b9 1
'
~i
~I
!,~:!
CID
BID
A-7( 11 !
Dl3(:7f ,
g
#fB'
Bm/D Gma,: ~
·~~
BblD
CID
Bb/D
E7o5(bD;
A-7(U.;
D +7 (~9 J
i~ :;
;.
I
AID 06( ~ 1119 :
~!
M
I ~u
II
2) The following example contains doublings in order to continue the chord pattern; DIE Bb/ E B -7(11) E7b5(P9}
'
;!
&~!
C ~ID E13(~9 ;
,~;!M I
AJC:.:. /\,... n_{ I
~
CI D A-7(11 )
A~IC
D7h5(b9)
D/B Gmaj9
Om/C
F#m/D
C9
Dmaj7
t
1/lH
:~~
qe-
3) In the foliowing ll - V - I example, 1he comrnry chromatic motion AIB dictates the. need for a doubling on the V chord; B-9(11)
;~fi u
Bbm
:j~ ~
~~ -&
~
A6(9 )
E7~5( 13/ b 9 ) I
&:§ lTu
227
§##g• -0-
II
REHARMONIZATION Some of the most interesting and useful appiications of upper-structure triads and hybrid chords is in re harmonizing or substituting a basic chord progression w ith them. It is equally interesting and challenging to anaiyze a piece of music which contains many triad-over-bass structures and determine if there is a more basic harmonic progression hidde n beneath. I ) The following triad-over-bass progression is a reharmonization or substitution for the basic chord progression immediately foliowing it. Could you have realized the basic progression if presented with the triad-over-bass progression only ?
' '
DIG
Db l E
iF
~ 6'
CIF
~
BIC
DIB
IF
':.@
l§f
DIE
C;t l D
#u
CID
E7sus4
GIE P
,.
C2
I ::&
E-7i! 5
ii12
~
I
r
E/ F
fr
GIC
B blB
BID ~~
If
DIG
Bb lF~
gY
~6'
!l ~e
II
B
Basic (hidden) progression of above example;
11
Gmaj7
E7
A-7
D?
B-7
E7
A-7
D7
I
D-7
G7
Cmaj7
F7
B-7
E7
A-7
D7
Gmaj7
1r
*The above basic progression is the "A'' sectwn in "Rhythm Changes."
2) The following example is another triad-over-ba$S re ha rmonizmion of "Rhyti1m Change:;" in the key o: "D. " This example takes more liberties by introducing the natural 7th on two dominant chords. Also note the "constant-structure·' motion in th~ nmwrour:. 1
4
I
41
G/E Ci:.
EID
a.
j,.
Bm/ D~
::E
E:i iE
, .. ~
~~
~
D9C13)
DIG
B bl F ~
AID
F~ 7(~9 •
±
fto
t-.:
~
~¥
Bvm!Eu
DIE
~ 6'
I #6' -~
FIG
E /F:::
GIE? q~
~
GIA
Abl B~
.t2.
v-
A/B :l-&
'
~r
r
Bm/D~
BI D
Em
F~ -7~ 5( 9 )
Eb 7(f9 l
GIE
'
I
3) The following example is a minor T- VI - II - V caden~e in the key of "E minor. -F #-7b 5 _ _ _ _ B7 __ ___ E m __ __ _ C#7 _ _ _ _ F# -7 ~ 5 - __ _ B7 ____ _ Am/F~
1
,.
I
1 ·
Em/ C~
Em/F A/F
Am/Ff
IF '!~
i~
!, _ ~i
,,_ 228
DIE ~
BID
Ii.,
t
E-6( 9)
ii .t:&tt4l
4) The follo wing is an example of "constant-structure' ' mot ion through the use of triad-over-bass structures.
AJB CB-7 )
CI D (E7 )
'Ull
EI F~
DIE
(Amaj7)
(F~7 )
~Q
u
AID (B-7)
:!t-e
B/E (Amaj7)
CI F (E7) bo_
II
$le
I
II
Cominued incerest in hybrid chords and upper-structure triads should include, and almost demands. exai.11ination of additional string sets and widths as well as uugmenred and dimi nished triads over various bass notes. Even the middle four strings lend themselYes to further examination of triads plus an unrelated note. This chapter has dealt only with triads over an unrelated note. The unn::larcd note could be located on the 2nd string (lead note over triad), or on the 3rd or 4th strings (open iriads with an unrelated r.o~e in the middle). The follo\v ing ·'standard·· tune bas been harmon1zed with triad-over-bass structures. Inciuded are exampl es of a diminished and an augmented triad over a bass note. The original chords appear above the triad-over-bass structures in bold tyre. A 7 __ ___ __ ___ _ C-7 _ __ __ _ F7 ___ _ _ _ _ E-7~ 5 ·- _ ____ _ DIEt, F ~/G F,./E BblEb [Al DIB~ ~~'f!/'-.
&t~· tJ
!
e·
F-7 _ __ _ ___ _ _ _ Eb / F
Dr1r
I
B~ maj7 _
't
__ __ _
FI Bb
F maj7 - - - - - CI F
E~ maj7
____ BblE" Eb / F
Dr .. r
_,
t~·
~:im/F
B,m/Eb
;;-g
~
E-7b:i
! J.;
-~ '."
0'2· -
Am/B~
f
_ _ _ _ _ _ _ _ _
D/ B?
r~
#.
5
E~7-
II
__
FI Db
I I
~
pt;
D7 - - - - - - - Bb I Gv
b.a..·
d
C-7 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Bb/C Bb/Eo um!G
!__
--=._-=._ ..... -_--+-_,__ I _G _' --=---=--=-==·== ...-... .:::::I:IGI
---~-]
.,.
Bp IIl3J /_ - - Bt,maj7 CID
- - - - - - - - - - - - - - -
CIF
FIG
IB
It
A7
D-7~ 5 _ _ _ _ _ _ _ Ao+ID B:, / C
F:i lG
G7- - - - - - - Db/EC,
E~ iB
";_,,----T',-·- · ----! ~~~;--_,.---. __.__~_~__.c:.;.-2.·~,-=~:1:~=~="-=~~=~~=~:::e-~~=~~=~: =- : .-~lJ_1.,~r-·~--=~~~_._~·):,_~_c~::::~----~l F7 _ _ _ _ _ _ _ _ _ _ _ _
A~ I Gb
B'IG,
BIA
o..a.
' ~..@.·
t
Bb -7_ A!i l Db
~ ~: ~ b,,~a
C-7b s __ ______ __ __ ..
!>.·
r I
I
. .·
A -7b5 .- - - - - - - G~ I E AJF GI Eb
AoI 7 _ ___ _ ___ __ _ _ ___ __ __ _ _ _ _ BblGb AblGb Fm/D Ernv C
(N.C. )
v.a..· !
CI D
~, , ~~r
~-&f _[)-*_· --/C--k~_._·-i"~~n--i--•. -J~i~
II
Em/F
G~/E
_").,m/D /
6'
D-7 ___ _ ___ __ _
G7 __ _ _____ ___ __ ___ ___ __ _ _ _
[fil
Bb/G?
r
~
r-~ -
E-7b5 - - - A7 -· - FID;;
A b7 __ - _ _ I
I
I
E -7b5 ___ A7 _ _ _ Am/BP FMG
~~#.
¥
@;i. :. . __'- -tt---tll·-~1r9---~;za·
B~7 - - - - __ _ - - Gb /D
I
•
_,
~, j
I
.a..
C~ IA
~,,...--..~ ·•-
I
B~maj7 ___
_
DIBb
I
r'
~
Fine 229
Chapter Twenty-Eight. Song Examples By exploring different songs, a variety of chord progressions are made available to the many voicings introduced in this text. Different songs will also afford various applications of the voicing techniques introduced including modal harmonies, triad-over-bass structures, approach chord voicings, and constant-structure motion. Each song will afford a varietv .. of temoos \.Vithindividual skills dictating""'" what is ··comfortable." Those son!!s containing..... manv.,, different approach voicings might demand quicker tempos aliowing for a smoother and faster resolution of their chordal dissonance.
-
.._
The following song exarnpies will include "standard" jazz and pop tunes. "modern" jazz compositions, modal tunes. biues. "rhythm changes," and originals. Some of the examples can be played with the melodies of those songs and will be noted as such. Some examples also contain various rhythms to enhance the voicings. Additional rhythm applications and suggestions that could be applied to th~se songs are contained in the following chapter appropriately entitled Rhyt hm. Each song example will state the original basic chord progression i n bold symbols over the top of each stave. A harmonized voice-lead rendition of these original chords will appear immediately below.
Song Example - #1 Fmaj7 __ _ _ Fmaj9
(A majority of these voicings will work with the melody) ' Ai__ _ _ Bb maj7_ _ _ _ _ D7_ _ ____ _ A7(~9/ ~5) A7(h9) Bbmaj7b,5 D7(b9)
G -7 ____ _ G-7
G7_ _ ___ _ __ _ G9 G7#5(b9)
D7___ __ __ _ _ _ D +7 D7h5(b9)
#:Ab 7__
A-7_ ___ _ _ A-7(11)
0
__ _ __ _
~
A-7__ __ _ A-7
G-7 ___ _ _ G-9
.
G-7
__
6_
_
_
: : _·
Db6(9 J _
_
,,_n_·_
Fmaj7_ _ _ _
A7 __ ____ __ _
Bb maj7_ __ _ _
Fmaj7
A7#5(~9 )
BPmaj%5
A7(b9J
•·
t2.
230
II C7 _ _ _ _ _ _ _ __
C7(13/9)
C7(~9/#5)
b.,_.
of!'-.
G- 7 _ _ _ _ _ _ _ _ __
A b 0 7 _ ___ _ Ab c 7
tzr- _ _ __,__! _
p..·
1:c
C9
tr
1*-"
Ab ~ 7
C7___ _
C7 _____ __ _
C9sus4
C7(~9,
___.__o·_ _ :::tl-'_·_
D7_ _ _ _ _ ·- _ _ _ _ __ _ D7(b9 I D7#5(h9 )
____,,~
G-7 _ ___ _
D7 _ ______ __ _
G-9
D7#5(b9)
D7 b 5(~9 )
I D.4.·
k· ,
I
F9~5
F7~5
! G-7 __ _ Bb/C
Bb6(9 )
() ~ ·
II
o,
c. •.
B0 7_ - - - - B-7b5(11) B'' ?
c
:!
C7 _ _ Fmaj7_ ___ _ Fmaj7/C
-&'=-~-~---''""""--!~·~:--v .:....._===··===-=-·=--=--·___
l O·
maj7_ ______ _
I
.,
€·
B~
I
FIC i· ·
~·
o·
Fmaj7___ _
I
G%5(b9)
C7 ___ __ _ _ C9 Gb-7
-----~--~
I , I
G9(13 )
~·
F7 _ ___ _ _ ____ _
C-7 __ __ _ C-7(11/9)
G7 ___ _ ____ _
G-7_ _ _ C7sus4
C7 __ Fmaj7 F#? Fmaj7(9/6)
-,.,..!---,..,-:•.-~J._.--itLu
- ---·-,
n
h
-]9-.
Fine
I
'\
23J
Song Example - #2 (A majority of these voicings will work with the melody)
Bbmaj7 __ C-7 __ _ _ Bbmaj9 Eb6(9) Cm(addll)
D-7_ - _ Db0 7 _ __ _ C-7_ _ __ F7 _ _ _ D-9
Eb7 Db 7(9)
C-9
0
Bb maj7__ D7 __ _ _ Bbmaj9 D7(#9)
B9 F7(alt5)
I
1r Gm_ __ Gm(maj7) _ _ Gm7 _ _ G7 __ _ _ Gm(addll) D7 G7sus4 G13b5 Db7(#9) G-maj7(11/9)
C-7 _ _ _ F7 __ _ C-7(1.1 ) F13b5 B7(#9)
Bbmaj7 __ Bb7 __ _ _ Bbmaj7 Ab IBP Bb9sus4
I
If Ebmaj7 _ _ Ab7_ ___ Bb/Eb Ab9
Bbmaj7 _ Bb7 _ __ _ Bb6(9) Bb7~5(tt9J
Ebmaj7_ Ab7_ _ _ _ E bmaj7 Ab 13
II
Bb maj7_ _ ___ _ Bbmaj7 Bt:.6(9)
~4~r~---4.,1T-1~~,~~~~j·o~~1:~~r~~1~ ~,~-b~p~~ E-7b5 _ _ _ A 7 _ _ _ _ E-7b5(b13) A7(b9) Bb6(9) G-6(9)
~·
D-7_ _ _ Db7__ __ _ C7sus4_ C7 __ _ _ Dm(ll) Db7(13/#11/9)C13sus4 C13b5 F6(9) Bmaj7#5 G-9 Gb7(#9)
ba
I·§~
'
Bbmaj7 __ C-7 _ _ _ Bb6(9) C-9
r
II C-7__ _ _ F7_ ___ E b/F F9#5 C-7(11)
D-7 __ Db 0 7_ - - Dm (ll) C13(#9) Dbc 7(b13/9) I 19-
:r
jf
&~fI
Gm __ Gm(maj7) _ _ Gm7__ _ G7 __ __ _ G-(9) G-maj 7(9) G-7(9) G7(alt9) Ab-6(9) I
I~~i
'' ' 4 E b6(9)
~
"j
7
!
. o.a..
Jl),g
11
1
tf
I
:
~
F -7 _ _ _ Bb7 _ __ _ F-9 Bb7#5(b9)
~-
I
_ G7_ _ _ _ G+7(b 9J
r
Bbmaj7_ _ D7 _ __ _ Bbmaj7(9/6) D7b5(b9)
C-7 _ __ F7 _ ___ C-7(11) F7b5(b9)
Du
t;~
E~ maj7_
F7sus4 __ F7_ _ _ F9sus4 F13(b9)
C-7_ _ _ _ _ _ _ _ _ C-maj7(9) C-7(9) E~maj7#5 Ebmaj7
A-7b5 _ _ D7 __ _ _ C-6(9J D+7(b 9j E bmaj 7b5
G-7 _ _ __ Gb7 _ __ _
G-9
Gv8
'
Bbmaj7 _ _ _ ___ C-7 _ _ _ F7 _ __ Bbmaj7_ _ __ __ C-7__ F7 __ _ __ B~maj7 ____ Bbmaj7 Bhmaj9 F7sus4 F7 Bb(add9) B11maj9 Grn/C B/C~ Bb(Hl/9) F 7(b9/alt5) D-9 C-9
~ .
~
:
tJ
~
I~
I
~
I
I&~ 232
~
1~i· -6-
fJ
llqbg
II
Fine
Song Exan1ple - #3 The follow1r.g exampie is a "minor blues." The nature of this "stagnanL" or sustaining harmony lends itself welJ to modal voicrngs and various approach techniques. Note che constant fourth structure being moved chromatically in the firs t five measures.
C-7 _ _ _ _ __ _ _ _ _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - C-7(11)
D-7<11)
C~ -7 (11 )
E:i -7<11 >
D -7(11)
Db -7(11)
C-7 _ ___ ___ _ ____ __ _ - - _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - C-7(11) F13(Dm/Er1 ) E:i /F C l3 (~9: C-6(11/9 1 C-7(111 -G-.
t
r, .
o·
!JO•
i
ll
I
F~-- - - - -- - -- -- - - --- - - - -- - - - -- - - --- - ----- - - -- -- --- - -
F-7(11)
F-6(9)
Db9
D -7b5(F -6)
I>?·
6 '
C-7 _ _ _ _ __ _ _ ___ _ _ -· __ ___ ___ __ __ _ ____ __ ___ __ ___ _____ _ _ C-7(1 1 ~
C-6(9)
B +7 (0-maj7(6)l
C-6(9)
-!?-.
O·
D7 _ _ _ _ ___ __ __ __ ____ _ ___ _ _
D9(13)
E~9
D~
DI~;_ - - - - - - - - - - - - - - - - Eh + ~ .~, rru·u;
D~ 97 5
C9p 13:
Db9(tif
Dt>~
C-7 _ ___ __ __ ___ __ ___ _ _ _ _ - _ __ _______ ___ __________ _ _ C-9(13) ~
t
,_;
I
0~: -e;;.. ·
C dorian fourth
i 2:
(:· •
voicing~
<' .
ti'I?:
_ _ __ _ _ _ _ _
-c-· -
: f:
_ __ _ ___ __ ___ _ __ _ .£!..·
11::-"
0";7.
!)P •
i If
6' ;; 1·
ii Fin!
Song Example - #4 The following example makes liberal use of dominant approach techniques in reharmonizing the basic progression. This allows for a "colorful" dominant cycle-five approach to each chord, enhancing the "predictable'' diatonic progression. It is not uncommon in "jazz" to make the II-7 or II-7 ~ 5 chord a dominant chord; II7 or (V7 of V). Note the b9th interval in the tenth measure of section "A," (Eb IF#), which resolves in contrary motion to the next chord, (D/G). Also note the use of "constant structure harmonic motion" in the first three measures of the "B ,. section, and the first four measures of the "C" section.
CA]
A-7 __ __ _ _ _ _ A7#5(#9) A13(b9) C#maj7#5 F#IG b-9~b.a.
'#~
~~ I
F# -7b5 _ __ _ _ _ F#13(b9) FU 3(#9) Eb lE
~~ir
~
j~~ ~ . "" G 11
I
A-7_ _____ _ _ _ Am(ll) A7(#9/alt5)
IA91
D7 ___ _ _ _ _ _ _ D13(#9)
~
1~~~[
Gmaj7 __ _ _ _ _ _ _ Gmaj7(9/6) G7(alt5) Eb9
D7(#11/~
9) F#-maj9
?
1r
I#~
'1
E-6(9) E-maj7(916) D#7(#9)
!~
~~I
If
f
I
#:~
E -maj9
E7(b9)
!~
! ~~ i
II
I
D7 _ _ _ _ ____ _ _ Gmaj7 __ -,- _ _ _ _ Cmaj7_ _ _ _ _ D9 D7(b 131addll/b9) Gmaj9 G7(b 13/#9) Cmaj7(9/6) G7(b 13/ alt9) DI G E h/F (Dom Approach) Eb l F#
___ _ _ _ __ B7___
_ _ _ ___ _ F#13(b9) F#7(#11/b 9) B7(#111#9 )B7(b9'alt5) E-6(9) Eb /E CIC~ E li-maj9 E~6(9)
F ~-7b s
(Chrom/Dom Approach)
Em' _ _ _ _ _ __ _ ___ _ ____ _ _ _ _
B7_ _ _ _ _ _ __ _ B13(#9) B7(b 13/b9)
lb.1~
~kf
Cmaj7 _ __ _ _ C(add9) G13
'
E-m aj7(6)
i+7
E -6(9) ~
I
IJ::o ?7·
I F# -7b 5 _ _ _ _ _ _ _ _ _ B7_ _ _ __ _ _ _ _ _ Em __ _ _ ___ ____ _ _ _ _ _ ___ _ _
[fil
F~-7b5(b 13) F!:-7b5(b 13.' 11)B7(!19' alt5i B7(~£t' alto J
C6(9)
t1
D6(9)
#~
A -7 _ ___ _ _ _ _ Am(ll) A-9(11) Am/D GIE
'~
~
Eli 6(9 )
F6(9;
:iiim(ll) E-maj9 E 7#5(#9J G6(9'1 Gmaj7~5 or BI G Cl A~
El3(b9 l C~ID I
D7 _ _ _ _ _____ _ Gmaj7 _ _ _ ____ _ _ _ _ ____ _ _ _ _ _ _ _ D7~5 (~ 9 ) D7(b 131#9> Gma.17(9/6) Gmaj7 (~11~ G6(9) Gmaj1rn11/6) G lydian fourth voicings: __ ___ _ _ _ _ ___ _ Bo/F:.
~
.. ,
~i
I
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234
[g
Ftt -7b 5 _ _ _ _ __ _ _ F~rnl>5 F #7(Ul/b9)
E-7 ___ E~ 7 _ _ _ E m(ll/ 9) Eb (# 1119) Gmaj9 G-9
B7 _ __ _ _ ___ _ _ B13b5 B7(tt ll/b 9)
D-7 _ _ _ D~ 7 - - Dm( ll/9) Db CU l/ 9) Fmaj9 F-9
'~= ~~I~~-----l.J-'-...l-f=.-1' ----+--b'--'---f-L-1r _h-f-<--" r
___J
Cmaj7 _ _ _ _ _ _ _ C6(9) Cmaj7(6) G6(9)
r
t=f
'--
.
Em _ __ _ _ _ _ _ - _ - - - - - - - - - - -
B7 _ _ _ _ _ _ _ _ _ _ B13sus4(b9)B7(alt5) G#+7 G+7
I~~
E-maj9
f
~:~
/
1JK~R==
=====i======w=::::::flFi~
===r==i·•t::=tb
tz2::=.J
Song Example - #5
.;~.:
··:·: :...
This next example is an ori2:inal composition. The original chords and melody will be given first, followed by a harmonized rendition that can be performed with the original melody or chords. The basic chord progression on this piece is much more progressive and " modern" sounding than the basic chord progressions in the previous pieces. Care must be taken to not over-harmonize such pieces for fear of losing rather than "embellishing" their original sound. "SOMEONE WHO LISTENS" © 1974 Bret Willmott
~
E-7b5
~it
~ CID
A7(b 9)
Fmajn5 ~·
~
c:1 I r· I#"·
B-7b5
r r·
G-7b5
Ab m aj 7
f If
Gbmaj7b5
~qC' Emaj7
f F f l:o·
Ir·
rF
11 · I·
~ I
~q•· O·
Amaj7
Fmaj7
1r
D-7
I
1·
Fine
235
r
I· I· :II D-7
Dbmaj7 tt5
br· n:~ ...
€.
Fmaj7
E-7
Fmaj7
Cmaj7
gI
A-7
r·
I
lzµ
If'
Abmaj7
~ F
Ebmaj7#5
D-7b5
Dbmaj7
I "· Bbmaj7
A7(alt9)
The following example is a ham1onized rend itio n of the above original composition;
E -7b5(11)
AIF Fmaj7#5
~
~i f
r·
B-7b5(9) B-7b5(11)
F#IG
~c
Ifur A~maj9b5
A-9(11)
If G-7b5(11) Gbrnaj7b5 G-7b5(9)
1n1 l£.J
l
.
IT"
GIA
D-7b5(11)
A+7
A13(b9)
I
r·
f"
E-7(11)
CIF
Fmaj7b5
F brnaj7(al t5)
Fmaj9
ir·
ff
E dorian fourth voicings: _ _ ____ _ _
1J ~~: ~~:
Ip:
#f:
I
Fmaj%5 Fmaj7(6)Dbmaj7b5 Dbmaj7b5 Symm. Constant __ Fmaj7(916)D-9 Dbmaj9b5 D-6(9) (D dorian)
I
t r 't
#':
Ir
E' =: Ic
g f Ir
f: ~:
- - Fourth Structures
F#IE
DI E
EIA
(C lyd)
(A lyd)
~~:lydia~~~)-------.-
1trc
D-maj7(11)
D-7(11)
If
Fmaj7
~r-
EblF (Db lyd)
~r-
ir·
DIE FIDb (Bb lyd A7rn9/#5) -aug)
~r
D-6(11)
t
11 Fine
Song Example - #6 This next examp le is a popul ar jazz form referred to as "rhythm changes ." Note the chromatically desce nding major triads in the first two measures. Also note the chromatically descending bottom voices under a sustaining lead voice in measures 7 lhrough 12 in the "A" section. The top two voices in measures l and 2 of the "B" section move in contrary chromatic motion whi le measures 3 and 4 move in opposite contrary chromatic motion. Note the use of chromatic approach chords in measures 5 and 6 of the "B" section. Finally, note ~he top voice in the first two measures of section "C" s pells a Db maj7 chord, while in measures 3 and 4 the top voice spells a Cmaj7 chord, and finally a D-?b 5 chord in measures 5 and 6. ~i~::.,.
Bbmaj7 _ _ _ G7 _ _ _ Bbmaj7(9/6) G1 3(b9) ~
FIG
EIF
Ff 1
F-7 _ __ _ Bb7 __ _ Frn(ll/9) Bb 7(#91 #5)
Jfj9
C-7 _ _ _ F7 _ _ _ C-7(11) F13(b9) Eb/F DIEb
Wf
~f
Bbmaj7 _ _ G7_ _ _ Bb6(9) G+7(alt9)
C-7 _ _ _ F7 _ __ _ _ C-7(11) F7(~9/alt5) Constant Structure _ _ _ ______ Amaj 9
I~
i.'
Ebmaj7 _ _ Ab7 __ _ Eb6(9) Ab9(13)
B bmaj7__ _ G7 _ _ _ D-9 G13(b 9)
lbf
I~
'
236
,.
lbf . ~~---l C-7 _ _ _ C7#5(#9)
lg''
F7 _ _ _ F13(#9)
~'
II
Bbmaj7 __ G7 __ _ IA 1B;,13 (~ 9) G 13
C-7 _ ___ F7 ___ _ C7(#9) F9(13)
9
B~maj7__ G7 _ B~ maj 9
__ _
C-7 _ __ F7 ___ _ C-7(11) F7b5(b9)
G7b5(b9)
~'~~~-f;;--· ---HI&F-19- - -f~-t~f-1-¥1-1 ~ -----1.-ii~~~-~, ,,~ F-7 ___
B~7-
F-7(11)
Bb7b5(b9)
_ __ E~maj7 _ Ab7___ _ Eb6(9J
A b9(#11 l
E 11 -maj7
~~'i ·~i
I
I
&~!
l& si
II
I
G7 _ __ __ _ _ _ ________ _ ___ _ _ G 13 G7(bl3/b9) G9 G7(#9/#5)
__,.,~~9i__~li~~~--'-!11~----~-==--==-~!$~'-==--==-~~+-9-.,.. . ._ o~'_= _ _h~~;-~. .: : : : :---=-~~,....._.?,___::o~~.-==-==~ ,
,
!
_ __
T
1
r
C7 _ ___ _____ _ _______ _ _ ___
F7 __ __ ___ __ _________ ___ _
C9C13:1
Fl3 F7(alt9) Fl3 ___ Ab13 _ _ _
C7
B9(13)
E9(13)
#~i Bbmaj7__ _ G7 __ _ _
'i
F-7.. _ _ F-9
Bbmaj7_ G7 __ _ B~maj9
F7(alt5)
I
I
I
__ _
B~7b 5
E~ maj7 _ E~maj9
_ Ab7___ _ A,9(~11 l
&''g ~
237
C-9
~
C-7___ F7 _____ C-7(11 \ F +7(alt9)
!
ir;~~
II
C-7 _ _ _ F7___ _
G9(13)
~
I~
I
1 B~7-
C-7 _ _ _ F7 __ _ _ C-9(11J
F7(alt )
' ,,
'
(9 B bm~i7(9/ 6) G 13(b9)
F7P 5(~9)
B13
FS'rnll J
··~
I
B ~ maj7 __
__
Bb6(9)
;
g
Ji Fine
-
Song Example - #7
T he follo\:ving is another ..standard" tune . Note the top two voices moving in contrary chromatic motion in measures 6 and 7 of section '" A." In the "D" section the min7 b 5 voicings are repeated a minor third up for the dominant chords. Also note in this section the lead voice ascends while the c hord roots descend. Note the tonic diminished substitutes for the ending B b maj7 chord. Finally, note the top voice over the last two bars forms a Bb Blues scale.
iAJ
E -7b5 _ _ _ _ _ __ - E -7b5(11) E -7b5(9)
A7__ _ _ _ _ _ _ _ _
C-7 _ _ _ _ _ _ _ _ _ _ F7 _ _ _ _ _ _ __ _ _
A+7(#9)
C-7(11)
B~ 7 _
F-9
Bb13
F-7(11)
C-9(11)
I
I~r F-7 __ _ __ _ __ _
A7(b9)
,, p
F
D.'2.
;
Eb maj7 _ _ _ __ _ ·-
________ Bb+7(b9)
I
0
E~maj7 ( 9/ 6)
bp
Eb6(9) I ').'2.
19I
i
lnl B~maj9 LEJ
_ ___ _ Bvmaj7(6j
F6(9)
Fmaj7__ _ __ _ _ Fmaj7 F6(9)
_
_.,,_g~a.
D-7 _ _ _ _ _ _ _ _ _ D-9 D7sus4
E-7b 5 _ _ A 7 _ _ _ _ E-705(11) A+7(b9 l
y
I
I.
F+7(#9)
~!2
Ab 7 _ _ _ _ __ I
D.a..
B b- 7 _ _ B b-9
a~
Eb 7 _
__ Elt 9(13 l
D7 _ _ _ _ __ _ _ __ _ _ _ D +7(ii9) D7Cb .- · t 5) A-7P5(11) A-7#5 Constanr Structure _ _ _ __ _ _ _ __ _
A+7(#9) F/ DD
b.a..
1
-+-j-o
_
_ f " _---;f---,-, _
~ _..__...: 1? - - -
-+~++r-----<'.-:;:::::::::.:::::::::::::_t-l.::::::::::.:::.::::::::::.=~ •-'-v·.c;-,:::.:::.::::::::::::=.t-1::::::.:::.::::::::::.:::.:::::::::::::::::::::::::::~.....f~_-_-:._-_- _-_-_-:.___ ~ G+7 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ G+7(l:9J__ .. _ _ _ G-;- .G+ 7(:. "· Bm aj7b5 _ _ _ _ _ _ Ev/B
Q,maj7~5
Go +
Al> 7(1~/ !: il/ 9> A~ 7 Bt>/ G;,
-
===-+'=ti
C-7 - - - - - - - - - - - - - - - - - - - - - C-f· C-7
-- Ab?_ _ __ _ __ _ _ _ _ __ ______ _ __ _ A;9( ~i l>
II
A a7~ 5
_...,....,.._~---+I o---...--~-
A:i 7C13/ Hl/9)
_
AVi ( 13/ ~11/ 9) Ab9 B ~/G~
b,a.
E-7b5 _ _ A7 __ _ E-7b5
ba
!'
-l-
Bbmaj7 ___
F13(b9)
B~maj 7
__ _ __ _ ___ __ _ __ _ __ __ _ _
Bt>maj7 B:>m aj7(9/ 6 l
Ab/G;;
238
B,(a dd9 ) Bt>m aj 7
lliJ
E-7b5 ________ E-7b5(11) E-7b5
&
A7 - - - - - - - - A+7(#9) A+7(b9)
c
D-7b5 ____ - _ _ _
G 7 __ ____ - -
D-7!1 5
G+7(b9) _ _ (t9)
0
f
D-7b5(11 > (2
p.6-
I
:1t6'-
I
I
C-7b5 _ _ _ _ _ _ _ _
Fi _ _ __ _ _ _ _ _
Bbmaj7 ________ ____ __ __ __ _
C-7b5(11/ 9) C-7:i5 B:i/Gb
F+7rn9) D!>/A
Bb (maj7)Bb " 7(H31 A/ B, F#IG
G
~
F+7(b9)
F+7(#9) Amaj7#5
Bb6(9)
Fine
239
Song Example - #8 This last example is another original composition. The melody can also be played with the following harmonized rendition.
"THIRD ANNIVERSARY" © 1974 Bret Willmott
(Latin)
't-
C- 7
E maj7
:
!
I
i
., j
1
Dhmaj7
A- 7
~.~ ----,
I ~
I
-6'-
Eh7(alt)
Amaj 7
'D~maj7
1
~wD •111!
l
Abmaj 7 3
'
r r
& r
JI
J
a
I I' D-'
Amaj7
r- 3 - -
Ip
!
J
I
0
or '
z:2
I I
iud
1
,,.
:
II
I
E7(#9)
,--3 --,
Ij
!
gI
&:J
A-7
3
.. 'FfJ
Ibo
J
3- - ,
F -7
- -:
Gbmaj7
I
Bb -7
(j
0
-9-
'?7
, - -3 - - ;
1
I
I
--1.
3
Iµ G-7
r---3 ---,
3
I
bJ
~
-tl Fine
'~o
The follow ing is a harmonized rend ition of rhe above composition . Note the use o f '·constant structure harmonic motion" in the second half of this piece.
Emaj9 BI E
~#· G- maj 9
'4
D~ 6 (9 )
ll'fr
Emaj9(6)
11E
Cm(ll/ 9) C-maj9 E~ maj9 G/Eb
A-7(11 ) A-maj 9
I?~=
I{
G-maj7(11) Amaj7(rtll/6) Am aj 7(~ 11 )
I
.. I
{G
~~
1 ~1ig
#~
E ~ 7( altL
G6(9) ~
~
G- 9
Dbjaj7b5
I
I
lo@·
I
Abmaj7(#11/ 6) A6(9) Abmaj7(#11)
i
Amaj7(6)
...
11
i'=
hi,~jj
Gbmaj71>5 Gb6(9) I
, II.a.
! 1,~=
1![f t1
I
E7(b 1 3/ ~9} A- 9
BtJ-9
b-L
E 7 (~ 9)
I
b.a...
'
!re-
t'.kt
I
l. ,..,
~·:
I~
Gm(bl31 C- \:1
__ __ I~
I
$ 1·~~
4i1'~
bi
.a..
Dbmaj7b5 Dbm aj9#5 Db9(13) F7
19 iiI
!~'ii
F-6(11 ) A-7(11) A-6(11) E <_add9) Consrant Structures in whole-steps __ _____ _ ___ _
F -7(1 1)
1A glj Ii;!·j \~ 240
I~
II
Fine
Chapter Twenty-Nine. Rhythm All the voicings and harmonic knowledge presented in this text would be wasted without the same attention given to rhythm. I think most musicians would prefer few and/or simple voicings with a rhythmic" groove" accompanying a soloist or melody than many complicated voicings with no rhythmic sense. Although this text will not undertake the many rhythmic styies, tempos , time-signarnres, and concepts needed to use with these voicings, I still feel the need tc stress their importance and deserving attention. Most of the voicings in this text were displayed with little or no rhythm. A few simple rhythmic ideas or suggestions will be presented here that could enhance those existing exercises or songs.
By the addition of quarter or eighth note anticipations and deiays, an exercise or song becomes more rhythmically active. The following are just some of the possible anticipation and delay combinations over two measures of half notes in 4/4. l)
@
2) I
7 .
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1\_J
I
11
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elajj
e'
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l
7
II
b
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I
Z· 2'
I
II
4)
...1 r7~ .
.,
1
,~ . r
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.l..
i
II
5)
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eI
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-P- ~
7
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zL
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! I (I/•
II
6)
I I
7 .
r
-P ~
~ ~I
I r7
I
u
4;
I
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e'
7J
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l
I zI .
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l·
1
l
t ...._,.,I r
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I
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e•·
8) l
~ l'.
.., I
iI
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r
~ ....
el ]
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7'
r
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7' .
r
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z~e
l
A couple of concepts unique to the guitar could also be used to enhance the voicings presented in this text. The first involves sliding into or away from a voicing chromatically. This is usually accomplished rhythrnicaily with as little as a grace n0te and onen with eighth or quaner notes. This concept enhances both the "sound" of the voicing as well as emphasizing its rhythmic placement. The second concept is a percussive technique achieved by muting the strings and strumming different rhythms after a voicing is sounded. These techniques are more or less applicable cepending on the specific styles of music.
241
Another very important concept for comping in today's jazz or pop idioms is silence. What you don't play is often the best thing to play. An interesting and valuable exercise would be to omit certain voicings in the exercises and songs presented in this book. In those exercises or songs harmonizing the half-note in 4/4, try first omitting the second chord in each measure; (beats 3 and 4). This retains the strongest chord sound of the measure. Next try omitting the first chord of each measure: (beats l and 2). This retains the weakes1 chord sound of the measure. Finally try different chord omissi0.n combinations; like alternating between two half-note voicings and two half-note rests, or two halfnote voicings and one half-note rest, etc. Also remember to add different rhythms to these chord omission exercises. Omitting voicings actually increases the different rhythmic possibilities and allows for more rhythmic creativity. Also note how voice-leading is broken by the omission of different chords. At first this might appear to be a problem, but the missing lines can often be "heard" through the silence. As many jazz artists are aware, it' s what you hear while your not playing that is important. The following examples will display and suggest various chord omissions to existing exercises. The foJiowing is another example of the half-note being harmonized. Note the use of symmetrical and modal chord patterns as well as chromatic and/or dominant approach voicings.
G-7
Gmaj7
§#f
I
I
'
,
Fmaj7
~i I
I~
~~
l~f
~~~~
..
I
19-
j&~
~ I
!~f
b,'F I
Ii'
l(f
~
I
~~ f-5-
! lb~
I
~
v
I
I
Ii§
~.Q_
Ibi.~ F7
~~!
-6-
I~~i
II
'
D7
C-1
I
~
I• .
Bb7
;~
i-{
~§
Gmajl
~;
11~~
I
A-7
bu
4
~
F-7
Ii
~b~!
~
v
Ebmaj7
~
C7
G6
~h~
I!~
I!
By removing various voicings and applying different rhythms ro the above example. an interesting '"compin(· rendirion of mis chord progression can be produced. In the following example, the first four measures of the above example have the second voicing in each bar removed. The next four me.:sures have removed the fi rst voicing in each bar. The next six bars remove every Lhird voicing while the final three bars remain the same with only some rhythmic variation.
Gmaj7
4
;~§f
G-7 OJ
~~g~
s
I ..ii
242
~;m
C7
£
'
!
,:1
.,,
vf '
Fmaj7
'
~ i;R§l.~
..,
!
f
Ebmaj 7
~
F-7
f
I
~t
I
Gmaj7
~f
I~
"~E ! ~
D7
:
1
C-7
LJ
I
I-
!
11
A -7
........------..,,. i"f id'.f
b.a.·
2
i~·
B 11' ?. I
·t
I
F7
I
a: 1~w.; r~·
.,I
G6
1
~ 'i ~l~
Note that several chromatic approach voicings have been added to the above example. As mentioned e~rlier, different voicing omissions and rhythmic interpretations should be developed and applied to each exercise and musical example presented in this text. In the following example. try superimposing the displayed four-bar chord omission pattern over the first II - V blues example introduced at the end of the Tension 9 chapter.
Four-bar chord omission pattern;
-
-
r
I-
r
II
Now try using the following rhythmic interpretation of the above omission pattern over the II - V blues exampb.
Fmaj7(9J
~
E-7b5(9) An5(b9 'i
D-7(91
Bb -7(9)
A-7(9)
B b7(9)
!
r
" I
~ G-.7(9) .. l
,l
!
c
I
l
E b9
r
I I
,l ~·
~
I
It
I
I
L
n~7b5(9)
( I1e
/.
C7~ 5C:9) C7#5(~ 9)
le
F7:,5(~$
F6(9)
Ii 243
~ .
I
C7#5(9)
1-
'I.
(
.L· I
I
,
<
I
Y'
F9
6]F
!1
Different string combinations and voicing sizes which are discussed in the following Conclusion chapter will only enhance these rhythmic concepts.
1n most comping situations it is common to attack all four notes at the same time. The following exercises will explore attacking different string combinations at different times. This produces some interesting sounds as well as isolating different voice-leading situations between various string sets. It will enhance awareness of individual guide-lines as well as two and three note voicings. These different combinations also produce many unique and beneficial ways of physically preparing chord changes. Any one of the following combinations could be used to alternate between two different string sets. Additional combinations are possible. Strings will again be notated as bold numhers in parenthesis. 1) Alternating betwee11 one voice and three voices;
(2) and (3)
(4) (5)
(3) and (2) (4) (5)
(4) and (2) (3)
(5) and (2)
(3) (4)
(5)
2) Alternating between different two-note voicings; (2) and(4) (3) (5)
(2) and(3 ) (4) (5)
(2) and (3)
(5)
(4)
,3) Alternating between four-note voicings and one voice:
(2) and (21
(2) and (3)
(3) (4)
(3) (4)
(5)
(5)
(2) and (4) (3)
(4) (5)
(2) and (5) (3) (4) (5)
After establishing a two-bar rhythm pattern, chose one of the above combinations and alternate its string sets on every other attack of the rhythm pattern. The following rhythm pattern will use the above alcernating string combination of (5) and (2) (3) ( 4); (5)
& e)
I
(2) (3) (4)
7
I
I
I
!
I
(5)
(2) (3)
(5)
(2) (3)
(4)
I
I
(2) (3)
(5)
(4)
7
I
7
I
(4 i
I
I
I
I
I ·
i
Now apply the above rhythm pattern- string combination to any of the previous examples or song~ in this text. Some of the combinations might be easier with fi ngers in place of, (or with) , a single pick. The following- chord orogression will oe useo . '""'
C9(13J c 1rn91 alt5) ~
~ b§ tJ
I
I D-0-
~1~~
F maj £)
I~
Bt> !=:
hs
lO
demonst;me some of these conceots: ..._
A-7(11.' D9(#1l i
!::~
244
#2
D-9 e-
Ik; !
G+7(#.9>
:!±-& ~~
CS
i!5I j j
"Legato" version;
Also try mixing t'J..'.o:d~ more of the combinations as well as reversing some of the given ones. The following example will use the (i) u~d (3)(4)(5) combination on the first two bars while reversing the combination {(3)(4)(5) and (2)} on the last two bars;
4r
bt
~ ± [J
f
v=tt~
.,
1
#~
•( I
.., Ir ~
q~
":!:.
so I
• I
I
~
0
•(
I
tt..-· 7.
'
I
•!
I
i,~:
•It
11!!
II
The following uses the (2)(3) and (4)(5) combi1rntion on the firs t two bars whi le using the reverse combination (4)(5) and (2)(3) on the last two bars;
~f
'
~
·r 1
8
~
>-.
7.
~~t)
#~
,.,I
"f
q&
q~a
.) \
I "f
"f
>-.
I
9(
I
5 vtiJ'
245
"l
~
1!
"~:
¥
II ~i
II
Chapter Thirty. Conclusion As slated in the Introdu ctio n , the intent of this text was to establish a simple and direct approach or system to chord construction , vo ice-leadii1g, enharmonic realization , and supportive the ory that wo uld enable students to exerc ise and expand their knowledge and begin a process for future d iscoveries. T he initial introduction of drop 2 type voicings with tension additions is a simple formula fo r many com plicate d voicings. By lim iting those voic ings to the midd le fo ur strings. more inform ation on voice -lead ing, enharmonic substitutions, fingering possibilities, and theory could be presented. The enharmonic realization process w as estPblished as a means to the eventual discovery of new vo ic ings w hic h coul J ultimately be perceived as groups of specific intervals with twelve potential roots. These concepts can also be appl ied to various string sets and voicing sizes. T he fo llow ing comme nts will suggest some approache$ to the vario us s tring sets and voici ng types on the gui tar. Continuation of fou r-no te voic ing research on the middle fou r string s should include a thorough exami nation o r seventh-width voicings and applicable voicings containing an "octave-doubling." Equally important are the thrccnote vo icings available to the middle four strings, as well as later e xamination of additional three-string combinations. Perhaps the fll'O three-string combinations that contain the same width as the four-string voicings presented; [(2)(3)(S)J and l(2)(4)(5)], w ou ld be a logica l starting point since they voice-lead we ll w he n mi xed w it h the fou r-note voicings used in this text. Certainly one advantage that many three-note structures have over four-note voicings is their physical ease in finger ings. T his might be an important consideration w hen music containing many chords is played al a fas t tem po. O ften j ust those four-note structures that produce difficult fingerings can be substituted by three-note voicings. The following example wil l illustrate this. 1) Passage using four-note drop 2 type voicings;
E -7(9)
~!f~ •"
_,
A7~5
Ftt7rn9)
~!it
E - 7(9)
B9
l~i
~#;2
'1
A7(#5)
!u
~·
D6(9)
I#~-
11
2) Above passage with some single voices removed lo produce easjer fingered three-note voicings;
~fi~
.-
, ~
~
[!~
12
~·0 0
I~
~
Ii§
II
N ote two of the above three-no te s tructures are miss ing "guide-tones" while the other two omit a root or a fifth. Three-note voicings often produce "incomplete" struetmes, but as mentioned earlier in this text, certain tensions and pred ic table c hord progressio ns can dic tate the m issing guide-tones. Also mentio ned earlie r, some the best "sounding" voicings arc in fact incomplete. Moreover, if two or more voicings are used on one chord, the guidctones n1ight be staled in one voicing vvhile the other voicings ren1ain incon1p lete. ~~-~~ ....
or
The "ambiguous" nature of many three-note structures inc re ases the amo unt of enharmonic cho rdal uses available to any one structure. T he fol lowing will attempt to illustrate this;
(Notes) ...............
F
A
E (minor modes)
Fmaj7 ... ..... ......... G7( 13/9) ............. Db 7( #91#5) ....... .. A7(b13) ........... ... Bb 1m~j 7( H 11) ....... B-7b 5( 1l ) ......... .. Dm(add9) ............ Esus4( b 9) ...........
J
b7 3 b 13
s
bs b3 b9
3 9
tt s l
7
b7 5 4
7 13 H9 5 #11 11 9
(A aeolian)
I
(E phrygian)
(G dorian)
246
An interesting exercise might be ro take a nicely voice-lead four-note voicing example and remove various single strings to produce different three-note voicings. The following will serve as the four-note voicing example; D-7(9)
~ tJ
G7(~9/# 5 )
f>e_
-&
I
~~
I!~
Using above
E~7(9)
C6(9)
!I
11
D9sus4
IM
Db9Cno3)
Cmaj7(9)
i, : ·i~
I§
I~
-e-
example~
1) Play top three voices only. 2) Play bottom three voices only. 3) Play top two voices and bottom voice only. 4) Play bottom rwo voices and top voice only. 5) Alternating different three-note structures . As an example, ai[ernate the following string sets on the above example; [(2)(3)(5)) and [(2)(4)(5)];
~ IV
-&
(}&
~~
~
_g~_
I
~~
IJf:
~~~~~
I ~·
q
_ ___:·,,
€-
Additional three-string combinations using the high and low "E" strings, (1) and (6), should also be examined, keeping in mind their limited use in a ''comping·· or band situation.
The above four-note voicing example can also be used to illustrate an "octave doubling,. within a four-note structure. Prepare the above example by doubling the lead note down an octave on the 4th string; G7(~ 9/#5)
D-7(9)
C(add9 ~
' I ~ iz!1 ~;
f;
-&
1£ ;;
I
f!)
i
>-ic1\::..: prepare the same examp:e " Y ooubli r.g G7(1:>9)
D-7 ,~
~ u
~
,J
m~ 00 ..:r.;
~de)
!h
78
II
==h:zu
cP
0
Cmaj7(9J II
Ii ~
iJuO
- ii
:ei::>
nm.:: up an ocrnYt: on t!::: 3rct sm<.,:; .
E ti(add9)
p
I
D~9
D9
~~
C6
~
Ii
E~9
D9sus4
D~ (sus9 )
·-
0 d'
0
DO
Clsus9) f'
-&
Ph· :;1ca1consideration rni£!hl d1cwre the use ot 8vb doubling on the first three chords and 8rn d{Jll bling on the l a :,~ thr~e chorcis with the E 69 "Chord containing no doubiln~ since it is difficult w itb either one: D-7(9) -e-
'
G7(~9;;.5 )
Ii~
ii
Oadd9 \ -
·__Q_
Li=
D9sus~
Eb9 ~~ ·~ &
~e' '
I
g
Cisus9 .
Db(sus9J --nliei -
! ~·=
" n
I
- -, I
"
-&
Tbe next phase of harmonic swdy on ih~ guitar should underrake tl1e various string combinations <:l\'ajkbk ro ii11s instrument. \Vhile three and four string combi nations are the most common in a majoriiy of comping snuarion'>. two Jnd five strimr con1binarions are aiso worth cxam inmion. While five and six strim~ voicings are orohablv most common to ·'solo'· guiwr, these sm1cmres might also be :ivailable o'v'er a "ballad'. in a band situation. ......
...
247
-
J.
..
Perhaps the first logical step in exploring different string combinations would be to transpose the voicings examined on the middle four strings to the !Ql2 four strings. In fact, a majority of the drop 2 type voicings are physically more accessible on the top four strings while some of the non-drop 2 type voicings might prove more difficult. Keep in mind, the higher register of these voicings on the top four strings might at times produce conflicts with a melody or soloist competing for Llie upper range. On the other hand, the top four strings are excellent for "chord soloing" and "chord melody" applications. The following exampie will alte rnate between the middle (M) and top (T) four string voicings; D-7
G7
E-7
D-7
G7
c
CM)
(T)
(M)
(M)
(T)
(M)
.a-
' '
!!
11!
F
B~ 7
E-7
(T)
(M)
CT)
g
D-7 (T)
A7
CM)
-e-
....a.
-&
l>e-
I§
..
I Ho
~!
18-eG7 (M)
l>e-
g
C7 (T)
~1 c
(T) ..a.
lih;:
II
Note the physical advantages in alternating string sets as opposed to placing all voicings on the middle four srrings . Also of interest is the melodic "pattern" over the entire exercise. This last example will mix middle and top f our string voicings with three note voicings. (1) will denote the top voice being placed on the I st string while (2) denotes the 2nd string as the top voice;
~
D-7b5
G7
C-6
F7
(2)
(1)
(1)
. (1)
(>&
~
b~
:
I
b ::
ll, ~
Ab7 (2) I
O.il.
l& o
G7
C-6
(2) ~
(1)
q§g
-0-
1"!!
II
Note the physical "shapes" are the same on the last two voicings. Colorfui and sensitive comping is rroau~eci D~· tne use of differcnL srring sers ar.d vanolis \'01ci:::g size~ a10:.g \\'1ti~ a variety of rhythms and space (rests). Have fun on your next comping trip!
248
MB95112
/Jy /Jret , /
el Bay Publica~ions, Inc. #4 lndus.t,r.ial Drive Pacific, MO 63069-0066 t. , J.
a..
Table of Contents Introduction . . ...................... . . ........ . ............. . .... . ... . . .
6
I. Drop 2 type voicings .............. .. ........ . ............. . ............
8
a ) Construction of "drop 2" inversions on the middle four strings of the guitar. b ) Construction of the various four-part chords (6th and 7th chords) through chord spelling. c) Drop 2 inversion notation or "voice-leading."
2. Voice-leading ....... . ....... . ... . ...................... . . . ...........
14
Inciuded are various voice-led line patterns
3 . Voicing Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 R ules and considerations governing various voicing possibilities. Included are "Low Interval Limits."
4. Chord Symbol Notatior. .. .. ......... . ....... . .. . ....... . . . ........ .. ...
19
Problems and suggested solmions to chord symbology . ./ . 'T'1ens1ons . . . .. ..... .... ........ . ............... . ..... . . ........ . .. .. . 21. ~
a ) Theory governing tension selections including te nsion addition chart.
b ) Voicing formulas for tens ion additions and substitutions to basic four-part structures. c ) Incomplete structures formed by tension additions and substitutions.
6 . Dominant Substitute V7 Chords ...... . ................. . .......... . .. ... . 27
7. Tension 9 .... . ...................... . ..... . . .. .. ... . . . .. . ........... 29 a ) Enharmonic chordal substitutions produced by the addition of tension 9 to a four-part
harmonic structure . b ) Introduction of non-drop 2 type voicings: 9th<noS) or 9th<0 03 > chords. c ) 9th chords presented in_various II - V - I examples. d ) Tension 9 additions bY' string. e ) 9th chords presented in e xtended musical examples.
8. Tension 11 . ......... . .. . ......... .. .......... .. ..... . .. . ....... ......
45
a ) Enharmonic chordal substicutions produced by the addition of tension 11 to a four-part harmonic structure. b ) 11 th chords presented in various II - V - I examples. c ) l l th chords presented in extended musicai examples.
9. Tension 13 .. ......... .. . . . .. .. .... ....... . .. .. ... . ... . .. . ... . . .... . . 56 a ) l 3th land 6th) chords pre sented in various II - V - i examples. (enharmonic chordal substitutions included ) b 1 l 3th chords presented in extended musical examples.
10 . Two Tensions ..... .. . . .... . ..... .. ... . .......................... . ... 63 Tens ions 9 and 13 Theory I II - V - I examples I extended musical examples
Tensions 9 and 11 T heory I II - V - I exampl es I ex te nded musical examples Tensions 11and13 Theory I II - V - I example;, I extended musiccrl e xamples
3
11. Voice-leading Chord Scales ............................................
79
12. Three Tensions (9, 11, and 13) ...... .... ......... ... .... . . .. ....... . ... . 81 Theory I II - V - I examples I extended musical examples
13. Altered 9th Tensions (~ 9 and# 9) on Dom 7th Chords ........................
91
Theory I II - V - I examples I extended musical examples
14. Enharmonic Chordal Substitutions . . .. .. .. . ........ . ... . .. .. .. .. .... .. ...
99
An organized approach to the enharmonic calizarions of the various chords presented in the tension addition chapters.
15. Additional Enharmonic Chordal Substitutions .. ........ .. . .. ..... . .. ......
113
New enharmonic possibilities of chords already presented. Included at the end of this chapter is a list of the '·incomplete'' dominant-Sub V chords that were produced by their "Sub V" relation to the original dominant chords presented in the tension chapters.
16. Relative Iv1ajor - Minor ... . ..... . ... .. ....... . ..... . .. . .. .. ........... 118 a ) Examination of the relative major. minor. or minor 7b5 of selected chords. b ) Newly discovered chords and functions are liste~ and presented in various II - V - l examples.
17. Additional Substitutions in II - V - I Examples ...................... . ....
134
,-
The remaining new chordal discoveries from the "Additional Enharmonic Chordal Substitutions" chapter are presented in various II - V - I examples.
18. New Voicings . . ...... ... .... .. .... . ....... .. ...... .... ....... . . . ...
142
Completes the available voicings within this text's established framework on the middle four strings.
19. Enharmonic Substitutions of 9th Chords with omitted third or fifth
144
Examination of the various functions in these non-drop 2 type voicings.
20. Tension Additions on Di1ninished 7th Chords ........ . . .. ......... . .......
146
Syrnmetricai and diatonic approach lO the addition of tensions on diminished chords and examination of various functions.
21. Constant Structure Harmonic Motion . . .. ......... ... ....................
!49
a ) Multi-function examination of a single voicing and chord type.
b ) Musical examples including II - V - I situations.
22. Symmetncal Dominant Substitutions ................. . ... . ... . ..........
J 56
Dominant functions of whole-tone and diminished are examined.
23. Altered Dominant . . .. ... .. .. .. ... . ..... .. . .. ..... . .... ..... . . ....... Examination of harmonies derived from the "altered" scale; 1
b2
#2
3
bs
#S b7.
24. Approach Voicings ....... . . . .... ........ ........ ... ....... ...... .... In depth examination of chromatic, diatonic, and dominant approach techniques relative to four-note voicings.
4
16 1
164
25 ..Fourth Voicings . ...... .. .. ...... ...... . ..... . ... .. ........ .. .. .. .... 170 a ) Modal and diatonic approaches to quartal harmony. b ) Examination of various scales for their quartal harmonic potential. c ) 32-bar song form demonstrating the various uses of fourth voicings. d ) Different functions of fourth voicings derived from the Pentatonic scale
26. Chromatic Guide-lines ................. . ........... . . . ........ ..... . . Examination of chromatic motion in each voice or voices of four-part harmonic structures. Various parallel and/or contrary chromatic motion combinations are superimposed over different string combinations. a ) Chromatic guide-lines over a single chord: (one line) I (two lines) I (three and four lines) b ) Chromatic guide-lines over chord changes: (one line) I (two lines) I (three and four lines) c )Contrary motion: various contrary chromatic combinations are presented in II - V - I examples and some extended chord progressions.
• 184
•
27. Triad over Bass Voicings ...... . .. ......... . . ... . . ... .......... ... ... . 203 a ) Organization of major and minor triads over various bass notes. b ) Enharmonic possibilities of each srructure. c ) "Upper-structure triads" - triads over different 7th and 6th chords. d ) Triads over tensions e) Triads over bass arpeggios /) Symmetrical motion g ) Diatonic motion h ) Contrary motion i ) "Unavailable" half-steps j ) Doublings k ) Reharmonization
28. Song Examples . ........... ... ............................... . ...... 230 A combination of the voicing techniques anci substitutions presented in this text will be used to reharrnonize various chord progressions found in different songs.
29. Rhythm . ... . .... .... . . . . ... . ... . ...................... . ...........
24 1
a) Various rhythms and chord omissions (rests) are suggested to be used over the existing examples throughout this text. b ) Different rhythms and string combinations are examined.
30. Conclusion .. . ................ . ..... .... ................ .. . . .. .. ... 246 Suggestions for continued harmonic study-including different voicing sizes and string combinations.
5
INTRODUCTION • This text is a combination harmony/theory/voicing text with emphasis placed on "voice-leading." Harmonic motion and understanding are key elements for "comping" in today's jazz and pop idioms. Through knowledge and listening, students will discover and compose new voicings and sounds. •Many guitarists have a unique physical/visual approach to harmony, due to the nature of this complicated instrument and the lack of traditional music training. The material in this book will be common musical knowled!!e that can be shared by all musicians. It will not be another guitaristic approach to harmony for guitar players only. It is hoped that this text will give an approach and begin a process that will continue far beyond its pages. This text's primary focus will be that of presenting and examining four-note voicings on the middle four strings (2, 3, 4, 5) of the guitar. By eiiminatingthe ropand bottom strings (1 and 6), the voicings produced are in a relatively "safe" range for comping, conflicting less with bass lines and melodies (or solos). The initial approach to voicing construction will use what is referred to as "drop 2" type voicings, and will include tension additions and enharmonic chordal substitutions. The top note of each drop 2 type voicing will be notated and consequently always appear on the 2nd string, eliminating the need for position markings / Students will become aware of the top note of each chord voicing, whether it be a chord tone or a tension, and the different linear or voice-leading possibilities the 2nd string produces over various chord changes . This indirectly helps in a student's eventual involvement with chord melodies and chord soloing as well. In later sections, the remaining strings will receive the same voice-leading considerations as the top string. Students will learn lO recognize each note's relation to the chord l vertical) as well as each nore· s linear motion to the next chord (horizontal). Students are encouraged to transpose all applicable information presented on the middle four strings to the top four strings and, to a lesser extent, the bottom four strings. Consider further that each four-note voicing has four threenote voicings within it: Using a C7 chord:
'
II ~;
& €
3)
2)
1)
II ~ :'
II
4)
~
II
& i
II
Note that the last 11110 voicings contain the same ·'width" (or two outside notes) as the original four-nole voicing. Most guitar students will find three- and four-note voicings to be the most appropriate in jazz/pop "comping'' situations. The "width" of any voicing is determined by physical or fingering limitations. By assuming five frets as our physical limitation, the following interval widths are made available between the 2nd and 5th strings:
(b7)
' '·;:
(7)
~::
(8)
(~9)
:
I
D:
(9)
(b 10)
~
~:
,,
6
( 10)
t
( 11)
(#11)
b.o.
l:t.a.
I J
I J
1
II
The octave (8) and ~9th inte rvals can be temporarily removed since voicings containing these intervals will be initially avoided. They will reappear in later chapters where their unique sound is more appropriate. This leaves somewhat of a leap in width from the 7th intervals to the remaining intervals. producing porential voice-leading oroblems. For this reason. and again with some isolated e xceptions. voicing containing the outside width of a 7th ;nterval will generally be avoided. Conveniently. drop 2 type voicings utilize the remaining intervai widths; (9). (~ 10), ( l 0), ( 11 ), (#11). This text will also explore some substirute chords that are not drop 2 type voicings. but continue to utilize these widths, allowing them t0 voice-lead smoothly with the traditional drop 2 type voicings. In an anempt to be thorough and include most every conceivable voicing within this estabiished framework, some physically difficult and/or "strange sounding" voicings will occasionally appear. More desirable substitute voicings can be used in these cases and most cenainly should if it is felt certain isolated voicings ·'ruin·· an ornerwise pieasant sounding exercise or song. Anerations and tension addi tions on the basic four-part chords (7th and 6th chords) sometimes produce upperstructure triads or hybrid chords. When this occurs, they will be listed as such. Upper-structure triads and bvbri_d chords will be more specifically dealt with in the later chapter entitled Triad over Bass Voicings. :.\" tensions are added to the basic four-part chords. the enharmonic chordal substitution possibilities increase cr:.imaticaily. The enharmonic substi tution possibilities of each chord will be listed as they are exposed by tension additions. Students will become proficient at enharmonically realizing a group of notes
C6 = A-7
= Fmaj9 (no root) = D<:isus4rno root)= B t rel="nofollow">maj7 (131#1119) \no root) = etc.
The majority of voicing examples presented in this text will contain very little rhythmic variation and it is highly recommended that some of those ideas suggested in the Rhythm chapter toward the end of this book be applied toward musical examples contained in each chapter. The Conclusion chapter contains additional information on different string combinations and voicing sizes thm can also be applied to existing musical examples througnout the book. Coordinating information between these two chapters and the rest of this book will ultimateiy enhance its content.
7
Chapter 1. Drop 2 Type Voicings By dropping the second note from the top of a four-way close voicing down an octave. a larger sounding voicing (referred to as "drop 2") is produced. These drop 2 voicings in turn produce a chord physically more accessible on the guitar than some of we original fou r-way close voicings. T his book will explore all fo ur inversions of the drop 2 type voicings and their placement on the middle four srrings of the guitar (2, 3, 4 , 5 ). Cmaj7 = C E GB
R 3 5 7
Drop 2 ~u
~",_)
Drop 2 type voicings arranged by inversions:
-&
..a.
'
~
llf
II~
II!!
3 7 5 R
5 R 7
7 3
R
3
5
e.
I
5 3 7
R
The follow ing maj7th chord forms are produced by the above voicings on the rr.tiddle four strings of the guitar: (strings vertical/frets horizontal)
strings 5
R Inv. 4 3
lstlnv.
3rd Inv.
2nd Inv.
2
Drop 2
,e R
5
7
-j
3 5 3
7
R
R
3
7
7
5
*The above forms can be transposed or moved to different keys. We now have four inversions of a Cmaj7 chord on the middle four strings of the guitar. 8
3
5
R
At this point, it should be mentioned that a b9th interval is generally consjdered an avoid interval in traditiona l "Jazz - Pop" harmony. This book will initially continue that approach, with the dom7(~9) chord being the only exception. Thus, the b9tb interval contained in the 3rd inversion of the Cmaj7 chord (between B and C) will negate use of that inversion as a maj7 type chord. Similarly, the 3rd inversions of Cmaj7b5, Cmaj7#5, and C-maj7 will be avoided. Voicings containing b9th intervals will be presented later, especially in those chapters exploring triad-over-bass structures where the 3rd inversion of Cmaj7 will be available as a C triad over a B bass; C/B.
Assignment: Construct all four inversions for each four-part chord listed. A ll of these chords can be perceived as "altered" maj7th chords . Cmaj7
(1357)
C-6
(1 b3 5 6)
C7sus4
(145b7)
C maj7\, S
(13 b5 7)
C6
(1 3 5 6)
C 07
(lb3b5bb7)
Cmaj7#5
( 1 3 #5 7)
C7
(1 3 5 b7)
C 0 maj7*
o b3
C-7
( lb35b 7)
C7#S (1 3~5b7 )
C -maj7
(l b3 5 7)
C-7bs
(l b3 b5b 7)
C 7b5 (1 3 bs b7)
C -7#5
(l b3 ~5b7)
bs 7)
Follow these three approaches in preparing the inversions of the four-pan chords: I) Prepare all 15 listed chords on the root inversion only in the key of D. Next, prepare chords on the lst inversion only in the key of C. Next, prepare chords on the 2nd inversion in the key of Bb. Finally, prepare chords on the 3rd inversion in the key of G. Include inv~.rsions containing the b9th interval for purposes of this exercise.
2) In the key of F, prepare all four inversions on one chord type, then move to the next chord type. Continue until all 15 types are completed. 3) With an established tempo, prepare the fo) lowing symmetrical chord progression using one chord type for all four chords and inversions. Continue through the entire list of the 15 chord types, following the given chordal/inversion pattern. Note that this exercise i<; ··voice-led."
l st Inv.
::nd Inv.
3rd Inv.
R Inv.
Cmaj7
Amaj7
Gbmaj7
Ebmaj7
Mixing different chord types while going through the d ifferent inversions and chords might make an interesting additional exercise.
*C0 (maj7) ( 1 b3 bs 7 ) and its available tensions will \Jc examined more thoroughly in the Tension Additions on Diminished Chords ch apter.
9
In contemporary music, upper-structure triads and fourth voicings play a major role. The following chordal inversions contain such voicings and should be noted: 1) Fourths: The root inversion of the maj7~ 5 and the 2nd inversion of the dom7sus4 are the most conunon fourth voicings used. 2) Upper-structure triads: Root Inv. Cmaj7#5 = EiC 3rd Inv. C-7#5 = A~IB~ Root Inv. C"maj7 = BIC Additional upper-structure triads will be revealed in later chapters. The examples using drop 2 type voicings throughout this text will indicate such voicings by notating only the top note or voice on the 2nd string. eliminating the need for position markings. This lead note will directly indicate the inversion of the drop 2 voicing introduced: Third of chord notated (top voice)
= root inversion
= first inversion Seventh/Sixth of chord notated = second inversion Fifth of chord notated
Root of chord notated = third inversion
Example:
(5th)
(3rd)
C7
~
(7th) ~.o.
D
"
II
Root Inv.
II lst Inv.
(Root) ~
II
II 2nd Inv.
3rd Inv.
The following chord progression examples consist of only 7th and 6th drop 2 type chords. These drop 2 chord progressions are actually substitutiems for more basic chord progressions listed directly below each voicing in parentheses. After preparing each exarnpje, students should record and play back the roots of the basic chord progression in parentheses while again playing the example. T his will allow students to "hear" the example in relation to the basic chord progression. Students should also write or realize the tensions produced on the basic chord progression by the original 7th and 6th chords.
Example:
A7sus4 Q
'
(basic chord progression)----;.. (C) ~ C6(9) (tensions)
G-7~5
b.o.
Fmaj7 -&
Bmaj7 ~5
~
E7sus4
be 11
(A7) ~ A7#5(~9)
10
(D-7)
.} D-7(9)
(G7) (C) ~ ~ G7#5(#9) Cmaj7 (6/9)
L-
#1)
,
~
' .
The following example makes use of only four different 7th chords: .!Il..£'lj7~5, .!!!_aj7# 5, min7~5, and dom7sus4. -----These chord types will prove quite useful due to their versatile enharmonic substitutit..h possibilities throughout this text.
- - :>
• ...JJ ... -
----
D7sus4
Bbmaj7#5
r
._, (Bb)
(D7~
'....i:'. b : :.
;--...,' ..
C7s us4
F-7175
C7sus4 Dbmaj7#5
~r
I
tr
17
(G-7)
(G7)
(C-7)
•
"
J
--·--:
J
...-' "'j'\A .
-
'
( : ) -"-4'
r
(~m) ~i·
I
P.a..
(D-7b5) 11
(G7 )-t;~ =
(BVi)
(Bb)
- «·
G~ rn aj 7#5
ir
1r
(F7)-
s
E bm aj7b5 Gbmaj7b5
G7su s4 Dmaj7b5
-
--
j
Amaj7#5
D7sus4
~
"
~
II (F7) .. ; - -
(C-7b 5) :>
(Bb)
#2) The following two examples are minor chord progressions.
a)
.1..
Dmaj7
Cmaj71:i5 E7ti5 ~
F-6
Fmaj7b5 Bb7 fr
1r
1·
(B-7b5) n
Cm aj7
b.a..
I
(E7)~ f:;.;. 4 ~
Dl:imaj7b5 ?
r
1*
(Am)\
(A7) ~J
.~
J
. ~'
~-
s-Ji'r-
Fmaj7
~€
E b+7
~
(I'~ )}
• ,.. I
•
(G7) ":>l"/3 #~
A7su s4
I~ CC~: f (~
. ,.
B7b5
D-maj7
~
, ~
E+7
.f i
(F7)'-' .:.
(B-7b 5)'1
11
(E7) ~
Cmaj7#5
In (Am) r,,;_ :. 7
II
-
Fmaj7b5 Abmaj7b5
Cmaj7b5
E+7
. b)
t2
'#L (Am) C ·
Bb7b5
'~
(E7 )'
't
11
- ·.
r
.a.
19"
Ii
,.
(E7) :.··
-.
(Am) .c ~
Cmaj7b5 Fmaj7b5
i
1t
I
(Am ) ~
-
Cmaj7b5
lbL
(E7 ) ..:-J ..,.
(B-7b5) ·
Abmaj7b5 F-maj7
Do7
-
r
19-
I
Ab+7
(B-7b5) \'
D-6
r- -
CB-7b5) -
' L • ."1W'
Cmaj7b5
Abmaj7b5 Bb7
I~
~
(E7) ·" ". _.
r
If
-r-
II u __,
II
(Am) -
#3) This next example uses the min7(#5) chord in si-vern 1 j jff: .-ent funct~vns and ends with a constant ..-,(ructure -.example . E-7
r
' '~
D -7
F #7
r
I ~r
#
(C )~
(A7 )
·~
(D-7)
'o \
E7
B-7~5
r
iF le (E-7)\\ (A7)"':;,
(G7)
-"
E b7
""
1:1,
D-7#5
(G-7)
F#+7
IE
F-maj7
C6
i
I~
(C7)"=:.\,
E -7#5
(F ) ,
Go7
ba
I~
I
(A7)' · .
(C) '
(Bb7'L
Db+7
E -7#5
A-7#5
1f (D-7 ) :j
r
I~r (D-7) ~.
(G7) < -. G" I
G-7#5
F #-7#5
llje
~ (G7):: :
(C )
II -r
~)
#4) The following example uses the dom7f.5 chord in several different function s. Also, note the two different dominant functions of the.. maj7 #5 chord. Gmaj7
~r
Eb+7
Ab+7 I
'F
(Em )
(C#-7b5)
D -6
F-6
t>r I
qr
(F~ -7b5 l
(B7 }
B-7#5 -9
i
1
r
(Am)
1
(Em)
Cmaj7b5 Fmaj7#5
f (E7 )
E bmaj7t>5
F #-7b5
r
(D7)
Bbmaj7b5 Ebmaj7#5
r
Bbmaj7b5 19"
(Fj;7 J
12
(B7)
-9
11
(C7 )
(B7)
C#-7b5
E b+7
I~
(G7)
F~ o 7
(Em)
i
II
,r-
#5) In the following progression, the min7#5 and dom7sus4 chords again receive multiple functions. The dom7 chords at the end of this example receive four different dominant functions in symmetrical minor thirds. D-7#5
' '(:),.
I
. ' ::,, : -· \.:-
(Bb)"
G7sus4
G-7#5
I
Ebmaj7
Gbmaj7#5 C-7\J5
Eb-7 I
t2~
(Ab7) Eb7b5
G-7#5
(2
6
G- 7~5
Do7
C.2
F7
~
I
I
1ze
I
I
Ab7
B7
-&
(F7 )
II
II
I
I
CF7)
(C-maj7)
CC-7)
!
D7su s4
1P-
1>5-
~
G
G:
(G7)
I
G
G+':'
I~
(A9maj7)
D7
1z~
(Ab7)
IG
C-maj7
G+7
I
I~
I
(A7) ·-:
:-
.,.,_,, -
o.a.
fir
!
Db71i 5
~ ~ !"..)
I
(Bb)
D7sus4
b.a.
~
I
I
G~maj7b 5
D7sus4
fr
p
E
i
A-7~5
A-7#5
". ·~
(Bb)
The foliowing two exercises complete the examination of various 7th and 6th chords and their multiple functions. lv10sr of these chords will reappear under their reiarive tension chapters. As an example:
Cm~j7~ 5 = A-6 (9l = Ab 7(#91~5) = D7(l3/9) = F~-7b5(1 n
In each appropriate chapter they will receive a chord progression example utilizing their new functions. A lis1 of all the substitutions for any one 7th or 6th chord can be found in the Enharmonic Chordal Substitutions chapter. #6a)
Dmaj7
D-7b5
~ ~
(Dmaj7)
E7sus4
~
,~
CF-6)
CE-7>
E -7
~~
~ ~
~
(~-7)
F7sus4
Bbmaj7
(G-7 )
F~-7;5
D-7
b~
I~· (B,)
(F7 ) C-7?5
~
(A'o7 )
Abmaj7~5
::a
I
h~
(A-7)
(D7)
~
-6-
I~
<E7)
E11maj7j:5
EPmaj 'I
~
I
(G7)
(E7)
Gb-6
ba.
D-'2.
i
I
(F7 )
13
ltr ..,.-
(F7 )
It
II CD)
(A7)
G7sus.;
Ar7 1>5-
i~
I
(Bb)
(D7 )
D7sus4 ~
I
I
CG7 J
A6 -e-
I
G'maj?P5 Amaj7b5
~
A.7
~
(2
(C-7)
F-7b 5
E+7
I#~
(B7)
F-7b5
~
I ~
(D)
Eb-6
I~
Dmaj7b5 Abmaj7b5
D6
l ~F
~
Eb-6
CBm) B-7
(A7)
(C-7)
e,I
D1'7b5
I~
I
~ 11~
i
(F#7 )
Cmaj7
C.:2
(D)
E~+7
E7sus4
B 7sus4
, ~~
~~
(A.7 ;
Gmaj7
~ :
~
:2
, ~
(GJ
Dmaj7
F#7
Qo7
G-7b5
~
b)
E-7
(Bb )
I!
. •\· ·c§ , .
'I
Chapter 2. Voice-Leading
/
-
\
- - - ":> .
~
JJ
Voice-leading is a simple concept intended to make chords m ove smoothly from one to another. By allowing the top note (2nd string) of different chords t o move step-wise through those chords, a smooth sound is achieved over the entire chord progression. There are three basic choices when voice-ieading from one chord to the next: 1) move up a step 2) move down a step 3) stay on same note
If there is a leap of a third or more, try w resolve the leap by using one of the notes that was skipped over in the following chord:
An exception to this rule is when rwo or more voicings appear on the same chord (often different inversions). In this case, leaping is acceptable and sometimes desirable, s ince the harmony is stagnant. In contrast, voice-leading is mo=· desirable when chords change. The above example could also be viewed as indirect voice-leading, (often melodically referred to as "ind:t.. resolution"), since the "E" note does resolve step-wise to the "F" note with the "G" note temporarily delaying th<. resolution. Indirect voice-leading could be extended by two or more voices, but does begin to compromise smomh voice-leading over chord changes. In the following example, the "E" note still resolves step-wise to the "F' note although delayed by two voices:
' c:i;aj7
A7 a
D-7 e
G7 e
II
By altering chord tones or adding tensions, many different line patterns can be produced while voice-leading through a single chord progression. The following chord progression receives a variety of voice-leading ideas ranging from more traditional concepts (step-wise, chro matic. and common tones) to several line patterns that actually break basic voice-leading concepts while still offering an acce ptable comping idea through '·predictable'' patterns . Prepare the following line5 using an:v voicing that will accommodate the lead note. In some cases. drop 2 type voicings are not appropriate and a more convennonai voicing piacing the root in the bass might be more des irable . Be sure to realize what tension the lead note produces on the original chord. While all lines are intended fo r preparation on the 2nd string only, the example " Leaps" can be prepared on both the 1stand 2nd strings, allowing for less physical j umping . This broken line example serves as a good indication of when differer.t string sets are probabi y more appropriate . After preparing these lines, students should compose their own lines to the given chord progression.
14
Cmaj7 j "'
Chord Tones
D-7
G7
r,;
--
....-
I?
I?
n
n
n
n
.;o_
1.. _
-~
~-
r
-
r,;
6.
'
I
E-7b5
A7 I?
Abmaj7Db7 I?
~
n
n
'
!
tJ
j"'
Common Tones
A7
..-
I?
.
tJ
(Ab7) j'I.
Chromatic
.-'
r J
-
i
hn
~I?
tJ
'I.
Whole Tone
n
..tJ
I
-
r-
,..
(D7b9) I J
(Cmaj7)
--
Y .-
~
.I-
..,
~-
"
--
I
I
,.
Diminished
.... .,,-"
,U _
I?
19-
bp.
~
fr
.p.
b,a.
-~
~
b.p.
-
,...,
19-
tJ
Leaps
,, ...
n
....
I
I 'r,;
' ., ~
Chromatic
..."
'
' "J
I ..
J
··-
....-
..., _
I rJ
' rJ
-
.,._
~
t.l
(Ai7 6)(D~maj7) j"
Patterns
• '._i
...
-
-,9-
I?
b.a.
19-
~
,..,
Jt -
..... I
6.
,,
Chromatic
r;.
.a..
b.p.
bv
fr
-
Cmaj9
1.. _ r~
~
'
~J
15
-
Chromatic lines and sustained notes (common tones) are considered the strongest approaches to voice-leading. Although the majority of examples given in this text will be voice-led throughout the entire example, a more realistic approach would be to voice-lead by phrases (two bars, four bars. or eight bars), sometimes breaking voice-leading at the end of each phrase to start a new phrase or, as suggested in the Rhythm chapter. omitting chords or resting between phrases. Through this process students will begin to hear a group of voicings (or phrase) as one sound, much like one voicing or chord is heard. In fact. voicings that are "weak., sounding, incomplete. or contain '·wrong" notes (voicings that will appear in later chapters) might be found within a strong voice-led phrase and function as an integral part of that phrase. While many of these weak voicings could only be used in a voice-led passage and wou Id not stand well on their own. there are "strong" and "beautiful" sounding voicings that can be used with little regard for voice-leading. A combination of this vertical (single voicing) and horizontal (phrase) approach to harmony will enable students to create many different sounds and ultimately reproduce what they "hear." The following example voices-leads in two and four bar phrases. A descending chromatic line is established in the first two-bar phrase while a common leading tone is used in the second cwo-bar phrase. and the example finishes with an ascending chromatic line in the last four bars. Note the descending triads (top three voices) in the first two bars; F E E~ D (with 5th string added); FIG EIF Eb!F D/Eb A-7; 5
Fo(maj7)
I
G-7
b~
I
1~E
(B' i
F-I
Dmaj7i:>5
E bO( maj7)
bp I
E1i:>maJ1 ·~
(F7 )
I
b
l ~E
f~)
(Eb)
(Btii')
B?maj7
s
(G7)
Bmaj7" 5
#fr
I
e
(C- 7)
jj-
Q.7i.O
b~ I
I
(G7)
:f7#5
I~
F
I
(Bb)
c7sU>4
B07
{D-7)
A b13
I~
~
G7St:s4
I
.e'
I ~~(F-71
°
~
!
(07)
#~
(C-7)
n7sus4
B7
9~
-0-
I (Bb) II
(F7)
The omission of selected chords will only enhance the identity of individual phrases produced by the remaining chords. The following displays the above example with certain chords removed, helping to better define the remaining phrases. Rhythmic variety in the form cf eight-note anticipations or delays has been added to enhance the exercise. A bass line stating the original progression (above in parenthesis) should accompany this exercise as well.
~' fi;F-7
' p
~\
:
A-7~ 5 I
c
I
I
pO (maj7)
10
G- 7* 5
I II I Ebmaj7
'(
I
l'
r
E~o tma.i7'
< (
Q7SlS4
OTf
I'
r
I
A013
-·
~ Ii
0
With the addition of space and rhythmic activity. this example probably better represents what occurs in u ..real .. performance situarion. A s1milar aporoach ro each of the notated exampies throughout this text is s t rong ! ~· recommended and the followin g three-step procedure could he applied: 1) Prepare examples (slowly) as written. proceeding smoothly while attempting
10
perform in a
"legato" fashion. 2) Add rhythmic variety (predominantly eigh1-note aniicipacions and deia~':-.) \\'hile performing all voicings. A mix of long and short rhythmic attack~ should be attempted. 3) Introduce space by omitting selecr.ed chord voicings while continuing to be rhythmically active. Students should continue the process established in this chapter and compose a variety of lines over differen t chord progressions and songs. As we progress furtber, these orig i 110 / Ii nes can be haJ:mOnized by the nc \.V voi c in gs introd uced.
16
Chapter 3. Voicing Considerations There are various considerations involved in determining a voicing' s strength or weakness in a given situation. Obviously, a "good sound" is a primary consideration, and several factors can be isolated that contribute to this. Substitution possibilities and voice-leading are very important considerations in a voicing's worth and will be discussed further in later chapters. We have already discussed the avoidance of b9th intervals and will continue to avoid use of voicings containing this imerval. Whenever a chord contains two notes a half-steo from each other, one of the inversions will form a b9th interval. There are eight differem available half-steps with the potential of producing an inversion containing a b9th inrerval: (R - b9) (9 - b3)
(#9 - 3 )
01 - bs) C# 11 - 5)
(5 - b13) (l 3 - b7) (7 - R)
dom7(b9) min7(9) dom7(#9) nun7b5(11) maj7(~ 11) I dom7(# 11) dom7(~ 13) dom7(13) maj7 I maj7b5 /maj7#5 I min. maj7 I etc.
There remain two important considerations while constructing different voicings: 1) low interval limits (LIL). 2) physical difficulty in fingerings .
Low interval limits refers to the lowest possible placement of a chord tone or tension in a voicing. Below this limit, the original chord sound begins to deteriorate and lose its primary function. LIL will apply to chord tones and tensions on the 5th string. A "bright" tone and/or a light gauge string will accommodate lower placement oftensions and chord tones. while a "dark" tone ancl/or heavy gauge string will not accept lower placements quite as well. The following chart will determine generally how low a tension or chord tone can appear on the 5th string.
R b9 9
unlimited
Eb F (avoid tension 9 on 5th string)
~;
AVOID: produces b9th interval with major 3rd
c c
3 4 [ 11] bs 11) 5
[#
#5
[b 13J
D
c unlimited c
6 [13]
D
b7 7
E
c
17
These limits are slightly lower than those determined by the Berklee College of Music Arranging Department. It is the student's responsibility to know what chord tone or tension is in the bass (5th string) on each voicing and how low that voicing can be safely used. In the Approach Voicings chapter later in this text, concepts will be introduced that allow violation of Low Interval Limits on the weak harmonic rhythm of a given chord or measure. The physical difficulties involved in fingering different voicings is perhaps the largest and mosr diverse consideration in chord choice for most guitarists. There a:·e basically four factors in determining the difficulty of fingering any chord or chords:
1) range fingerings before and after a given chord 3 1tempo 4) individual abilities
2)
1) Range:
Some voicings that are difficult on the lower, wider frets become easier as they are moved up the fretboard to the higher, thinner frets.
2) Fingerings: Fingerings of chords immediately before and after a given chord will affect the difficulty of fingering that chord. A difficult fingering can lead to a similar fingered chord, requiring Ii ttle finger change and consequent physical ease of the passage. Some chords have several different ways of fingering them, while others have only one possible fingering. Use the fingering that best prepares the next chord fingering. Example:
D-7
'i! 3) Tempo:
Cmaj7
G7
ii
ii
II
Tempo is perhaps the single most important consideration in chord choice. A ballad might accommodate the time to prepare difficult fingerings of chords that could not be attempted at a quicker tempo.
4 ) Individual: Each student' s personal technical abilities will determine what is considered a "difficult fingering."
Students are reminded that diffic:ult-fingered voicings might become easier when applied to the top fou! strings ( 1 2 3 4) or when a non-essential note is removed to produce a 3-note voicing and subsequently easier fingering. As we move into the tension addition sections, we see some voicings becoming physically easier as tensions are added.
18
Chapter 4. Chord Symbol Notation Before examining tension additions to the basic four-part structures, I would like to discuss some of the approaches and difficulties involved in chord symbol notation. I must start by first stating that it is not my intent to re-organize or establish a new system of chord symbol notation. To the contrary, I would rather have avoided the need for this section altogether, but my attempt to complete a comprehensive volume of voicings and substitutions. a.Tld feedback I received from many of my colleagues, suggested I should address this topic at some level. Please keep in mind that the primary focus of this text is not that of chord symbol notation but that of discovering various four-note voicings and their enharmonic uses as different chords and substitutions, while examining different voice-leading possibiliries between those voicings . The initial approach to the discovery of new voicings in this text is based on the addition of different tension combinations to the basic four-part structures (7th and 6th chords). This is also where I received the most diverse and controversial responses from my colleagues. Opinions ranged from those favoring little or no tension addition to the basic structure (allowing more freedom of interpretation) to those who felt that tensions should dictate specific scales as well as describe their vertical placement in a voicing. The most notable and surprising differences appeared to center around the enharmonic interpretations of tensions #1 l and b13 and their melodic or harmonic implications. A majority of responses supported the assumption that tensions bl 3 and/or #11 would include or imply a natural 5th in the same dominant type voicing. Although the natural Sth could accompany one or the other tension. both tensions with a natural 5th would produce consecutive half-steps:
#11
L
s i12_J
b13
L
112 _J
While this is a melodic possibility, it has limited, if not problematic, harmonic value . When posed with a dom7(b 13/ #11) chord, responses were confusing at best. My reaction and recommendation is to avoid this particular tension combination on a dominant chord. If the same notes are desired with no natural 5th, the following symbols would suffice:
dom7#5(# 11 ) I dom7b5(b13) I dom7(#51b 5JI dom7(alt5)/ dom7#5(~5) /dom7b5(#5 JI etc .
If the natural Sth is desired in the voicing, dom7(bl31# 11) would suffice for those who responded thad 11 and bB imply natural 5 (do you guys really want this chord?). For those who would not assume the natural Sth ~as implied, it would have to be included in the chord symbol: dom7(bl31# 11) add 5. Yikes! At this point, I personally would prefer that the desired voicing be notated on a staff. Even ifl could no tread music. I'd probably produce the voicing quicker off the staff than from the abo,·e chord symbol. This segues well to another issue and personal recommendation I have. I think that tension additions are appropriate when used as suggestions to desired "colors" or sounds on basic structures or to describe melodic effects on different voicings. On the other hand, I believe that symbols that are made more complicated or confusing by attempting to communicate vertical placement of tensions or by their dictation of specific scales should be avoided. At this point, the voicing would be served better by notation on a staff.
19
Although this book will possess many complicated symbols. they are used as descriptions of specific staff notated voicings and are not implying or endorsing their use as "standard" chord symbol notation. To the contrary, most voiciIH!S introduced in this text are to be used as various available "colors" or sounds (including available tensions and ch'Ord tones) over a more basic chord symbol. A collection of many different voicings will be made available to one basic chord type. Your choice of specific voicings to use is your "interpretation" of that basic chord. Example:
Gm(addll)
C+(#ll)
Fmaj7(9/6)
The above voicings could be used to "color" or substitute the basic U-V-J cadence in the key of"F" (G-7, C7, Fmaj7). Gm( add I 1), C+(# 11), and Fmaj7(9/6) are chord symbol descriptions of the above voicings in the key of "F.'' The attempt will be made to use the "least" offensive chord symbols when notaring these complicated. and in many cases incomplete, voicings. I have tried to reach a '·compromise" in my chord symbol selections that would satisfy mosr. knowing that some (hopefully nor most) will certainly find fau lt. At this point, I should summarize some of the basic ussumprions that have been presented and will be used in this text. The foliowing suggesrions specifically deal with the~ 11/b 13 controversy introduced earlier:
I. Tensionb 13 might imply or include a natural 5th when used in a chord symbol. If the bSth is notated in the symboi, natural 5 is not a choice. Ifb 13 is desired without natural S (or b5), enbarrri0 nic #S instead ofb 13 can be used. A more complicated symbol choice could be b 13(no5).
II. Tension# 11 might impiy or include a natural 5th when used in a chord symbol. If the# 5th is notated in the symbol, natural S is not a choice. 11 is desired without natural 5 (or# 5) , enharmonic b5 instead of# 11 can be used . A more complicated symbol choice could be# [ l(no5).
If#
These suggestions make clear the need for caution when usingb 13or#11 in a chord symbol. They contain inherent controversy harmonically and melodically. 1v1y personal inclination is to avoid their use as much as possible. I prefer the enharmonic b5 and ff 5 spelling of the same notes. b 5 and #5 produce exact harmonic interpretation and retain freedom of interpretation melodically.
C , 131# 111 might impiy nawrnl 5 harmonically and "'wi10 know·s what .. meioci1caliy. C7 (b 13/~ S) to some implies the "altered.. scale. C7(# 111#5) co some implies the ··whole tone'· scale.
C7(~5tb 5), C7(alt5), C7~ 5(#5). C+7(b 5): precise harmonic description and freedom of melodic or scal e inrerpretation. *Note the C7(alt5) wmbol could be confused 'vVith the C 71 aJt) c:;vmbol which implies anv combinat iun ofb 5. ~s. b9. ~9. · · · · For organizational purposes. the first introduction of these rwo notes together in the same voicing occurs unde- the Tension 11 chapter a:. a C+ 7( ~ 11) chord. They appear again under the Tensions 9 and 13 chapter as C9b5(b L~). C7b 5(b 13/b9), and C 7b5(b 131#9) chords . In this chapter, b 5 and #5 will be noted a:: the preferred symbol c hoices: C9(#51b5), C+ 7(9/b5). or C7b5(91#5) C7(~9/alt5). C+7(b9/b5). or C7~5(b9/~5) C7(#91alt5), C+7(#91b5 ). or C7bS(tt9/~5)
20
Chapter 5. Tensions As tensions are added to the basic four-part chords (7th and 6th chords), different basic four-part chords often reappear on different roots (i.e., Bb9 =D-7b5 I F-6), beginning the enharmonic chordal substitution process that will continue throughout thi~ book. These substitute chords might sound clearer or more obvious than the original chord receiving tensions . D- 7~ 5 or F-6 is more defined or complete than the original B b9 chord, which is missing its root. For this reason, it is recommended that a bass line containing the original chord roots be recorded and played back while playing chords containing tensions. ln each tension chapter the majority of voicings produced by tension additions will most likely have been introduced enharmonically in earlier chapiers, many originating as basic four-part 7th or 6th -::hord voicings. When this occurs, the original chords introducing those vokings for the first time will be listed. For example: *Under the Tension 9 chapter. the mi117(9) {b3 5 b7 9} voicings were originally introduced as maj7 (1 3 5 7) voicings , A-7(9) = Cmaj7. *Under the Tensions 9 & 13 chapter. the dom7sus4(13/9) {4 b7 9 13} voicings were originally introduced as maj7 11 3 5 7} voicings, D7sus4(13/9) = Cmaj7. *Under the Tensions 9 & 11 chapter, the maj7(~ 1119) {5 7 9 maj7 { 1 3 5 7} voicings. Fmaj7(# l l/9) = Cmaj7.
#1 l } voicings were originally introduced as
A list of all the possible substitutions for any one voicing can be found in the Enharmonic Chordal Substitutions and Additional Chordal Substitutions chapters following the tension chapters. In these chapters, the previous examples would combine their substitutions in order of their appearancJ in this text:
Cmaj7
= A-9 = D7sus4(13/9) = Fmaj7(# 1119)
A 111inimal understanding of harmony and theory is required to make the appropriate tension selections for different chords. Some basic harmonic assumptions will be presented to allow for a choice of tensions that will sound appropriate in a common pop or jazz idiom. While tensions are usually d.ictated by chord function and/or key of the moment, a strong voice-led guide-line often can make use of tensions that might appear inappropriate or nondiatonic to the key of the moment. This is especially true of dominant chords, which can accept many different tension combinations (both diatonic and non-diatonic ), whiie mher chord types are more demanding of fewer and more: specific tensions. Tensions on diminished 7 chords will be examined separately in the Tension Additions on Diminished Chords chapter later in this book.
In the fo llowing exarnp1es, the guide-line in example #2 is not as diatonic as the# 1 example (E-9 and G7(b 13) are 1101 diatonic to the key of C ), yet example #2 sounds better due to the sirong chromatic guide-line produced by these tensions .
:::1
"? r.-
Cmaj7
-t:
.,
Cmaj7 0
E-7
A+7 e
D-9
E -9
A+7
D-9
:::e
,l!"'.lO
0
~
G13 i
J
~
G7(b 13)
Cmaj9 e
1l
Cmaj9
I
I'I
t)
\Vben a .. strong'· or effective guide-line is not present, a more conservative or diatonic approach to tension additions migh t be in order.
21
There are only seven different tensions available in the more common pop or jazz idioms: ~9 11 ~13
9
#11 13
Note the enharmonic functions some tensions might possess:
=
11 ~ 11 ~ 13
sus4 b5
=
#S
=
T he following will examine each tension's characteristics in these more common idioms . Of course, different styles a:nd concepts could condition or change these basic assumptions. For example, "modal music" often requires use of rensions that are not desirable in a more diatonic situation.
I)
Natural 9 can appear on any chord type and can be accompanied by any other tension except b9 or #9.
2)
b9 and# 9 can accompany each other and any other tension except natural 9. ~ 9 and #9 can only appear on dom7 type chords.
3)
Natural 11 can appear on any chord typeexceptmaj7 rypechords. Natural 11 can accompany any tension except ~9 and#1 1 . Natural 11 often funcbons enharmonically as a suspended 4th on dom7 and rnaj6 chords. The use
of natural 11 with the major third 4)
i,s
a more contemporary sound which will be examined later.
#11 can appear only on major type chords tmaj7 I maj6Idom7).~11 can accompany any tension except natural 11.
5)
Natural 13 can appear on any chord type except min7~5. Natural l3 can accompany any tension except~ 13.
6)
b 13 can appear on any chord type except minor chords containing a natural 5th. ~ 13 can accompany any tension except natural 13.
The following tension chart attempts to clarify and classify available tensions and chord tones on the most common chord types (excluding dim7 chords).
(
CHORD TENSION CHART CHORD
FREELY
CAREFUL
maj -;maj6 min7 min6 . 7( p); -, mm min maj7
6. () 9 9, 11
ti ll,~ 5
9
13 7,b7 , 11 9 6, 11
9, 13
3, ~ 13
9 i l. b13
dom7sus4 i
I
dom7
0
7,b7: # l l
I I
b9. 13
1I
1J 11
b13 I
~9 b13
#9
I
9. i3 9, b 13
\VEAK
I
ll
I
"')
I
!
111
9, li, 13 9, 9, 11,b l3 b9. 13 I
!
. 19
r~'f b9, p
,
F 1
I
9. 11, b13
I
•
~9, :9, I 11, 13
\..
j
2.2
.J · ~
Again, some of the tensions listed under the "weak" o r "careful" column might in fact be strong or characteristic notes in a modal setting, or appear in a common diat0nic progression were a melody or strong voice-leading could make use of an otherwise " weak., tension. In the fo llowing common chord cadence. theb9 tension is not normally available ro a min7b 5 chord. bm sounds and voice-leads quite well in this particular example . Note the A-7b 5(\, 9) chord forms a complete C-7 chord over an "A" bass note; ( C-7/A ). D7(b 9J G-6 A-7b5(b 9)
, .on I
,
I!~
v
·~
~I
i~ ~
'
II
No te that some of the above tension combinations under the dom7 chord diet me specific chord scales: Lydian b7 \vhoie tone dominant diminished altered \Vitb the exception of dom7 type chords. the tension c han accurntcly descri bes available tensions on these chord types in the majority of harmonic situations in \vhich they would appear. The dom 7 type chord nc<'ds some harmonic: cl arification in order to chose the appropriate tensions in relation Lo its function: keep in mind that the namre of a dom 7 chord can accept most any rens1o n combination. regardle ss of its functi on . The fol Io wing dcscri oes the tension tendencies of a dom7 chord in a given function. 1) V7 of major Common
1) natural tensions (9, 13)
2) ahered tensions (b9, #9, bs, #,5) 3) tension combinations: b9113, 9/b 13, e tc. 4 ) natural to altered (before resolving)
Not Common 1) (9, ~11 , 13) sub V sound 2) altere d to natural (before resoiving)
2 l \'7 of minor Common NOi Common
1) b9, ~ 9. ~ 13 and natural 5 or ~5 2 J:ens1 0r. comhinarion ...,: b0/ : 3. 91i> l3. e~.:.
1J natural 2) natural to altered 3 l altered to natural
#
4 ) (9 , 11, 13) sub V sound
?) Sub V and/or non-diatonic dom 7th. as well as IV7 and 117: (Lydian
b: 1
9 . ~ 11. 13
Upon e5tablishing some basis for tension possibilities on a given chord. it.J s now important w discuss the pl
23
When a tension is introduced to a four-note voicing, one of the basic chord tones is removed. The least needed chord tone is usually chosen. The root and fifth (unless altered) are the least needed. while the guide-tones (third and. seventh or sixth) are more important to the sound and function of the chord. Due to enharmonics, some tensions are already built jnto the basic four-part chords:
Cmaj7~5
= Cmaj7(#11);
C7~5
= C7(#11);
C7(#5)
= C7(b13).
These tensions could be considered as substituting for the fifth of the chord. Tension substitution on drop 2 type voicings follows this basic formula: any tension substitutes a chord tone next to that tension. This a11ows the substitution to take place on the same string.
9 substitutes the root or third 11 [4) subsUutes the third or fifth 13 [6) substitutes the fifth or seventh Since the guide-tones are needed, we are left with the following tension substitution formula for drop 2 type voicings:
9 substitutes the root {3 5 7 9} 11 [4] substitutes the fifth { l 3 7 1 J} I 3 [6] substitutes the fifth { 1 3 7 13} An exception to this formula which must be addressed is when the fifth is altered (b5 or #5). An altered fifth ;s an important part of the chord sound that should be included. In this case, 11 th and 13th type chords would have to substitute guide-tones instead of the fift h: 11 for3/13 for7. If the original chord sound and function are not lost, these substitutions are possible. An example would be a min 7b 5( 1 J) chord with tension 11 substitming the 3rd. A min7b5 chord is the only type of chord that will accommodate a~ 5th and an 11 th. By deduction, the minor 3rd of the chord is "heard" even though it is not played. If the chord sound is lost by removing a guide-tone on one of these altered fifth voicings, an alternative voicing to the drop 2 type voicing is required: 1 lth chord 13th chord
3 5 7 11
3 5 7 13
The fifth and the guide-tones are accommodated in these voicings and will be used when appropriate. In the following tension sections, with some isolated exceptions, the attempt will be made to retain the guide-tones in every voicing. When this is nor possible. the 7th will be retained in favor of the 3rd. This wili present some new voicings that are not drop 2 type. voicings but share the same width as drop 2. allowing compatible voice leading. More "incomplete" type voicings with various tension additions will be examined in the later Enharmonic Chordal Substitution chapters . The following tension substitution formulas will be used in thei r appropriate sections:
Tension 9
9 for 1 {3 5 7 9} 9 for 5 { 1 3 7 9} 9 for 3 { I 5 7 9}
Tension 11
11 for 3 { l 5 7 11 } 11 for 5 { l :- -; 1 : l 1i for i {3 .... 7 i 1 j
(drop 2) tdrop 21
*Tension 13 13 for 5 { l 3 7 13 }
(drop 2)
I
I
(drop 2)
I
13 for 1 {3 5 7 13) ("' With the exception of a doml3b5 chord,
Il
5 7 13 l proves too ambiguous or limited to examine.)
24
Tension 9 & 13
9 for 1 I 13 for 5 {3 7 9 13} 9 for 1 I 13 for 3 {5 7 9 13}
(drop 2)
Tension 9 & 11
9 for 1 I 11 for 5 {37911} 9 for 1 I 11 for 3 {5 7 9 ·11}
(drop 2) (drop 2)
Tension 11 & 13
11for5 I 13 for 1 {3 7 11 13} 11 for 3 I 13 for 1 {5 7 11 13 }
As more tensions are added to a four-note voicing, one or both of the guide-tones will eventually be removed, resulting in what is commonly referred to as an "incomplete" voicing. Some of these voicings can sound ambiguous or begin to lose their original chord sound, while others can define their original chord sound by use of unique rensions or a predictable chord progression. These latter chords often sound better and more "colorful" than the original "obvious" chord sound. Here are some examples of incomplete voicings being defined by their tensions: 1) b9 or #9 ~ust accommodate a dom7 type chord 2) l lth with i, Sth must accommodate a min7~ 5 or dim7 chords 3) l lth with 7th must accommodate min maj7 or dim7 type chords Here is an example of an incomplete voicing being defined by a predictable chord progression: (II)
G-7
(V)
(J)
C7
Fmaj7
t
l '~ft
l
(AP7#5) ~
~
II
The Ab7#5 is an incomplete C7(alt5) chord: Ab7#5
C7(alt5)
I
3
#S
b7
t
i
t
t
Ab
c
E
Gb
i
i
-1'
I
t
#5
I
3
~5
The Ab 7#5 chord standing alone has no particular C7 sound. When placed in the above chord progression in substitute of the normal C7 (and perhaps accompanied by a C bass note), it no longer sounds like and A~7#5 chord. By examining each tension, we can see which tensions dictate guide-tones and which do not: 1) b9 can appear only on dominant type chords, dictating their guide-tones when missing from a voicing. 2) Natural 9 can appear on any type of chord, thus cannot dictate the guide-tones of any pa.rticular chord type. 3) #9 can appear only on dominant type chords. It can dictate the~ 7th but requires the 3rd to accompany it. Without the 3rd, #9 might sound enharmonically like the third of a minor chord, #9 =~3. 4) Natural 11 can appear on any chord type except the maj7 type chord. With the exception of an 11 with natural 7 dictating a min. maj7 ( 11) chord, 11 usually dictates a ~ 7th guide-tone. Natural 11 cannot dictate a major or minor third, although it often can take the place of the third by enharmonically functioning as a suspended 4th guide-tone.
25
5) #11 can appear only on major chord types, dictating the major 3rd when missing, but not the 7th. 6) b13 can appear on any chord type except minor chords containing the natural 5th. It can dictate the b7th, with the maj7(~5 ) chord being enharmonically an exception. It cannot dictate the 3rd. 7) 13 can appear on any chord type except the min7b5 chord. It cannot dictate guide-tones. As more tensions and chordal substitutions are presented, the use of incomplete voicings will become more common. The maj7#5 and min7#5 chords have been omitted from the following tension chapters. due to their unique sound being compromised by tension additions. The min7#5 chord will reappear in theAdditionalEnharmonic Chordal Substitutions chapter with tension additions. Although tensions will not be added to the maj7 #5 and min7 #5 chords, their four-part structures will reappear as enharmonic su.bstitutions in various tension chapters. As an example, in the Tension 11 chapter, G-7~5 wili appear as C-7(11) (b3 S b7 11).
26
Chapter 6. Dominant St1b V Chords Every dominant type chord, with the exception of those containing a suspended fourth, can be substituted by another dominant chord a tritone away. This chord is commonly referred tO as a "Sub V" chord (Db 7 is the Sub V chord of G7, and vice-versa). Any tensions added to a dominant chord will appear as chord tones or different tensions on the Sub V chord. The following is a simple tension conversion model for Sub V chords that should be memorized:
i 1 1 Di
#11
5
(b5)
bl3
13
(#5)
The above model in relation to C7 and its Sub V chord:
R
b9
9
#9
t
I
t
I
c
Db
D
D#
C7
,/7 (Sub V)
I
t t t t
"')\
F#7 #11
s
b13
13
There are four dominant chords that " mirror" themselves on their Sub V chords: C7b5 C7(b9) C9(#5)
c 13(#9)
=
= = =
F~7b5
Frb9J F ·9(#5) 1
F 13(#9)
Remember the tension substituuons [9 for R] and [13 for 5] for the above examples, leaving three of the chords rootless. All the doll'jnant chords that will be introduced in the forthcoming tension chapters will also examine their Sub V chord~. The only exceptions will be dominant chords that contain both a b13 and natural 5. These notes produce b9 and natural 9 on the Sub V chord, which is not an acceptable te nsion combination, producing consecutive half-steps (R - b2 - 2). These chord types will be omitted from the tension chapters but will reappear for examination in the Additional Enharmonic Chordal Substitutions chapter. Remember to be aware of Low Interval Limils and b9th intervuls when placing dominant ten5ions on the Sth string. Tensions #9 and 13 will not be allowed on the 5th string. Both tensions are Sub V substitutes for each other and both produce b9th intervals (tension #9 over the 3rd arid tension 13 over the~ 7th ). Tensions 9andp13 [#5] are also Sub V substitutes for each other, but only the 9th (with some exceptions) will be omitted from the 5th string due to low interval limits .
27
Before beginning the tension chapters, a brief discussion of the "altered" dominants should be given. Altered (or alt) on a dom7 chord refers to the 9th and 5th being flatted and raised (b9, #9) and ( b5, #5) or enharmonicaliy ( b9, #9 , #11, bl3) . Any combination of these tensions will satisfy an "altered sound," but tensions #9 and b13 [#5) are most characterislic because they are also tensions on the Sub V chord: (#9 = 13) and (bl3 =9). Example: C7(#91#5) (altered)
=
F #7(13/9) (natural)
An additional observation of interest shows the~9 and #5 of a V7 chord to be the "blue·· notesb 7 and b 3 of the related I chord; (V7) C7(#91#5) .....................#9
#5
E~
Ab
( 1) F. ................................... b7
b3
!\fore information on altered dominants is presented in the Altered Dominant chapter later in this text.
28
Chapter 7. Tension 9 By substituting 9 for the root on all of the previous four-part drop 2 inversions, we see many of those original fourpart 7th and 6th chords reappearing on different roots. The following list contains all possible tension 9 additions to the original four-part chords and the consequent four-part enharmonic substitute chords produced: Cmaj7(9) Crnaj7b 5(9) C-maj7(9) C-7(9) C-7b5(9) C6(9) C-6(9)
= = = = = = =
E-7 I G6 refer below Ebmaj7#5 Ebrnaj7 Eb-maj7 A7sus4 Ebmaj7b5
C7(9) C7(b9) C7(#9) C7b5(9) C7~5(b9) C7b5(#9) C+7(9) C+7(b9) C+7(#9) C7sus4(9) C7sus4(b9)
= = = = = = = =
= = =
E-7b5 I G-6 Ctt 0 7 , E 0 7. G 0 7, Bb 0 7 refer below F~+7 (Sub V ) F · 7 (Sub V) refer below E7b51Bb7b5 Bb-7b5/Db-6 Emaj7b5 G-7/B b6 G-7b51Bb-6 I
Cmaj7b5(9), C7(#9). and C7b5(#9) do not produce basic four-part 7th or 6th enharmonic substitute chords, but do produce their own interesting substitute chords: C7b5(#9) C7(#9) Cmaj7b5(9)
=
=
=
Gb7(13) (Sub V) Gb 7(b9/13) (Sub V) [lstinv. ofC7(#9) = D#IE).] D6(9) { 1 3 6 9}, which is not a drop 2 voicing. This maj6(9) voicing will be discussed later in this chapter.
C7sus4(#9) has been omitted, since it has become a C-7(11 ) chord. As mentioned earlier, Cmaj7#5 and C-7#5 will not be included in the tension chapters, but will appear later in this book with tension additions. C 0 7 will receive tensions in the Tension Additions on Dimin 7 Chords chapter. Realize the enharmonics involved in the above ninth chords with an altered 5th : Cmaj7b5(9) C7b 5(9 lb 9 I #9) C7 #5(9/b91#9)
=
=
=
Cmaj7(9/~ 11)
· C7(# 11/9) C# ll/b9) C# 111#9) C7(~ 13/9) (b 13/b9) (b 131#9)
If not already listed. realize the Sub V chord for each dorninam chord:
C7(9) C7(b9) C7#5(9) C+7(b9) C+7( #9)
= =
= = =
F 7(~5/b9) F 7( 9) F +7(9 ) F 7(9) F 7( 13/9)
Look at the previous enharmonic substitutions from a common four-pan cho;d root: Cmaj7 Cmaj7b5 Cmaj7#5 C-maj7 C-6 C6 C-7 C-7b5 C7 C7b5 C7li5 ,, C 07 C7sus4
= = = = =
= = = = = = = =
A-9 A-6(9) I Ab7(# 51#9) I D7(9/13) A-maj7(9) A-9b5 F9 I D7sus4(b9) I B7(#51b9) Fmaj9 / D7sus4 (9) Abmaj9 / F7sus4(9) Ab9 / F7sus4(b9) I D7( #51b9) Gb 7(b51b9~ Gb 7b5 /A 9+/ D9+ Gb9(b5) B7 (b9) I D7(b9) I F7(b9) I Ab 7(b9) Eb6(9) 29
Tensions b9 and #9 can combine to form available dom7 tensions (i.e. C7(alt9) I C7b5(alt9) IC+7(alt9)). These chords will be examined later in the Altered 9 Tensions on Dom7th Chords chapter. With the exception of the b9 tension on a dom7 chord. this text will avoid using tension 9 on the 5th string. Some isolated exceptions to this rule might appear in later chapters. The following is a convenient model which will be used to display different chord voicings and inversions:
maj7(9) {3 5 7 9}:
I
3
5
7
9
~
2nd string
7
9
3
5
~
3rd string
5
7
9
3
~
4th string
9
3
5
7 ~ 5th string
Note that the previous seventh chords that avoided their 3rd inversions due to the b9th imerval they contained (Cmaj7. Cmaj7h5. and C-maj7) are now available as 9th chords (Cmaj9. Cmaj9b5, C-maj9), since tension 9 has removed the b9th interval that was produced between the 7th and root. Although these inversions are now available, they do run the risk of violating "Low Interval Limits" since the 7th is in the bass. To avoid this problem, non-drop 2 type voicings. which contain the same basic ·'width'" as drop 2 type voicings, can be used to substitute these third inversion drop 2 ninth chords: By removing the fifth degree from a root-inversion close position ninth chord. a fo ur-note voicing comainmg lensior. 9 in the top voice is produced:
Cmaj7(9) no 5
-#Q,-1.._..- -11
C6(9) no 5
_,.,,.._1~-----+111
These voicings can effectively substitute the third inversion drop 2 ninth chords while retaining the desired tension 9 in the lead:
9
can substitute
9 5 3
7(6) 3 1
7(6)
If the 5th degree is needed in these substimte ninth chords, the third can be removed: Cmaj9(no3)
9
7(6) 5 l
30
When LIL is not an issue, voice leading, sound, and fingering will determine which voicing is best. Examine the previous list of 9th chords using the new omitted 5th or omitted 3rd ninth chords discussed: Cmaj7(9) Cmaj7b5(9) C-maj7(9) C-7(9) C-7b5(9) C6(9) C-6(9)
= = = = = = =
1 1 1 1 1
3 7 9 b5· 7 9 b3 7 9 b3 b7 9 bs b7 9 1 3 6 9 1 b3 6 9
C7(9) C7(b9) C7(#9) C7b 5(9) C7b5(b9) C7 b5 (#9) C+7(9) C+7(b9) C+7(#9) C7sus4(9) C7sus4(b9)
= = = = = = = = = =
=
1 1 1 1 I i
3 b7 9 3 b7 b9 3 b7 #9 b5 b7 '9 b5 b7 b9 * bs b7 #9*
115~79
1 5 b7 b9 * 1 5 b7 #9 * 1 4 b7 9 1 4 j,7 b9 *
*These voicings will be omitted from this chapter, due to the b9th intervals or the ambiguous sounds produced. Most will reappear later in more appropriate chapters. Note: Four of the above voicings have produced previously introduced drop 2 type voicings:
Cmaj7b5(9) ......................... { 1 bs 7 9} C-7b5(9) and C7b5(9)......... { l bs b7 9} C9sus4 ................................. { l 4 b7 9 }
=
Ab 7b5(#9) I Dl3 D+7/ A~9~ 5 D-7 #5
= =
Since the drop 2 inversions are known, they can be applied to these ninth chords: Cmaj7b5(9);
bs
9 7
1 7 9
bs 1
bs
C-7b5(9) or C7b5(9); 9 b7 b5 1 C9sus4;
9 b7 4
1 j,7 9 '
4 1
b7 9
7 9
bs
1 bs
9 7
b7 9 1 bs
1 bs 9 b7
b7 9 1 4
1 4
1
,,
9
b7
~'Common notation for the root inversion of C9sus4 is Bb/C. Two additional ninth (omit 5) chord voicings whose inversions will be examined are maj6(9) and dom7(9):
maj6(9)
dom7(9)
9
.".::.
6
6
1
9
3
3
6
1
9
I
9
3
6
9
3 l
3
3
b7
1
9
9
3
b7
*The l stinversionofthemaj9 fl 3 7 9 } and3rd inversionofrhe dom7b9 {l 3 b9 b7} willbeexaminedinlater chapters.
31
Note the C+7(9) no 3 voicing { 1 #5 b7 9} is equivalent to the Bb 7(9) no 5 voicing { 1 3 b7 9}. 1
#5
t
t
t t
c
G#
Bb
D
t
i
i
i
9
b7
l
3
C+7(9);
I
B b7(9J;
b7
9
Since t-he dom7(9) inversions will be used. they can be realized on the dom7# 5(9):
9
#5
b7
#5
#S
9
b7
9
b7
#5
9
b7
At thi s point. we shou ld summarize the substitution possibilities presented for e ach chord, including Sub V chords of the non-drop 2 dominam ninth chords with omitted 3rd or 5th:
b7
C -7"5
=
C+7
=
C7(9)
= =
Gb7(#51b9) = E-7b5 = G-6 = A7sus4(b9)
C maj7(9)
=
E-7 = G6 = A9sus4
C7b5
=
G~ 7 b5= Ab+7(9) = D+7 (9)
Cmaj7b5
=
A-6(9) = Ab7(#51#9)
Cmaj9b 5
=
D6(9) { l 3 6 9}
Cmaj7
=
A-9
C-maj7
=
A-7b5(9)
Cmaj7( ~ 5 '
A-maj9
C6(9 )
= =
C7(b9)
=
(C# 0 I E 0 i G 0 I Bb 0 ) (C7Cb 9)1F#7(b9)/A7(b9)/Eb7(b 9))
C7(#9l
=
F# 13(b9)
C7
=
F#7Cb5/b9)
C7b5(#9)
=
Gb7(13) = Emai9b5 { I
C7( ~9 J
=
F¥ 13b5 {3
C7(9) {13b79}
I 1 3· b7 #9}
Bb 9sus4 { l 4
9}
G b9b5 = Bb9b5 I Bb-9b5 { J b5 b7 9} = E (alt5 ) { 1 3 bs #S} [Sub V of Bb 9b5] D+7(9) { 1 #5 b7 9} = F#7(alt5) {3 bs #5 b7} [Sub v of C9] = Ab9(alt5) { 1 bs #5 9 } [Sub V of D+7(9)]
=
D7(9/13)
A7sus4
bs
bs
7 9)
~7 !3} [Sub VofC7]
The Sub V c hord of the C7(~9) { l 3 b7 b9} chord is F#7( # ll ) {3 5 b7 #11 }. Thi s Sub V chord will not be available to the roOL inversion C7(b9) chord becau se of the b9rh interval between the 5th and# 11 th of the F#7C# 11 ) chord. In the next chapter, f ~ 7( ~ 11 ) will reappear on the third inversion of the C7(b 9) chord. These ninth (omit 3rd or 5th) chord voicings, as well as the d:-op 2 type voicings, will have some very interesting additional substitution possibilities in later chapters.
32
Each 9th chord and applicable inversions previously examined will be presented in the following II-V-I chord cadence examples. As mentioned earlier, when a single voice is notated on the staff, it will be considered the top note of a drop 2 type voicing. If a non-drop 2 type voicing is used, all four voices will be notated. This approach will be used throughout this text.
Imaj7(9) I
drop 2 type voicings:
=
Imuj7(9) Cmaj7(9)
=
III-7
=
V6
E-7
=
06
= =
VI9sus4 A9sus4
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions with the addition of one ninth (omit 5) voicing:
7 3 9 5
5 9 7 3 D-7
4
0
G7 0
9
C maj7(9)
--~
9
_,<:
7
3 7
3 1
D-7
G7
Cmaj9
A-7
D7
Gmaj9
-&
..0.
..0.
-&
-&
-&
Ii
II
1:
[IDaj1bs(9) 1
This is a unique chord in that the drop 2 type voicings produce ninth (omit 5) enharmonic substitute voicings and the ninth (omit 3) chord produces a drop 2 type enharmonic substitute chord.
< Cmaj7b5(9) Imaj7b5(9) (drop2) (drop 2)
>
=
II6(9)no 5 D6(9)no 5 bV17(b 51#9) (drop 2) I II13 (drop 2) Ab7b5(#9) (drop 2) I Dl3 (drop 2)
=
=
=
>
A voiding tension 9 on the Sth strin 0 leaves three applicable drop 2 inversions with the addition of one ninth (omit 3) voicing. (T
bs ·9 7 ~
-· D-7
l
0
G7 0
Cmaj7b5(9\
7
9 bs 3 7
3 9 bs
Q /
7
bs 1
D-7
G7
€-
Jl
lO
II
Cmaj9b5 n
II
33
A-7
D7
-&
-&
Gmaj9b5 -&
II
Imin. maj7(9)I drop 2 type voicings: I-maj7(9) C-maj7(9)
= =
bIIImaj7#5
E~maj7'5
Three applicable drop 2 inversions with the addition of one ninth (omit 5) chord. Due to the physically awkward fi ngering produced by the 2nd inversion, its register might be limited. 7 b3 9 5
5 9 7 b3 D-7b5
C-maj7(9)
G7
--&
9 5 b3 7
9 7 b3 1
D-7b5
G7
.0.
.0.
0
0
0
C-maj9
Ii
' Imin7(9) I
A-7b5 -e-
Ao7 -&
G-maj9 -e-
II
II
drop 2 type voicings: I-7(9) C-7(9)
bTIImaj7 E~maj7
=
=
Three applicable drop 2 inversions with the addition of one ninth (omft 5) chord.
5 9 b7 b3
l
D-7(9) -e-
D0 7
oe-
b7 b3 9
5 Cmaj9
9
9 b7 b3 l
5 b3 b7
A-9
0
0
D7b 5
Gmaj 9
#o
-e-
II
A-9 ..Cl.
II
34
D7b5 -e-
Gmaj 7b5 ..Cl.
II
I min7b5(9) I
< <
>
~ Ili-maj7 (drop 2) Eb -maj7 (drop 2) II-r-7 (drop 2) lb VI9b5 (drop 2) D+7 (drop 2) I Ab9bs (drop 2)
=
l-7b,5(9) (drop 2) C-7~5(9) (drop 2) I-7~5(9)no 3 C-7b5(9)no 3
=
= =
>
Three applicable drop 2 inversions with the addition of three good ninth (omit 5) chord inversions. Due to the physically awkward fingerings produced by the 2nd and 3rd drop 2 inversions, their registers might be iimited.
bs
drop 2;
bi
9
b3
9 b7
9
bs
b3
0
~
.0. 0f
. IJ.o..
Q
ll -9\~ ,. 1
.A.07 Gmaj7b5
A-7b5(9 )
lz~
C-7b5(9 ) '
b-e.
~7 9 I
9
·b7. ,b5
-&
'!
b.o.
J
bs 9
bs
1 G+7 C-maj9
D-7P5(9)
~
ninth (omit 3);
bs b3 b7
b7
F7#5
BP6
-&
Q
: (~
8F
jj
tr -
A-7b5(9) Ao?
.0.
11
G-maj9
-&
'i
-&
II
Those rnin7b 5(9) voicings containing no third will be examined later in this chapter for their dominant quality as well : dom7b5(9). J
maj6(9)
I
<
= =
Th ree applicable drop 1 inversions and
5 9
6 3
VI7sus4 (drop '.2) A7sus4 (droo 2) bVIlmaj9b5 ·(drop 2) B ~maj9b 5 (drop 2 )
=
<
dr0p 2;
>
=
J6(9) (drop 2) C6(9) (drop 2) I6(9)no 5 - C6(9)no 5
6 3 9 5
rbre~
>
applicabie ninth (no 5 J chord inversions:
9
ninth lnO 5):
5 _1
9
6
6..,
9 l 3
.)
6
Drop 2; D-9
Ab o?
~
C6(9 ;
D-1
0
G7
..,
_1
9 6
C6(9 )
A-'7
D7
G5(9 '
B7
Bb6(9 )
-a-
b.n.
0
0
!! Ninth (no 5) Chord; D -7 ..-.TI\
.....
={t·
J'
e
Bo7 ~o
C6(9)
A-9
-&
=:
Q
II
D7~5
G6(9)
.If
-&
"
~ ':!r:.
~._,
F7sus4
b.u
211
~~
II
Imin6(9) I
drop 2 type voic ings:
=
I-6(9) C -6(9)
=
bIIIma j7 b5
E~maj7 b s
=
VII7(#51# 9) I IV7(9/1 3) B7( #51#9) I F7(9/1 3)
=
Three applicable drop 2 inversions with the addition of one ninth (no 5) chord voicing. Due to the physicaUy awkward fingerings produced by the drop 2 (2nd inversion), its register might be li mited.
5
b3
6
9 5
b3
D-7115 ~
4
b,e-
0
II
9 6
b3
b3
6
I
D-7b5
C -6(9)
G 7b5
9 5
6
9
0
Abo7 ~
A-ns
C -6(9 ) Q
0
D +7
b.o.
G-6(9 ) -e-
II
II
DOMINANT 9TH CHORDS
Idom7(9) I
drop2 {3 5
b7
Ninth no 5 {1 3
9}
b7
9} /
C9 {3 5 b7 9} = E -7b 5 I G -6 I F# ?(b 91#5) C 9 {I 3 b7 9 ) = F#7(alt5)
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and thre e applicable ninth (no 5) chord inversions :
drop 2;
Drop 2:
q
b7 ..,
9
p/
9
_)
3
5
5
D -9
¥~
G9 -e.
ninth \no 5 );
5..,
.)
9
b7 ,., .)
b7
..,
9
_;
I
9
....,
p7
b7
.)
Cmaj9
E -7 0
0
A9 0
Dmaj7
A-7
-e-
~
II
D9 -e.
G m aj9 -e-
@
II I
I
~ A h-9
SUBV
~
~..o..
D ti 7 ( ~9/f 5 ) G tnnaj 9
-e-
B~ -9
~
0
1
i
E b7(b9/#5 ) Ab6
a
~
II
II
36
E !J -9
Av 7 ( ~9/ ~5)
b..o..
-e-
D b6(9 )
~
II
Ninth (no 5); D-9
¥"
Cmaj9
G9
a
I
C9 ~..Q.
G7sus4 -e-
Fmaj 7
·:
II
F 7sus4
b.n.
-&
B!>9
E b6
b.o.
bn
h'~
I!
II
' I
I
A~ -9 I
SUB \'
~
!J..o._
I dom7(b9 J
~·
"''
Do7(alt 5) Gt1 m a,i8 -e-
C1-9
i:>-0-
v
F:l7(alt1' ' Bmaj7
z:..e.
t&
to
be-
II
1!
I'.
l
E 7(a1t5 ) &-naj9 b.o. ~
B-7
1
ninth1no51c.:i1ord!1 3 97 79 l C7(b9)
13
5 b7 ~91
=
Do. E, G. and/or Bbdim7 (Eb7(b9 ), F~ 7(b9) , anci/or .~ 7(o9 !J
Four applicable drop 2 inversions plus one additional ninth (no 5) chord inversion. T he drop 2 Sub V chords need not be presented. since transposing these exercises by a tritone (and minor thirds) will produce the same examples. T he S ub V will be avoided on the ninth (no 5) chord voicing d ue to the b9th interval produced by S over # l l. The ~9th inte rval produced by b9 over the root is availabie on dominant chords.
A-7
Drop 2:
~
0
D -.,...I
-~
e
D 7b 9
..
;;o 0
G7b9
e
Gmaj9
:±e
A-7
D7b9
Gmaj9
-&
-e-
-€>-
I!
Cmaj7
II D-9 -&
( }
G7b9
Cmaj9
·F e-
:=t'.
i
__=:Jj
Ninth 1no 3 1; D 7su s4
~Q
Q 7,9 ~ ~
C6(9 , C:-&
~~
~
37
II
ninth (no 5) chord {I 3 b7 #9 }
drop2 {3 5 b7 #9}
jdom7(#9)1
# =
C7 ( #9) {3 5 b7 9 i C7(#9) {1 3 b7 #9J
F~ l3(b9) F~ 13(b5)
=
A voiding tension #9 on the 5th string )eaves three applicable drop 2 inversions plus one ninth (no 5) chord inversion. Due to the difficult fingerings produced by the second and third inversions of the drop 2 voicings. their registers might be limited. ninth (no 5): #9 b7 drop 2; 3 ~7 3 b7 3
#9 s
F-7
G-9 C7(#9) Fmaj9 -e-
B?7rn9) G7(#9) Ebmaj7(b5) D-9 Cmaj7(b5) D-9 G7(#9) Cmaj?
~
..0.
I
'
I
!
I
I I
I
'I'
F#13(b9) C#-9 B6(9)
qo
I
,j,
B-9
#o
-&
E13(b9)
l>e-
Dt> 13(b9)
Ab-9
A6
b.o.
~
II
SUB V
\i'
'ii
b.o.
Db i3(b5) Ab-9 Gbmaj9
G~maj9
b.o.
l>e-
II
II
b.o.
l>e-
II
(Eb/E)
ldom7b5(9)
I
drop2 {3 bs b7 9)
C9(b5){3b5b79} C9(b5){lb5 b79 }
ninth (no 3) chord { 1 bs b7 9 }
= =
F~+7 D,.7 I
.
.
A~9(b 5 l
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and three applicable ninth (no 3 1chord inversions: drop 2;
b5 9
b7 3
b7 3 9
bs
9 t1 5
ninth (no 3):
9
b7
'~)1
-·
"l
~7
38
b7 9 1
!,s
l
bs 9
b7
G-9
Drop 2;
C9(b5)
Fmaj9
-a-
'4
#o
C9b5
b.o.
Bmaj9
F#+7
C#-9
D7sus4
Cmaj9
G9b5 e-
0
0
II
II
II
I
Bmaj7
F#+7
~
.0.
~e
je
Fmaj7 -e-
I
II
ii
C#-9
SUBV
0
G-7
b.o.
~ Db+7 Gbmaj7(b5)
Ab-7
~
II
r
I
!>&
().O.
~
II
II
Ninth (no 3); D-7b5 -e-
'
~
SUBV
G9b5 -e-
Cmaj7b5
D7sus4
.il
II
1
i. ...
l>e-
Db7(alt5) Gbmaj7
Ao-7
b.o..
~
G7sus4
b..ci
0
II
•
Db(alt5) Gbmaj9
f>o
!HJ I
-&
II
l
F #(alt5)
B6
I
Ire-
I
Fmaj7
~};) 1 '~J
C#-7 .il
II
ldom7b5(~9)
C9b5
-&
~
'I-
Ab -7
C6(9)
t~'·)
0
p i'') .......
G9b5
().0.
#o
II
Ii
I drop2 {3 b5 b7 b9} b5 b7
C7b5(b9) {3.
= F#7
b9}
The ninth (no 3) voicing will be omitted, due to the b9th interval produced. This voicing will reappear in a later chapter as a hybrid chord. Four applicable inversions:
3 bs b7 : b9 bs b7 b9 3
b7 3
b9 bs
I
E7(b9/b5) Amaj7 B-7 -e#o
SUBV
' '
#~
B-9
il ~e
I
,}
F7sus4 Bb7
b..o..
!>&
Ebmaj7
F-9
0
Q
3
b7
E7(b9/b5) A6(9)
~
II
A-9 0
I!
1
Bb7 (b 9/b5) D7(b9/b 5) Ebmaj7 Gmaj9 F7sus4 I b.o. ()-0-ea
~I
II
!I
i
w
E' . E b7sus Ab7 D!imaj9 Bb7 >maJ 9 ~ D-0e---e !)-&
II
II
39
w
B-7 ~
II
E7
:k· ·'
Amaj7 ~o
~
ldom7bS(#9)1 drop2 {3 b5 b7 #9 }
=
C7b5(#9)
F~ 13
Only tvvo practical drop 2 inversions will be used. The root inversion will be omitted because of the b9tb interval produced by the 3rd over the ~9th. The third inversion will be omitted because of the awkward fingering produced. The ninth (no 3) chord voicing will be omitted because it has become a rnin7b5 chord. This ninth (no 3) chord voicing might reappear in later chapters where incomplete Yoicings are more appropriate.
b5
G-9 C7(~9t:i5) Fmaj9
b7 3
t9 ~7
i
~9
(p)
....
-~
-e-
~
,.e
E-7
Q
~I
B6(9)
F#7sus4 FU3
J
4
ie
It
-&
II
BD-9
ED13
AD6
~
0
~
~0
tt1
II
9i
d om7#5(9) I drop2 {3#5 b7
Dmaj9
1 l
II
~
SUB V
A7(~9/b5)
Q
ninth (no 3) chord { 1 ff 5
9}
E7b5 / B~7b5 / F#9# 5 F#9(alt5)/ B b9(no 5) {1 3 b7 9 } I i:."tlalD)
=
C9#5 {3 #5 b7 9} C9# 5(no 3) { 1 #5 b7 9)
b7
=
Avoiding tension 9 on the 5th string leaves three applicable drop 2 inversions and three applicabJe ninth (no 3) chord inversions. T he Sub V chord will not be included in the drop 2 examples because, like its dom7b5 substitute. it ..mirrors" its original dominant chord: C9#5 = F#9#5.
;s
drop 2;
b7 ..,
9 b7
--.
Drop 2; G-9
C+7(9)
'
9
b7 9
.)
#5
b7
9
3
#S
#S 9
., -
~=
0
tt)
I
A9~5
E-7
Fmaj9
~
-&
ninth (no 3);
9
a
0
Dmaj9
C-9
-&
Q
\J 7
F9#5
Q
II
Q
B:imaj9
e
II
II
Ninth (no 3;; C-9
~n
F9~5
:th~
C-9
Btimaj ~I
-e-
0
I!
~
po ~ .":";
--~
!~
Btimaj 9 e
G-9
C9~ 5
-&
b..o. !I~
II
'
~·
,;
SUB V
l
B9Calt5> Emaj7 Q
cto
Fi:! -9 '!:Q
C #-7 ..0.
i;o
F#9(alt5 ) Bmaj7
it.a-
(Eb9) 40
~
II
II
II (E!>9)
t
B9(alt5) Emaj7
b.e
J
II
I F:-7 -e-
F6 -e-
(B b9)
Idom7#5(~9) I drop2 {3 #5 C7(b91#5)
b7 b9 }
=
Db -6 I Bb-7b5 I F#9
The ninth (no 3) chord voicing will be omitted, due to the awkward fingering and the b9th interval produced. The drop 2 Sub V chord produced is a dom9 chord, and although all four inversions are available to the dom7# 5(b9) chord, the inversion producing tension 9 on the 5th string on the dom9 Sub V chord will be omitte d. There are four applicable inversions: b7
3 b9
#S
3
G-9
-e-
' SUBY
C +7(b 9 ) Fmaj9
~
B b7(b9/#5 )E , F-7 '6
D-e-
0
'fo
,·
I!
I C~-9
b-e-
J
F~9
b.o.
:So
61
I!
l
E7(b 9/~5 )
F7#5(b 9) B b6(9)
0
-e-
0
II
I
.jr
B9
F #-9
;o
Emaj 9
#o
:[¥0
II
II
Arnaj9
B-9
I
Sub V not applicable (9 on 5th srring)
Bmaj9
~o
C-9
F-7 iJ.e. I
;I II B"'b9
±to I
II E bm aj7
~
0
II
II
,,
ldom7#5(#9)1 drop2 {3 #S b7 #9} C7(#91#5)
=
Emaj7b5
The ninth (no 3) voicing will be omitted. due to its incomplete nature. It forms a complete min7# 5 chord, which will be examined later for its dominant qualities. · Avoiding tension #9 on the 5th string leaves three applicable drop 2 voicings:
!~
b7 ,.., ::>
g
7 3
E-7 0
SUBV
' '
#9 #5 3
b7
A+7(#9) Dmaj7b 5
G-9 ~-e-
~
1
C7 l #9/~5 )
~
F6(9)
D-9 -e.
0
II
ie-
.a.
·3
II
I
I
~
Sub V not applicable (9 on 5th string)
G7(#9/#5 ) Cmaj7b5
C#-9
±to
II"
"'
F~7 ( 13/9)
±to
41
-ii
B6(9)
....a
G#-7 ~o
Ii
C tt7(13/9) F#maj 9
ie-
~o
II
J
dom7sus4(9)
I
b7
drop2 {4 5
b7 b7
C9sus4 {4 5 C9sus4 {l 4
ninth (no 5) { 1 4
9}
=
9} 9}
b7 9}
G-7 I Bb 6 D-7#5
=
A voiding rension 9 on the 5th string leaves three applicable drop 2 inversions and rhree applicable ninth (no 5) chord inve rsions: drop 2;
b7
9
b7 9 l 4
4
9 5
b7
9
4
4
4
5
b7
I
5 9
ninth (no 5);
b7
l
4 9 b7
Drop 2;
G-7
4
e
C9(sus4) 0
F-9
Fmaj9
Bb9sus4
~
0
0
E~ maj 9 I Dn
G9(sus4)
-&
-e-
II
1: (F-7 )
(G-7)
D-9
Cmaj9
a_=$,
(D-7)
Ninth(noS ): D7sus4
~
0
G9sus4
Cmaj7
-&
..0..
G7sus4 C9sus4
-e-
Fmaj7
b..o..
D7sus4
-&
I dom7sus4(b9) I
C6(9 )
0
0
0
II
II (D-7#5)
(A-7#5) (F/G)
G9sus4
II (A-7#5)
drop2 {4 S b7 b9) C7sus" ,9;
=
G-7h5 I B'7-6
The ninth t no 5) c hord voicing will be omitted due to theb9th interval. It will reappear later as a hybrid chord. There arc four applicable drop 2 inversions: 5
4
b7
s
b9
i 7
b9
4
5 4
/},
b9 b7
b9
4
_,.:;
b7
F7sus4 Bb7sus4(b9) E11maj7 I
t
D.O..
@
~
Q
-e-
______,
G7sus4(b9 J Cmaj9 p.e..
0
I~
I (F-7b5 )
G-7
-~
o-e-
D-7
e
(D-7b5)
C7sus4(b9J Fmaj9 0
CG-7b5)
C-1 0
0
i 42
F7sus(b9 1
b..a. (C-7b5)
B ~maj9
-e-
II
TENSION ADDITION BY STRING In the following chord progression, voice tension 9 on the 2nd string only. Use drop 2 type voicings first, then repeat using the ninth (no 5) chord voicings only. This is a good example of the ninth (no 5) voicings being more appropriate since the drop 2 voicings, having the 7th in the bass, travel below the recommended Low Interval Limits. E7(~9)
Fmaj7(9)
G7(9)
D-7(9)
D~7(9)
Cmaj7(9)
G~7(9)
Fmaj7(9)
Now voice tension 9 on the 3rd string only in the abMe chord progression. Finally, voice tension 9 on the 4th string only in the below chord progression. B~maj7(9)
B7(~9)
C7(9)
A7(~9)
G-7(9)
Tension 9 on the 5th string will be avoided.
In the following chord progression, tension 9 alternates between the 2nd, 3rd . and 4th strings. After preparing this progression, the student should compose his or her own line on the same progression using a 9th tension on each chord. Cmaj9
'
F
A7(b9)
r
D-9
G9
1r
r
E-7P5(9)
A7(b5/~9)
D-9
a
1#r
-611
F-6(9)
r
C6(9) 0
!!
1;
The following examples will use various ninth chords over a typical "Jazz" or "II-V" blues form. Remember to try both drop 2 and ninth with omitted 3rd or 5th voicings when tension 9 is in the lead. Inversions of the ninth (no 3) or ninth (no 5) chord voicings beyond the root inversion with 9 in the lead will be completely notated. \.'- ~ 1 ._
-... :
-
\ I '
f
G-9
~-:--:::>
'
G7(b9)
D-9
tr
E b9 ~p.
1f
A-9
#j
D7b5(b 9)
1* tr
'I
C7b5(#9) C7#5(b9)
l#f
F+7(#9)
C-9
~
Bb-9
G9sus4
. ,
bf
Bb9
'
,,wr-.
\ ,..._>(
E-7b5(9 )
Fmaj9
G
l -~
r . •.
:;-:/.'--) \_rQ.nt?YJ
F6(9)
~
D7#5(#9)
b~
1F
G-9
A~ -9
Dli7D5(9) bo
!bF
I
•
C9#5
F9
~
I' 43
#r
0
II
II
This next example makes use of several different ninth chord inversions with the omitted third or the omitted fifth. Note the chromatic voice-leading in bars two, three, and four into bar five. Also note the voice-led scale pattern in the last three bars before the e nd. The same "II-V" blues form used above has been transposed to the key of ''B ~" for this exampie.
/),'
~ ~Bbmaj9
Bb6(9)
A-7b5(9) D7(#5/ti9)
j'
l"f
e
I
11m
I D-9
be-
-6-
Df
G7::5(b9)
~
, ~
'DO
Iw'2 Db-9
G9#5
I Bb9
B b9#5
I
I
Ab 9
F7tt5(b9) F7 sus4(b 9 ) 1
C-9
F9sus4
~
I
I
I:
'.
C7(tt5/#9)
?-
Eb-9
o.a.
-6-
&'f
or
!?
Eb7b5(#9J
G-6(9)
r
I
C9
F7sus4(b9 )
lr
I
Gb7#5(#9)
b-e
ba.
. ~
§a&: Bb9
b.n
llfrfl
11
The following dominant "turnaround" example uses all four of the inversions of the dom9(no 5) chord. Bb9
G9
I
~ ~~
~§,;;
Gb9
F9
1t
!z~E~! §
Bb9
b.o..
II 1><~
II
Tension 9 on the 5th string for the above F9 chord has been included for demonstrative purposes. It is above the L.I.L. for tension 9.
44
Chapter 8. Tension 11 There are three basic substitution approaches to adding tension 11 to basic four-part 7th & 6th chords: 11 for 5 { 1 3 7 11 } 11 for 3 { 1 5 7 11 } 11 for R {3 5 7 I I }
11 for 3 or 5 is the traditional drop 2 substitutional approach. while 11 for the ram can oflen produce a new drop 2 or ninth c hord with omitted 3rd or 5th. 11 for the root or Sth , subsequently retaining the guide tones, is in most cases preferable. If the 5th is needed, the root would be the preferred note ro omit with the 3rd being the last choice. The addition of tension 11 to some oflhe basic four-part chords can produce both physical and harmonic difficulties wiihin certain inversions. This in itself might dictate which note the 1.lth should substitute. As these probiems arise rhey will be addressed and appropriate recommendations wi 11 foll.ow. Some of these difficult inversions will become quite useful as addilional tensions are added.
By use of enharmonics, the previous four-part 7th & 6th chords and 9th chords produce some of the mosr useful J 1th chord structures: Cmaj7(~11 )
C6(#11) C -7(11)
C-7 b5(11) C 7(#11)
( l I for 5] l 11 for 5] [llfor5] [llfor3] [11 for R] [11for3) [11 for 5)
C +7(# 11) I C7(alt5)/ C7(b5/b 13) [11 for R] r11 for 3]
Cmaj7b5 C6b5 I A-6 I F #-7b5 F7sus4 ,, C7sus4
= =
= = = =
G~7 # 5 G~maj7b5
=
C7b5
= =
Gb9(no 5 ) Ab9(no 5J
\'ote the unique s ubstitutions arising from the [11for3) C+7(~ 11) chord. Since this voicing is the same as Ab9 { l 3 ~ 7 9), the past Ab9 substitutions can be added to C+7(# 11) and its Sub V chord Gb9b5 { 1 3 b5 9 ). When 1bis j::, done. a domi nant type chord appears 011 each note of a whole tone sea.le:
c C+7(#11J
D7(alt5) E9ialt5) F!9(b 5)
Ab9 Bb9
[ 11 for 5) [ l l for 3] f l ! for RJ *C-maj7(1 1) [ 11 for R] *C-6(11 l
~-The
I
G~
Gb bs
~5
Bb b7
'
-. _..,
p)
~5
b7
·'
bs -. ..)
9 l b7
9
li5 ,,
= =
F7 A-7#5 F9(no 5 ) G+7
~:
:.
=
,~
0
3
.;
(F~maj9b5 )
9
i ...., DI
inversions containing the 11 thin the bass are weakest.
The tritonc produced by the notes Band r (on the C -maj7(1 I) chord) forms an ambiguous or weak sound, since ir is the guide Lones of G7, C minor's V7 chord . The two inversions placing the tritone in the bottom of the voicing ar1; weakest.
45
Seven new voicings will be introduced in this chapter:
Cmaj7(#11) C6(#11)
C-7bS(ll) C7(#11)
C-maj7(11)
[11 [11 (11 [11
for 3] for R] for3] for R] (11 for R] (11 for 3] [1 1 fo r R] [ 11 for 3) (11 for5]
{15 7#11} {357 !11 } {156#11 } { 356~ 11 1 {b 3 b5 b711} {1 5 b7 #11) {35b7#1I} {l 5 7 11 } {lb37 11 }
Note the above voicings that function for two differenl chords:
Cmaj7(# 11)
C7(#11 )
[11 for R] -7 3 E b3
[1 1 for 3]
-7 1
c
7 B
5 G
bs
b7
5 G
#11 F# llf-C# -7b5(1 1) [11 forR]
#11
Fff
11
7 f - G-maj7(1 l) [11for5]
Many of these new voicings create physical and harmonic problems within certain inversions. Consideration should be given to the desired sound and the appropriate context when using these inversions. The tritone can produce a unique, if not weak, sound when placed in the middle of the following voicings: 7
Cmaj7(#11) [1 1 for 3]
#11 1
~
5
b7 C7(#11)
[11 for 3]
i 11 II
1 5
~
0
C6( #11)
[llfor3]
~ 11 "l
~
5
C-maj7(11)
[ 11 for 5]
b3 7 l J
--i __J
1
46
Imaj7(#11) I 11for5
{137#11}
There are three applicable voicings
G-7
3
bs
7
1
bs
7
1
3
A7sus4
C7(#5/ #9) Fmaj7b5
0
'
= maj7b5
#o
-&
-&
1
bs A7b5 e.
Dmaj7b5
11for3
#11 5
7 #11 1
1
5
'
Fmaj7(#11)
C7b5
b..a.
-&
#I I
"
##~
7
7
3 5
'
_)
..A..maj 7(~ 11)
5
#11
5,,
E+7
ll#o
Cmaj7(# 11) 7
'\io
B-9
~
{357#11 }
There are three applicable voicings:
-&
.o_
Cmaj7b5 ..0..
II
{l 5 7 #11 }
G-9
B-9
G7b5
-&
II
7
11for1
G7sus4
!,a-
II
There are two applicable voicings:
'
7
..;
E-9
11~
0
E7(#9) Amaj7(#11)
#o
0
II
= C#-7b5(11)
#11
A+ 7 c
Dmaj7(~ 11 )
'H
47
E-9 ..a.
II
E Vi(b5/#9) Dmaj7(#11) -&
i&~
II
Imaj6(#11) I {l 3 6 #11} = maj6(b5)
11for5
There are fou r applicable voicings:
C6(b 5)
bs
l
6 3
bs
l
6
1
1
3
3 6
bs 3 6
b5
G7(#5/ b 9) D7sus4 C6b5
E-9 A7 (# 5/~ 9 ) D6b5
G-7 C7(#5/b9) F6b5
b-e-
0
= A-6 / F#-7b5
6 ll 11 ·'1
11for1
B-7 E7(fi9) A6(#11) B-9 -e-e~o
5
Bb7 A6rnll ) b.n. -e-
1;:
II
ffi
5
6
#11
#11
3 5
6 3
D-9
Db7(b5/#9) C6(#11)
II
{1
b3
Bb6(9 )
= F7sus4
b7 ll}C-7(11)
b3
b7
JI 1
~7
l 11
~3
h7 b3
b3 b7
1
11
E-1(11 ) A7b5 Dmaj7
C-7(11) F7(b9) Bbmaj9
G-7(11 ) C7b9
F6(9 )
I
lte
se
"" 11for3
11 5
-&
-&
-&
b7
60
e
0
0
0
II
JJ
5
b7
'
1I
II
~7 J
1 5
11
J
l
b7
5
C-7
II
I
All fem inversions are appiicable:
B9
A6b5 -e-
{35 6#11 }
There are two applicable voicings:
C-7(11 )
1
#11
s
llforS
#o
{15 6 #11}
T here are two applicable voicings:
lmin7(11)
E+7
II
II 11for3
B-9 -e-
.;+.. 0
0
bo
e
..ii 48
Q
~o
Gmaj9 -e-
A-7(11 ) Ab7 -eb-e-
Ii
Gmaj9
b-e-
II
= G-7(~5)
{~3 5 b7 11 }C-7(11)
11for1
All four inversions are applicable:
C-7(11) B7 io
I
11
5
i,7
b3 b7
b3
b7 5 b3
11
5
b3
11
11
5
b7
Bb6(9)
0 ,o
~e
(Eb/F)
Imin7~5(11)]
11for5 not applicable
{lbs
llfor3
b 7ll } C-7~5(JJl = Gbmaj7b5
There are three applicable inversions:
11 ~7
b7 11
1
bs
b5 C-7P5(11)
B7
B~ - 6(9)
1
b5
1
C-7~ 5(11 )
b..a.
11 b7
F7b9 -e-
B~ -maj9 -&
{b3 bs h7
ll}C-7~5(11 )
There are three applicable inversions:
11
b7 bs b3 D-7b5(11) Db 7
'
lift
I 0-0-
C-6
C-7b5(11 J
' b..o.
0
!I
i!~
0
Gb7
F-6
bo
0
II
II
II 11for1
G-7~5(11)
=
Bmaj7(~11)
bs
b7
11
11
1~
b3 bs
P I
b3 F7~5
.a-
Bb-6
~.o.
D-7~5(11)
b
ii
-9--
49
1I
G7rn5/#9 ) C-6(9J I
~.n
~
II
l min6(11)
I
Tension 11 on a min6 chord produces a very strong IV chord sound in relation to the Irnin6 chord: C-6(11) ;
=
11 for 5 11for3 11for1
F7 F(add9) (A-7#5) F9
= =
Those voicings containing the characteristic b3rd of the min6 chord might sound a little more complete than the l ! for 3 voicing { 1 5 6 11 }.
11for5
{Ib3611} b3
The re are four applicable inversions:
lJ J
6 11 l F~-7b 5
~
-&
B7b5 E-6(11) -&
IV
0
(A 7)
11for3
D-7P 5
I~
~
G'i
6 b3
C-6(11) D-7o5
11
E-6(11) E -7i15(11) E:i7
~
~
I!
0
,j,I.
~e
0
II j
(C,7 )
5 l 6
6
I
11
5
1
11
5
11 6 A-7', 5 D7(~ 9/~5 ) G-6(11>
-e-
§
I!
i:
11 6
ii j!
F; 6(11)
D-7:, 5
b..o..
h'~
4t)
(Bb9)
II
0
G+7 Q
6 11
_;
k6 11
b3
~;
b.o.
A -7P5 D7(b9) G-6(11)
B-7b5 E 7(tt9) A -6( 11) -e-
_,
0
G7 (# 9/~5) C- 6( 11 )
0
~
- 0
'Z
!~
{b3 5 6 11)
There are fou r applicable inversions:
Gb9
6
(F7 >
D-6(11)
b.a.
G-7b 5
b3
{l 5 6 11 }
5
11for1
Ii
1 11
(F7 l
6
F7
-&
e
0
There are four applicable inversions:
F~-7 b 5
6 b3 l 11
C-6( 11)
I!~
b3 5
D3
-
5
6
1'l
C-7b5 F7(b9)
b.n.
!!
-&
B~
-6(11) F#-7!, 5 B7(b9)
~ h~ (Eb9)
(F9)
50
j :e
~e
E-6~ 11 )
w (A9)
II
Iminor maj7 (11) I The tritone produced by the 11 and 7 of a minor maj7 type chord is also the guide-tones (3 and b7) of its V7 chord, producing a potentially ambiguous sound. The notes B and Fare both 11 and 7 of C-maj7(1 l) and 3 and b7 of G7. The root and/orb 3rd of the min maj7 chord are basic chord tones that are not common to its V7 chord and best support the 7 and 11 of the min.maj7 chord. This implies the f 1 b3 7 11 } voicing and is perhaps the strongest of the three different voicings introduced here. Of all the voicings used, those inversions placing the tritone (11 and 7) in the bottom are the weakest.
11for 5
b3
{1
C-maj7(1 l )
7 11 }
7 ~3
There are two applicable im'ersions:
7 I1 l
C7 (# 5/~9)
G-7b5
11for3
'
11
F-maj7(11)
~o
0
-&
q~*
C-maj7(11)
e
i
5
11
7
1
5
7 11
{b 3
~ ~
Q
A7b5
E-7b5
b.n.
5 7 11}
D-m aj7(11)
I!
11
I
b3
11
~~
:;
II
~
= G+7
5
b3
E 7(#9 1 A-maj7(11)
-&
+· ~
7 5
B-7'.,5
-&
-&
C-maj7( 11 )
T here are four appiicabie inversions:
Q
!I~ !
7 11 1 5
Ii
-&
E-7b5 A7b9
C-maj7(11) ! .n.
{15711}
Db7
11for1
G7(~9 )
~
11 Jf
1
f t°
D-7b5(11)
• p-e.
There are three applicable inversions:
D-7b5
= F7(~ 11 )
11 b3
7
b3 5 11 7
G-maj7(11) C-maj7(11) A-mai7(11) D-maj7(11) ~ A-7b5 D7(b 9) B-7b5 E7rn 9) D-7b5 G7(b 9 ) Q
(A+7)
II
!>&
-&
Q
Q
.>j.
II
e
(G+7)
(E+7)
-51
Q
:t O
II
-&
b.o.
CD+7)
I~
Idom7(#11) I
{ 1 3 b7 #11} = ,.,_, b5 There are four applicable inversions: b7 1 bs b7 1 3 G-7
-" ~
11for5
C7b5 Fmaj7
..
G-9
.
-
~
,u._
0
~7 3 1
l bs 3 b7
hs G-9 -e-
C7b 5 Fmaj7 -e-
G7b 5 Cmaj9
D-7
b.o.
......
-
0
-~
~
;
" " ~
I
l
'It
'¥
,,
•r;
C~-7 F~7~5 Bmaj9
C#-9 F #7b5 Bmaj7
SUBY
C7!?5 Fmaj9
dom7b5
C"-7 Gb7b5 BmaJ t
-
Ab-9 Db7bo GbmaJ9
~J~a-o~,-,~ jo~~ l l'; ~~~~~~ 1 1 .o.~b~b_ .o.~~bo~~bo~~ ~~ll ~
-·
;
C7(# 11 _\
{I 5 b7 #II}
11for3
~~ 1
There are two applicable inversions:
5
b.o.
F-7b5(9)
Eb-6
b.o.
j
:w E7sus4
A7b5(b9)
D6(9)
-e-
-e-
B7sus4 E7b5(b9) Amaj7(#11) -e~o
l
II
SUBY
llforl
C7(#11 ) = Gb7(~9) {l 3 b7 b9 }
{3 5 b7 #Il}
There is one applicable voicing:
~~ l
3 This is the same voicing as the lst inversion of the ninth (no 5) voicing for a dom7(b9):
B7sus4
E7(#11)
'¥
SUB V
Eh6
B h7(b 9)
~~~~~b~~~-b~~~~ 11
52
i
3 b9 b7
Amaj9 .0.
F-7(11)
I
= G-maj7(1 1)
Eb7(#11) Abmaj9
~
II
b7 #11 1
5 1 Bb-7
fj
•.
!dom7#S(# ll) I dom7(alt5)
I
[11 for 5 not applicable]
A unique chord in that 11 for 3 and 11 fo r i produce the same inversions found in the dom7(9) { l 3 b7 9} chord: C7(alt5):
11for3
=
11 for 3 11 for 5
Ab 9 Gb9
=
b7#IJ} I -
There are four applicable inversions:
P> l! . l
I.I I I•
H.5 •'
l ~5 ,.
l
E7sus4 E7Calt 5 ) A6(9 )
A-9 D7(alt 5 ) Gmai9 ~
on
E -9 A7(alt5) D6(9)
-
:
-e-
if ~o
v
J. (F9J
(E b9 )
'i'
E D-7(11} A~ 9:i 5 Db6(9i
Bb-7 Eb9b5 A'')6
Oi l
ll., ~J §
SUBY
0
(Bp9 1
..,
'0€-
€-'
II
i
.
-e-
Q
?J
1: (C9 !
D-9 G7Calt5) Cmaj 9
re.-
ire-
'!·
Ab7sus DD 9(b 5 ) Gb6(9)
o-e-
Q
~
I
I:
~
II
n
b-e-
'· t, '. 1
(Tension 9 on 5th string)
11for 1
{3 #5
b7 #11} ~1 1
There are four applicable inversions:
3
f5 ~ Ii ~7
b7
A-7 D7(alt5 ) Gniaj9
A7(a1t5 ) G-9 C7
,j
t
Dbmaj7(#11 ) " C#7sus F::S Brna.F E b-7(11) Ab9
SUB V
i~·~
k rel="nofollow">
-:o
hH
:t&
D-9 G7(ali5) Cm aj7b5
'i'
BP-0
E b9
!)-&
Ii
0
Ab6
Av-S
9--0-
t.>.O.
I
jl (Tension 9 on 5th string)
(11 for 3 / 11 for 1 combinations): D-9 G7(alt5 )
(A :.>9;
! G~9 ,
(Eb9)
53
Cmaj9
(Db9)
'• D'~9
G::i maj7
Cl.fr
D.O..
~
The following examples will use various eleventh chords over a typical "Jazz" or "JT-V" blues form. Some unique non-drop 2 type voicings have been introduced in this section. They will be fully notated when used. Drop 2 type voicings also give the option of substituting tens.ion 11 for the 3rd or 5th of the chord. If the 5th is altered or voiced in the lead, tension 11 will substitute the 3rd. When either option is availabie, voice-leading and L.I.L. will determine which is best and will be fully notated when only one option is desired. An additional voicing for the dom7tl5( # 11) or dom7(alt5) chord which was not presented earlier will be introduced here. This voicing has the# ll th ( orb5th ) substituting the~ 7th; (1 3 ~5 #5), andenharmonicallyproduces adom7#5 chord: C7(alt5) (1 3 ~ 5 #5) = A~ +7. This voicing will appear several times in the following example.
E-7b5(11)
Fmaj7(#11) .12
E
'
' r ' t± B b7
G-7(11)
D-7(11 )
A71'5
e
1€
I~
I I
I
'
Bb-7(11J
B b7b5
I~
~
(Eb7sus4)
G-7
a
C7(alt5 )
kr
1~~ I
(A':> +7J
E9+7(#11)
(B+7)
C9(b 5)
~~~~ I
F6(9)
I
54
'
A -7(11)
D+7(#11)
~
(D7sus4)
(Bb+7)
D7(~ 11 )
G-9
~~!
i!~
F 7(alt5)
e
111r (E b9)
~
C-7(11) I
(A -n5)
Ip
+f
G7#5C#ll)
~
I·
~
(B9)
A~-7 ( 11)
DVi(alt5 )
!~
• I
CG9)
C7b5
b.a.. ~~
Fmaj7(~11 ) I
tlO.
I!
::
i
The following example transposes the "II-V" blues form to the key of "D." Note the contrary chromaric voicekadino of three voices from the D7(a!t5) chord to the G9 chord and the two voices from the G9~5 chord to the G-9 chord. Also note the parallel chromatic voice-leading of rwo voices from the C7~5 chord to the F#-7(11) chord, the B~+7 chord to the E-7(1 1) chord, and the D6(9) chord to the B7(alt5) chord. Three voices move in parallel chromatic motion from the E-9 chord to the A7(alt5) chord.
D6(9)
E
~
G9 -6-
' ,
! I
Dmaj7(#11)
B-7(11)
C#-7bi5(11) F#7(alt5)
~~
.:..-
I
~~
(D+7 )
(F#-7#5)
(C9)
,.
~5
1r=
.&
1~~
C 7~5
G-9
G9b5
Wf~ q-6-
l
I #~
I
'
(B-7~5 )
A-7(11)
(B~+7 )
Bb+7
F-7(11)
l#±f
TI
lhg f? 1
A7(alt5 )
D6(9)
#~
1&tp±J~
IE
I
(E~ 9 l
B7(alt5)
E-7(11)
I
(G9)
55
5
(C-7#5)
I 1;
(F9)
I
-6-
I
E-9
'~.. I
(E-7#5)
B7b5
I
D7(alt5)
If
F#-7(11)
(Db+7)
E-7(11)
E7(alt5)
(B-7~5)
A+7
.,,. !
D9b5
~
II
II
Chapter 9. Tension 13 13for 5or1 {l37 13} or {3 5 7 13} will be the tension substitution formula used ll:i this chapter. The only exception willincludeoneofthe two new voicingsintroduce:dhere. The dom7b 5(1 3)will introduce 13 for3 { 1bsb713 }. These notes dictate a major 3rd even though it has been removed. The other new voicing introduced is the dom7sus4( 13) {1 4 b7 13}. Note the 3rd inversion forms an upper-structure triad: Fl3(sus4) = BblEb. This chapter will refer to tension 13 as a 6th when used on chords containing a maj7th. The 6th can be placed above or below the maj7th, while the 13tb (which accompanies the b7th) can only be placed above or next to the b7th. As mentioned earlier, this chapter will avoid dominant chords containing both a natural Sth and b13th. These notes produce a weak Sub V chord containingb9 and natural 9. This applies to the dom7(b 13) chord. b13 must substitute the Sth enharmonically, producing a dom7#5 chord. This chord has already appeared under the Tension 9 chapter as the Sub V of the dom9b5 chords, C7#5 = Gb9b5. Its related II-V-I situation can be observed there. Dominant chords with a natural 5th and tension b13 will be examined in the Additional Enharmonic Chordal Substitutions chapter. Dom7bS(b 13) has already been introduced in the Tension 11 chapter as a dom7#5C# 11) or dom7(alt5) chord. This chapter also will avoid using the b 13th on a dom7sus4. This produces a very ambiguous sound: C7sus4(b 13) { l 4 b7 b13 } = Ab6(9) or F-7(11) C7sus4(b 13) {4 5 b7 b13} = Abmaj7(6/9) or Fm(l 1/9) jmaj7(6)j
6 for 5 Cmaj7(6)
{ 1 3 6 7}
= Fmaj7(#11 ) = F# -7b5(11) ....
7 6 l
7 3 1 6
F7sus4
B7
B~maj7 (6)
C-7
-0-
-&
1'.n.
There are three applicable inversjons:
G-7
~
b.a.
C9(b 5) I
17..0.
Fmaj7(6) -e-
.)
b.n.
1
7 3
6
II
II
56
F7(alt5) Bbmaj7(6) ~
'~!!
bee~
II
6 for 1 Cmaj7(6)
{5 3 6 7}
= Fmaj9(b5) = G6(9){ 1 369 } ')
There are four appiicable inversions:
.)
6 5 7
b..o.
.n.
-..J
F7(!:5/#9) ~a
C-9 Q
Imaj7b5(6) l 6 for 1
bs
6 7}
There are four applicable inversions:
D -9
....
.)
6
Bb 7(b5/b9) Ei>maj7(6 )
bn.
-&
I
B~maj7 (6 )
b..o. I~
II
A-7( 11) D7sus4(b 9) Gmaj7(6) -e0
I
t(O
'8
±t!
II
II
l
-&
Cmaj7b5(6) = B7sus4
3 6
bs 7
bs
6
7
3
;J.C..
6 3
bs
7
3
bs
F-9
G7rn5/#9) Cmaj7b5(6)
~
7
6
Bb7(b9} E bm aj7b5(6) !
-e-
0
[)€-
~
II
II
I.I
(B'7sus)
A-7
~
b.o. '
7 5
(6 for 5 not applicable) {3
'"'
F-9
~; ..
9
6 3 7 5
D7(#5/#9) Groaj7(6)
A-9
1'1
'
7 6 3
-e-
D7 (~ 5/~9)
fl.e-
(D7sus)
Gmaj705(6 )
C-9
b..o.
' ..0..
(F~'isus)
F7 (# 5/~9) -&
Bii m aj7P 5(6) -&
~
Ii (A7sus)
57
Imin maj7(6) I {b3
6for 1
5 6 7}
C-maj 7(6) = B+7
b3
There are four applicable inversions:
5 7 6
6 5 7
6
~
b..o.
b3
7 5
b3
6
D-7b5
D -7b 5(11) G7(#5/#9) C -m aj7(6) 0
7 5
b3
-a-
i
(B+7)
B-7ti 5(9) E7(# 5/ #9) A-maj7(6)
G7(b9)
-
e
e
0
II (B+7)
A-7b5
D7b9
-&
-e-
0
C-maj7(6)
G-maj7(6) I
tl.O..
ij
II
(G#+7 J
6 for 5
C-rnaj7(6) = F7(#11 )
{l b3 6 7 }
C-7 b5(11)
7
There is one applicable voic ing:
b3
,,
{I 3 b7 b9)
F7(#9)
~ bn
1
= B7(b 9)
Bb-m aj7(6)
#o
II
6 lmin7b5(\, 13) I m in7(alt5)
I
b13 for~. 5 is not usually an appropriate substitution. since the b5th is an important characteristic chord tone. But in
fac L the bl 3th tension on a minor c hord does dictate an accompanying bSth c hord tone. T he only other possible c hord sound would be a very incomplere dom7( ~ 51# 9) chord. For this reason. the bJ 3th for b5th substitution , { I b3 b7 b 13( #5) I = min7~ 5 . will be examined as a mildly incomplere mi n7 b5(b 13 l chord.
C-7(#5)
= F-7( 11) {b3
There arc fo ur applicable inversions:
5 b7 11
b3
I i -.
~o
I
!
b-:
~ :'
v •· b7
B7
#5
~7
b5
C-7 (~5 )
l = B ~9sus-~
~3
l
Bb-6(9 )
E-ns -&
be
!I
58
{ I 4 b7 9 }
b7 I ~
p ·'
I
#5 A7Cb 9) D-6(9)
b.o..
A-7 ~5
-e-
ii
0
D7(alt5 ) G-6(9 >
-e-
t:H 3!
l
bs
b13forl {b3 bs b7 bl3} or {b3 C-7b5(b13)
= G b6(9) {l
#5 b7}
= Emaj9b5 = Bmaj7(6)
3 6 9}
There are four applicable inversions:
C-71'5(b13)
be~t9
bs
'; b7
b7
~~
Bb-6(9)
bo
!
'
F7(fJ9)
b3
E-7(alt5) A7(#5/ b9) D-6(9)
b.o.
PA
e
-e-
II
II ':
G-7b5(b 13) C7(t5/#9) F -6(9)
1
A-7(alt5) D7(#5/f,9) G-6(9)
1
6
~i~~;%~i~-~~-~~ll· ~2~-~--&~4 0
(Cm/F)
Idom7(13) I {l 3 b7 13}
13 for 5
C7(13)
There are two applicable inversions: 3 b7 13 l C-9 17.n
F13
I
SUBY
13 for 1
' '
= Gb7(b51#9J = B bmaj9(b5)
{1
bs
7 9}
1 13 3 b7 Bb6
D-7
G13
Cmaj9
I
OD..
-&
e
§
II
0
II
I
i
v A~-7
B7(b5/ #9; E6(9)
F#-7
_o_
-&
-&
Db7(f,, 5/#9) GfJmaj9
bo
bo •
be-
11
{3 5
b7
CU
13 J
There is one applicable inversion:
13 3 b7 5
SUB V
'
G-6(9) { 1 ~ 3 6 9}
= G-9
C13
-&
-e-
Fmaj9 a
II
j' '
C#-9
~..; ~o .. @)
zjJ
~
F #7(alt9) -e-
Bmaj7 ~-&
II 59
Idom7b5(13) I
(13 for 5 not applicable) {3
13 for 1
bs
b7 13 }
C13b5
13 3
There is one applicable inversion:
= Gb7(#9) G-9
{ 1 3 b7 #9}
Cl3b5 -&
b7
Fmaj9 0
bs
II
l
C#-9
SUBY
{lb s b7
13 for 3
F#7(#9)
Bmaj7
F13b5
Bb6(9)
if& Eo ---#';~~·- -- - ------+ill
13 }
There are two applicable inversions:
D-9
G13b5
Cmaj9
F7sus4 I
-&
'
SUB V
#~
IJ..0.
0
'tt::
II
j Ab-7
lk,
Db7(b5/~9)
!
II
I v F~7sus4
Gbmaj7 I
0
~
on..
..u
B7(b5/#9) ..a.
E-6 ..0.
Ii
II
Idom7sus4(13) I 13 for 5
{1 4 b7 13)
There are two applicable inversions:
4 b7 E
1
13 . ,_ !-
p.
F13sus4
'~n
F+7
Bb6(9)
F13sus4
F+7
Bbmaj9
-e-
0
e
e
e
II
II (Bb / E b)
60
13for1
{4 5 b7 13}
There are two applicable voicings:
Cl3sus4 13 4
13 5
5
4
=
G-9 {l b3 b7 9}
b~b7
Fmaj9
C13sus4 C7(alt5)
f,e-
~~
C13sus4
~g
~~~
II
C9b5 b..n
fi
Fmaj7~5
-a-
II
The foll owing examples will use various thirteenth chords in a "Jazz,. or "II-V" blues form. Note that the dom7 #5(# 11) or dom7(alt5) chords that were introduced in the past chapter appear again in this chapter as dom7~5(~ 13).
E-7(b 13)
Fmaj7(6)
~
J Bb13
~ br:
r
I~
Bb7b5(b 13)
gl'
~&,
G-7(11)
~~ I
I
1:
(E -7#5)
(Eb9)
Bb-7(11)
E b7(b 13)
~ '
A-9
~
1&iz'
G7( ~13)
D-9
~r
1r
(Eb+7 )
(E9)
G-9
A7b5(b 13)
C7(b5/b 13) C7(b 13) b-F'
1:~
(G#+7 )
19-
1r
:
(G+7)
(F+7)
D13!i5
Ab-9
I'
Ibr:
Db+7
E
(A,7(#9))
Fmaj7(6) D7(alt5) 19-
#i~
I
I
11(7 (C+7)
F7(H3)
C-9
(C6(9)J
61
(Ab9)
G-9
I'
C7(b9/b 13)
~ I
Fmaj9
II
i
II
In the next example, note the multiple fu nctions of the dom7#5 and min7#5 chords. Also note the different functions of the maj6(9) chord on the first three voicings. Finally, note the common lead tone on the last four bars. This "IIV" blues is in the key of "C.,.
Cmaj7(6)
A-maj7(6)
B-7b5(b 13) E7(#9)
~,
r
(G6(9 ))
(G6(9))
F9
F13
I (Ab +7)
(F6(9)) F-7(11)
1
I
1 91~ ~
E
@"F
1;;
ir i~
-f9-
-9-
Bb13ti5
E-9
ir
~·~ I I
( C-7~5 )
,
D-7(11)
@
G+7
~
(A-7#5) (A-7#5 )
I (2
(E7(~9))
D9b5
!~I
G-9
If
C7(b 5/b 13)
t'
(Gb9)
(Ab +7) A7 (~ 5/b 13)
E b-9
b.p.
~~~~
I'
'I
Abl3b5
I I
(Eb9)
G7(b 5/ b13) E-7(b 13) A7(b5/', 13) G 13sus4 G7(b5/1'13) Cadd9
1f~
11
i·~
(Eb+7)
(E-7#5)
(Eb9 )
62
! I~
~·~
(D-7-(9/ 11)) (Eb9)
I! I ~ (E-7#5)
II
Chapter Ten. Two Tensions This chapter will examine the three different two-tension combinations produced by tensions 9, 11, and 13: (9 & 13), (9 & 11), and (1 1 & 13). The preferred four-note voicings will include two tensions and the guide-mnes, thus omitting the root and 5th. Wnen a bSth or #Sth is needed, the least needed guide-tone (usually the 3rd) will be removed. Some of the most effective voicings place the guide-tones on the lower two strings (4th and 5th strings) and the tensions on the upper two strings (2nd anc 3rd strings). The first and third inversions of drop 2 type voicings arrange their intervals in this matter, producing some of the most useful voicings in this chapter. Since 9 and 13 are perhaps the most common tensions fo und together, this chapter will begin by examining them first, followed by (9 & 11) and ( 11 & 13).
Tensions 9 and 13 Those chords containing a~ 5th and natural 13 rension will be examined enharmonicallv under the Three Tensions · chapter as# i1 and 13: ~
{9 #11 13} {~9 #11 13} {#9 #11 13} Those dominant chords that contain both bs and tension b13 will examine two different voicing formulas: {3 bs 9 b13} and {bs b7 9 b13} *The {b 5 b7 9 b13} formula will also be used as the min7b 5(b 13/9) voicing formula in this section. This voicing will serve both subdominant and dominant functions in their following relative II-V-I examples. Note the ninth (no 5) enharmonic substitution chords produced by the {3
b5
9
b13} formula:
C7b5(~13/9) =E9 {l 3 b7 9} C7b 5(~ 13/b9) = E6(9) { l 3 6 9 } C7b5(b 131#9) = Emaj7(9) {1 3 7 9 } Additional enharmonic chord symb0i normion could also oe used to aescrioe ti1e aoO\·e cbords: C7b5(b 13/9): C+7(# 1119) I C+7(9/b 5) I C9(# 111~5) I C9(#51b5) I C9(alt5) I C9(b 13/~5) I etc. C7bS(b 13/b9): C+7(~ 11/b9) I C+7(b9/b5) I C7bs(i9!# S) I C7(b9/alt5) I C7(b91#51b5) I etc. C7b5(b 131#9): C+7(# 111#9) I C+1(#91b5 ) I C7b5(~91#5) I C7(#91alt5) I C7(#91#Slb5) I etc. As discussed in the Chord Symbol Notation chapter, #11 and b13 will be avoided in chord symbol notation. Consequently , I recommend avoiding the following symbol descriplions of the above chords: C7b S(b 13/9): avoid C7(b 131# 1119) or C9( j, 13/~ J 1> C7b5(b 13/b9): avoid C7(b 131# l llb9) C7b5Cb 131#9): avoid C7(b 13/~ 111#9) Due to the incomplete nature and limited voicings, the natural Sth produces, {5 7 9 13} voicings will be avoided in this section. They will be examined later in the Additional Enharmonic Chordal Substitutions chapter. With the exception of a dom7( 13/9) chord. all of the voicings used in this section have been previously introd~ced as basic four-part (7th and 6th chord~) or 9th chords. As was the case in the Tension 13 chapter. a dom7sus4( ~ 13 i chord with 9 or b9 will be avoided.
63
The following
C+7(9) C+7(b9) C+7 (#9)
The fo llowing dom7 chords were introduced by their Sub V chords in the Tension 9 chapter:
=
C?f 13/9) C7(13/b 9)
Imaj7(6/9) I
Gb+7(#9) Gb 7(#9)
=
Cmaj7(6/9) = E7sus4
{3 7 6 9}
A voiding tension 9 on the 5th string leaves three applicable voicings:
7
6 9 7 3
D-9
9 6 3 7
,,
.)
9 6
G7{#5/ #9) Cmaj7(6/9) C-7(11) F7sus4(b9) B11maj7(6/9 ) A-7
b..o.
b.n
-e-
-&
I
-&
-e-
II
II
(D7sus4)
(E7sus4)
{b3 7 6 9}
There is one applicable inversion:
0..0.
0
II
Imin maj7(6/9) I
D7(#5/!19) Gmaj7{6/ 9)
C-maj7(6/9)
9
A-7b5 (11)
6
l&
·b3 7
(B7sus4)
= B7# 9 { l
3 h7 #9}
D7(#5/#9)
G-rn aj7(6/9 )
b..o. 0
CF n(rt9) 1
Imin7bS(b 13/9) I
C -7b5(9/b 13) = Bb+7
{b 5 h7 9 b13}
Avoiding tension 9 on the 5th string leaves three applicable voicings:
bl3 9
b7 bs C-7b5(b13/9) B9
~
i...
-.; CBr>+7)
bo
B b-6(9)
I '7 p I
9
bs
bB
9
b5
I
bi
. ,,
!11 .:
A-7h5(h13/9) D9(b5 ) 0
e
-e-
~o
II (G+7 )
G -rnaj9 F#-7b 5(b 13/9) B+ 7(#9) E-6(9)
(G;:+7 )
64
# IJ-.o CE+7)
qo
.. "" a
Idom7(#9113) I
{3 b7 #9 13} There are two applicable voicings: 13
#9 13 3
~~
b7
3
Only one example is needed, since the Sub V mirrors the original chord:
C 13(#9)
= Gb13(#9) C#-9
13 ............. A .... ...........#9
#9.............Eb ............. 13
~
l
b7 .............Bb............... 3 G-9
3......... ... E ........... ... b7
Bmaj7
F#l3(tt9) -a-
C13(#9)
~
Fmaj9
~<==-e-===========-e-====================~II 0
(SUB V)
~
Idom7~5(~ 13/9) I {bS b7 9 b13}
[dom9(#51b5)] or ldom9(alt5)]
C7b5(b 13/9)
= Bb+7
Those voicings producing tension 9 on the 5th string will be avoided. However, the Sub V' s of these voicings will be examined since b13(#5) now appears in the bass. Four applicable inversions:
G-9
~ ~
bs
9
b13 bs b7
b7
b13 9
b13 9 b7
bs
b7 bs 9
bl3
A7b5(b l3/9 ) C7b5(b 13/ 9 ) D6(9) . Fmaj9 E7 sus4 -a-a0 0
~
I!
\)/
(Bb+7)
'Y'
D-9 -a-
G9(#5/ b5) C(add9) e.
(G+7)
J (F+7)
II
I
~
·l
11 ~
'Z
E9(alt5)
b~
II
I
II
(Dtl j
I
I
C#-9 F#(9/ #5) B6(9 J (Sub V not applicable) Ab-9 Db(9/#5) Gb6(9) F7sus4 Bb+(9) E b6 jto
jo
b.a.
~o
,,
jl
-e-
b.a.
b.& 11
65
-
b.a.
b.a.
II
{3
hs
9 ht3}
=
C7h5Ch 13/9)
Four applicable inversions:
hs
b13
9
3 9
b13
b5
3 bl3
3 b13
9
9
bs
3
E9 { 1 3
b7
bs
C7b5(b l3/ 9)
C7b5(b 13/9) G-7(11) F6(9)
p-7
on
0
Fmaj7 -e-
j:t
9}
A9(~ 5/ii 5 )
E-9
.0..
I!
\;
1:
V/
I
l
I
l =
C#-9 F#9(#5) Bmaj9 (Sub V not applicable) G-9 C9(#5) Fmaj7(#1lj
S®v-4-io__i_o_#_'o_~11~n_ _~_o_~ --ll-----€ ldom7b5(hl3/b9)
II
t (Bb9)
(C#9)
j
C#-9 F#9(#5) Bmaj9
b.o.
.il
\j:
(E9)
(E9)
Gb9(alt5)
Dmaj7(9/6)
.0..
I
,
~
[dom7(b9/alt5)]
Those inversions containing tension b13 on the 5th string will omit their. .Sub V chords, which would subsequently contain tension 9 on the 5th string. Note the fourth intervals produced by these tensions and the b5th:
C7 ~5 (b 13/b9):b5
Gb >4th
Db
b9
>
4th
Ab
C7b5l ;d3/~91
{ b5 ~7 b9 ~13}
b9
Four appiicable inversions:
b5
b7
b1 3
~I ~
b5
b9
b7
=
B ~-7(tt5l " bl3 ~7 b9 ~5 b7 b9
bs
b13 D-9
;&
-e-
~
;:>-Er
1
II
+
-e-
!I
""'" i
I
v
\•
E II'-"- "-"- '"" l •
(B~-n5 >
( G-7~ 5 )
( F- 7~5 )
(Eb -7~5 )
l t
'
l
.
C~-7 ( 11 ) F~ (9 )
~
-&
Cl
G?(~g/alts i F 7(b9/alt5) , ~ . C(add9) C: ?(ll) ,Bt1 o
#0
Bmaj? (Sub V not applicable) A,-7(11) D;;i (9 ) Gi> 6(9) F,7sus4 B(9)
~
:±-e-
b.&
SUB Y ~·e-i----H!I----~ ! h :~>-L;;___ . ~
66
_
b.& _
..0..
..0..
E6 .0.
-+!1-- ---+!ll
{3
bs
C7b5(b 13/b9)
b9 bt3}
bu
bs b9
Four applicable inversions:
3
G-7(11)
F6(9) 0
~ _,
b5
b13
;;I 1_~.,
b.o.
·
6 9}
~5 ~9
A7(~9/alt5 )
C%5(P13/P9) ,G-7 Fmaj7
E-9 n
-&
~
F~9
..Q.
Idom7b5(b131#9) I
-:to
G7(~9/alt5 J
D-7 -e-
Bmaj9 ~-e.
Cmaj7
.n.
.il
CB6(9))
J A~-9 (Sub V not applicable) b.o.
~I
C~-7
Dmaj9 -e-
(C#6(9))
I
Bmaj9
b
n
<E6(9))
(E6(9)) Cf,-9
lq
3
~:'\
C7P5(b13/1'9)
E6(9) {1 3
p -
~9
b13 3
=
~
D'19 ~
Gb & !)_Q_
[dom7(#91alt5)]
The voicing formula containing the b7th will be avoided due to the ambiguous sound produced. Without the third, the { b5 b7 b13} voicingfunctionsbetterasamin7b5(b13) { b3 bs b7 bB} chord.
#9
{3
bs
#9 b.13}
Two applicable inversions:
C7b5(~ 131#9)
bs
b13
3.
~5
= Emaj9 { 1
3 7 9J
~i3 #9 ,F-7
B ;; 7(~9i alt5 ) E~maj7(6 )
0
4-~~ ~!~-~~1~~~ ;~!-~~~ll 0
(Emaj 9 )
(Dmaj9 j
~
t C~-7( ll j
F;7(13/9 )
B6(9)
B-9
E7(13/9; Amaj7(6 )
l
-:fr-'-+-~--_,,, i~ -~ j~e~~---e______,~~·+---~~·.,~·---
SUB
-J
1
-&--~-------~-------"" ---'.: ~;:--· @.)
67
{4~7913}
ldorn7sus4(9/13)j
C7sus4(9/13)
= Bbmaj7 13
Avoiding tension 9 on the 5th string leaves two applicable inversions:
9
Q ,,
13
b7
4
b7
4
C7sus4(9/ 13) C7(f,5/ ~9) Fmaj9
l>e-
A7sus4(9/ 13 ) Eb9
b.o.
.0.
0
D6(9) .a-
II
II
{Gmaj7)
Idom7sus4(b9/13) I
I 4 b7 b9
C7sus4(b9/l 3)
13 }
= Bb -maj7 , . .,
A voiding tension 9 on the Sth string leaves two applicable inversions:
b9
l _1
b9 b7
13 4
b7
-+'
Al3sus4(li 9) E b9
C13sus4(b 9) C7(tt5/#9) Fmaj9
~
b.o.
0
D6(9 )
b.o. /
-e-
II
I! (G-maj7)
The foll owing examples will use variouschords cornaining tensions 9 and 13 in a Tl-Vblues form. Chords introduced in past chapters will be included to enhance voic~- leading. In this first example. note the same dominant voicings used on beats three and four m measures five and six.
E-7b5(b 13) A13(b9) ? b.a.
Fmaj7(6/9) Fmaj7
&r
~
I
F13(~ 9 )
C-9
#a
0
I
i
CBb6(9)) Bb9
'
!r
fr
l&i
~
G7(tt 9/b 13)
D-9
t9
B b9f13) B 119fo 13) Bb- ~l
r.
~
:
~
fr
E,-;-7(~9) ~
1 1~!
EH7(9 J A-9
G.£
D 13(~9;
Ab -7( 11) Db,13(b5J
.a. I
.f2
I~
o.a.
1t
I
;,g ===i -jr I
CG7
G-9
¥f
D b9
kr I
C7(9i l 3 j
,r
C7 (~9i !i 13) F 7(9/ 13) !)?
D7(!i 9/b 13) D.a.
G9
Cl3(b 9)
fr
fr
!\
1%
68
Fmaj7(6t9) 0
II
II
In this next example, note the descending chromatic voices against a common lead voice in the last two measures.
Cmaj7(6/9)
C9b5
€
iE
' ' '
B-7b5(9/bl3) E7(b9/b l 3)
I #~
~
I
A-9
D7(b9)
IF
j~
G-7(11)
Ii'
~
F-7(11 )
F7b5
Bli 13(b9)
11{~
fr
:
Al3(#9)
E-9
'::.a.
~
(B:(9))
CA+7)
F 7(9/13)
C7(b13/b9)
¥
L2..
11
Ab13sus4 Ab 7(9/13)
bp.
I
,~
I
i
(C-7#5)
D-9 ?
D-7
(Eb-7(9/ 11))
G13sus4(b 9) G7(b 9)
-9
I
~
I
C9
A13
a
fr
~
D7(l:9i G7(9/13)
(F-maj7)
fr
i9-
Ii
I
i
C13(#9) -e-
II
!I
This last example utilizes some of the dominant type chords that contain b5 and b13 { b5 9 b13}, f b5 b9 b13 }, { bs fi9 b13 }. In this example, b13 will be enharmonically substituted by #5, producing chord symbols containing { ~ 5 #S} or (alt5). These versatile and interesting voicings present some unique chromatic and constant structure voice-leading possibilities. Additional examples of these dominant chord types can be found at the end of the Three Tensions chapter.
C9
*1 F9
i&u Ii~ I
D-9
C7(13/ 9)
B-7b5(H3)
E7( ~9/ al t5 J
~
-9
Ii (F6(9)J
C9(#5/b5)
;gr
F-9
Bb7(:i9/ alt5,1
_L
#~
~Ii
l·~ ·h~
'1
,,
I
,,
G-9
E-7(11 )
A7(b9/alt5)
I~
Q~
(B-7#5)
(G-7::5 )
~ (Bb+7)
E b-7(11 )
Ab9
~
Df-
1~~~
I
I
(G~ - 7#5 )
G7(:t9/ :!5) G7(b 9/alt5) C(add9) A7{b9/alt5) D9{no3) Db?
-1...-f___,__,'-f-"-r~ _..
.
C9(#5/b 5 )
(F~ 6(9))
fr
~-H-.....,~l'-----.,,..-6---~+it"'--'"9___ ~ -""1'-li
Iii
D7(b 9/ alt5)
(APmaj9)
I (E9)
D-7(11'
A -6(9)
~
•:f
?-+L-r-
I
CF-7#5)
CE-7#5) (Db6(9))
69
I
i!
(C6(9J)
p
Cmaj?rnll > J.l
11 ?8 -e-
I!
Tensions 9 and 11 The two types of voicings used in this section follow the traditional drop 2 substitution formula: 9 for 1 {3 7 9 11 } and 11 for3 or 5 {S 7 9 11}. With the exception of ihedom7(#9J# 11) chord, all of these voicingshave been introduced in previous chapters. Those dom7 chords containing a section:
#5 have already been introduced enharmonicaliy under the Tensions 9 and 13
C+7(9J# 11) = C7b5(~ 13/9) C+7(b91#1 ,1) = C7b 5(b13/b 9) C+7(#9J#ll ) = C7b 5(b 131#9)
The following chords that have 9 for l and 11 for 5 {3 7 9 11 l tension substitutions have been previously introduced enharrnonically under the Tension 9 chapter. Their relative II-V-1 examples and Sub V chords can be found in that chapter. Cmaj7(9J# 11) = C7(91#11 ) = C7(b9J# 11) = C7(#9J# 11) =
Cmaj7b5(9) C7b5(9)
C7b 5(b9) C7b 5(# 9)
Nore the unique character of the maj6 and min6 chords with the addition of tensions 9 and 11 . 6, 9. and 11 form complete triad a whole step above the root of the original chord: C6(9J# 11) forms a D major triad. C-6(9/1 1) forms a D minor triad. ·'
Imaj7(91#11) I {5 7 9 #11}
Cmaj7(9J# 11)
=
Gmaj7
A voiding tension 9 on the 5th string leaves two applicable voicings:
Bb13 Amaj7(9/H l ) A -7(11)
B-9
~ #e
1:l! I
I
lmaj6(91#11) {3 6 9
#a
h~
1
1
(Emaj7)
~11}
7
9
#11 9
5 #Il
5
7
D%5(b9) Gmaj9(U :
#a
'Z
11
(Dmaj7)
C6(91# 11) (C6~ 5(9 )) = F# -7f.5
Avoiding tension 9 on the 5th string leaves lhree applicable rnicmgs:
it - 1
:+ l.
6
9
9 6
3
#11
9
3 6
~11
D-9 -&
'
G+7 0
C6(9/# 11)
~!
1
-&
B-9
ll ~e
E9(#5) ~e
B-9
A6(9/# 11)
~
J.I. .,.e
II
(DIE) 70
E7 (~5/b 9 )
b-e-
A6(9/# 11) .0..
II
::i
{5 6 9 #11} C6(91#11)
=
Al3sus4 {l 4
There are two applicable inversions: 9 5
#11 9 5
6
~
13}
6
#11
Bb9sus4
b7
E ~7l15(l19)
AP6(9/ Ul)
F13sus4
B13
Bl16(9/#ll )
0
--#-=&--t:;e-_ _D..o.--~-=-11-~--7-t.='_,. . . _lH-~ =--~-==It ..; (F-7)
1
(F13sus4)
(A7)
0
(Bb/Ei:i)
{C/F Jand(G 13sus4)
Imin.maj7(11/9) j As discussed in the Tension 11 chapter under the min.maj7( 11) chord, 11 and 7 produce the guide-tones (3 and b7) of its V7 chord, producing a potentially ambiguous sound. Tension 9 further complicates this by being a chord tone (the 5th) of its V7 chord. The weakest possible voicing {5 7 9 11 } includes all of the basic chord t0nes { I 3 5 ;, 7} of its V7 chord. This produces an extremeiy ambiguous sound and therefore will not be included in this section.
{b3 7 9 11} C-maj7(11/9) There are two applicable voicings:
=
F13b 5
11 9
7 'b3
7
9
b3 D-7b5
\,&
~ Imiu6(1119) I
G7b5
11
C·maj7(11/9)
-0-
Q
~!
{b3 6 9 ii }
Q
[:;: ' .fr
=
II
B7b5(#9) I Fl3
9 6
b3
11
-4~
C-maj7(11/ 9)
~
l'
9
G7
G7(#9)
II
C-6(1119)
There are two applicable invers1ons: f '17 -<.
D-7b5
D-7\,5
C-6(11/9.J
E-9~ 5
:;.e..
l>.n.
I
''e~;
I
"
(F13)
71
A+7 -e-
D-6(11/9)
_Jj ~ (G13)and(Em/F)
{5 6 9 11}
=
C-6(1119)
F6(9) {1 3 6 9}
Avoiding tension 9 on the 5th string leaves three applicable inversions:
E-7b5
~
D-6(11/9)
E b7
b.o.
0
C-7b5
B7
?.0.
-e-
-&
!~
tJ
Bb-6(11/ 9)
tz~
II
I
{b3 b7 9 11}
C'-7(9/ll)
There are two applicable inversions: b7
{5
b7
5
Fl3sus4
-&
~i ,,
II
BPmaj7(6 )
-e-
C-9(11)
I
F7(~5/ b9)
~e
II
0
0
II
(Bb/E b)
C-7(9/11 ) = G-7
9 11}
9
b7
5
11 9
b7 B~-9(11 )
F7(#5/b9) Bb6(9) I
0
?0
~
0
Ab6(9)
A7
(F-7)
{bS ~7 9 11}
11
€-
Ot-
CD-7)
C-7b5(9/l 1: = G~ maj7 ;5 9
11
bs
9
11 ~7
bs C-7b5C9/11 ) F+7
Bb-6
A-7b5(9/11 ) D7(#5/#9) G-6(9)
I
b.o. ------Mll
D.D..
.Q_
_-e-_ _ _ -t+-!I
(GPmaj7#5)
(Ebmaj7#5 ) 72
Fmaj9
I
[11 for 5 not appiicable)
There are two applicable inversions: ~ 7
~ ~fi
b7
s
II
Ii
I
5 9
G-9(11) C7(#5/b9)
?.C..
:;&
I
@(G-7) lmin1bs c9111)
II
Bbmaj7(6/9)
11
0
.Q_
= Ab6(91#11 )
A voiding tension 9 on the 5th string leaves three applicable inversions:
C-9(11;
E7(#5/b9) A-6(11/9)
B-n5
b7 b3
]1
'On
5 11 6
9
9 F7 (~5/b9 )
9
11 9
11
b3
C-9(11) I
=
6
-e-
(Cm/F)
lmin7(9/11)
5 9 6 Ii
0
I!
j dom7(91#11)
I
{5 b7 9 #11}
There are three applicable voicings:
=
C7(91#11 )
~~l
b7
5 9
9 5
G-maj7
9 5
#11
~~ 1
Note that tension 9 is not available on the 5th su-ing but becomes available on its Sub V chord as the #Sth.
F9(#11) ..a.
'
1
0
II
A9(#11) D(add9) .0.
~
;:
lj:
(F-maj7)
II
(E-maj7)
j E6
E7sus4
b-e-
-e-
..0..
A6(9)
E(~5/~9 )
Bb-7(11) E brn5/b 9) Ab6(9)
b..o.
I
f>&
q.n.
bn
Ii
'
( F~7sus4)
Idom7(b91#11) I
{5 b7 b9 #11}
There are three applicable inversions:
C7(b91#11) = Eb7(#9)
~~ 1
b7 ~ 11
C-7
' bn
i
-&
0
II
;
(D~7(#9)
II ~
4
" -t:o
B-9
II ::o
0
II
and E/F) (FIG )
\
Emaj7
-&
\.,
\
I
B (b9) ..a.
f~ zz ss
J~
(Ab7(#9)J
F#7sus4 ..a.
~~1
F -9 B'r>7{b 9/Ul) Eb6(9/Ul) D-7(11) G7('~9/~11) C(add9)
F7(b 9/Ul) B, maj9
~
b9 5
~9
5 b9
SUBY
b.o.
t
(C-maj7)
.
E" -
Eb6(9)
~
II i,1ig
F#7sus4 BC#5/b9) ..a. ..a.
SUB Y
B ~ 9(;! 11 )
F-9
/
i
·§
II
(Bb7(#9)) !
I
I I w
\l
E (b 9)
Amaj7
#o
~o
73
~
Ab-7(11) Db(b9)
II 11~
~
Gbrnaj9 'o-e-
II
ldom7(#91#11) I
{5 ~7 #9 #11}
Only two voicings are physically available, and one of these cannot be used due to the #9th te nsion being located o n the Sth string. These voicings will reappear in the Three Tensions chapte r, where both will be available. F-9(11 ) b7 Bb 7 (~9/ tt11 J
= C~rn/F
~
Ul ~9
5
B , 7(#9/#11)
b.u
Eb6(9/ #11)
\>e.
~
I!
(Eb/Abl
(FIG)
(Dtim/ F)
I
i B-7Cl l)
E13(b 9)
Amaj7C#ll )
-1;,,.~,.----=..-:1---'*----..n..#:~:~=----------1~ 0
SUB V
The followin g examples will use various chords conta ining tensions 9 and 11. Additional ch0rds from past chapre:are used ro enhance voice-leading. This first example is a II-V blues in the key o f "F."
Fmaj7
~
~I
~
E7{tt5/ #9) A13(#9)
D-9
~
1€
G
Bb9(#11)
kr
;; I
(F-maj7 )
~'
(D-7,,5 )
C-9
i,#~
Bb-7(11J
Eb 9(~11 )
A-7(11)
1l·i;
-6)..
oa
1.,
gif-
Ab-7(11 )
1§!
D7(# 9/ ~ll )
F9
lb~
G-7
!
I
I
(Gl> 7 (~9))
?~
Db7(a1t5)
ba
.?
:
~ {i~ I
I
(Ab7sus4;
(G#/A)
(F-7#5 )
1.~ (C-maj7 )
D7(#11/1>9)
?
b-6-
F9(#11 )
I~
CC~ / D )
C13(~ 11 ) C9(~ 11 )
G -7( 11'
G7(Ul/1>9)
1€
(G/A) Bb9
'
F6(#11/9)
C7(Hl/!!9 )
I
j
(A9)
Fmaj7 (~ 11/ 9 )
I
·bbO~ tl
(E 11 m/G)
!f !
If
(Em/A)
This next example is an.eight-bar c.hor~ progre~sion star~in~ in "A'' minor and e n~ing in the relative "C" maj o r. In an attempt to use two different ma37~ ) mvers1ons as nun7!1 5(9/l J) chords. tension 9 appears o n the Sth string in the first measure . Althoug h above L.l.L. for tension 9. care should be taken to avoid a potential p9th interval if the minor 3rd of the chord is voiced or played by another instrument.
74
F ~ - 7b5(9/
A-6
i
r
'
11) B-7b5(9/ 11)
(Cmaj7#5)
E7 (~5/#9)
(Fmaj7~5)
I,, If G-9
A-maj7(6 )
If
f
I'
A-6(9)
:~
CF#/G)
(Gh7)
1 1¥
C7(#11/b 9)
F6(tt ll/9) Fmaj9 F-maj7(11/9) Bb9(#11) Cmaj7(6/9)A7(alt5) D-7(9/ 11) G7sus4(b 9) Cmaj7(9/#11)
I~,
f (GIA)
111i~
(F-maj7)
IL
f
II (Gmaj7)
(E b9)
Tensions 11 and 13
,:·~:·.:
...:.·. ·:\,
We are left with very few chords in this section, since most have been previously introduced cnharmonically. Only one dom7 voici ng will be examined in this section: C7(tt 11/ 13) {5 b7 were introduced earlier. C7(tt 11113) { I b7 tt 11 D} and {3 b7
#11
#11
13}. The remaining dom7 chords
13} are examined as C7b5(l 3) chords in the Tension 13 chapter.
As discussed in the Chord Symbol Notation chapter,# 11 and~ 13 should be avoided in the same chord symbol. If these notes are desired, dom7( » 111ttS) voicings under the Tensions 11 chapter will suffice. The traditional drop 2 tension substitLition formula [ 13 for 5) and [ 11 for 3] produces a very incomplete {1. 7 11 13 } voicing which will be omitted from this section. Instead, the more complete {3 7 11 13} and {5 7 11 13} voicings will be examined. Only one
~ew
voicing is introduced in th is section: min7b5(1llb 13)
This voicing is an inversion of the previously introduced rnaj7(9) { l 3 7 9) voicing: 3 ............. b7 ! .. ........... bs 7 ...... ....... 11
9.... ......... b13
The min7b 5( I lib 13) chord presents unique voicing possibilities, since any combination of the basic chord tones can accompany tensions 11 and b13: C-7 b5( 1l/b13):
lb 3 Ilbl3 l bs l I b 13 tb 7 tlb1 3 b3 bs i1 bB b3b7 tt b l3 bs b7 11 bt3
=
A b6/F-7
=
Ab 13
=
Ab6(9) { I 3 6 9)
= =
B6Ctt 11 ) {3 5 6 " 11 ) Bb 7(sus4) Gbmaj9 {I 3 7 9)
=
Those voicings not containing the b7th could be examined as dim? chords with tensions 11 and b13. This makes the b7th a rather characteristic note in this chord. Thus, the single most cha1~cteristic voicing would contain both the ~ 5th and b7th {~ 5 b7 11 b 13}. This voicing, as well as the voic ing containing the guide-tones {b 3 b7 11 b13} will be examined in this section. Students are encouraged to explore the remaining voicing types .
75
lmaj7(6/ff 11) I {3 7 # 11 6} was previously introduced in the T ens ion 13 chapter as a maj7~ 5(6) chord.
= Gmaj9
{5 7 #11 6} Cmaj7(61#l 1)
T here are two app licable inversions: 6
7 5
tt 11
tt 11
7 5 C-9(11)
Bl3
{l 3 7 9}
6 Bbmaj7(6/# 11) A-7(11)
Ab7
Gmaj7(6/#ll)
~·-~:~~----+II-I(Z--~-"'-t-~-----+'I Imin maj7(11/6) I As discussed in the Tension 11 chapter under the ruin maj7(11) chord, 11 and 7 produce the guide-tones (3 and 7) of its V7 chord, forming a potent ially ambiguous sound. Also mentioned was the support the root and/orb 3rd have on these ambiguous voicings. Of the two voicings displayed here, {b3 7 11 6} appears to be the stronger, while {5 7 11 6} is quite ambiguous.
{b3 7 11 6} C-maj7(6/l l ) = F7b5 / B7b5 Note: s inceF7b5 = B7b5,Cmin.maj7(6/11) = G bmi n.maj7(6/1 1). T here are four applicab le inversions: b3 6
11 7 6 b3
11 7 D-7b5
~~
7
6 b3 7
11 b3 6
11
C-maj7(6/ll) D-7b5(9) G7(#5/#~) C-maj7(6/ll)
G7b5 0
~
e
b..a.
1:1
(F7b5)
(F7b5)
D-7b5
~ {5 7 11 6}
-e-
-
G7(tt9) C-maj7(6/ 11)
b..a.
A-7b5
-e-
~~
0
II
(F7b5)
C-maj7(6/l I)
There are four applicable inversions: I l
--
bp
6
5 7
= 5 7 6 11
7 5 11 6
6
11 7 5
76
D7(alt5) G-maj7(6/ 11)
b..a.
~lzU
b..a.
~
(C7b5)
G9 { 1 3 b7 9}
I~
A-7?501) ~
D7(~5/~9) .... r..
~
0
G-maj7(6/ 11) B-7!> 5(11/ 9) B~7 -e_...,,. b.o. ~
A-maj7(6/11)
ls
~M~~--g~ ·:--~~~ 4~44 rn, g
D-71alt6
I dom7 (~ 11/13) I
C-maj7(6/11 I D-7ii 5(11 ) G7(b9., C-maj7(6/11 )
{5
b7 ,,Hn
The re is one applicable voicing:
13 ~ ll
C7(~11/13!
13}
=
G-maj9 ll
b3
B~ 7 (~11/13 °1
F -7( 11 l
7 9) E~maj9
=f;i-_!!5::.·~~~~~~n'--~~~~~s~ - ~~~~--.
b7
.
~ .--~~~~~~~~Jlt
B7sus4
E (alt9J
A...'11aj7(6 )
~~-e------~ ~:1'-'------t1ll 0
(SUB VJ
I min7~ 5(11/~ 13)
J
{~ 5
b7 11
There are two applicable inversions:
b13
~ 13 }
C-7 b:'\ (J l/b !:< )
11 3 7 9}
- ~7
i1
b5
b:;
D
~-
= Gbma_i9
I: [3
G6(91
C-7r5<1 l/~>l3 1 ..'.\ '.'t1it:ing :·-:c
r.me n ti ~.d
=
Bb/(sus-+ 1
'? S•th 1mcn al 1h:.-,t couiu :csuir oy oiacmg lension ii on tile Sth strin g tc;r: ;;s tilr::e ~tf:)iic:.ib1~
in\'Cr;-,ion:-. . Jl
b7 : 1 J J I .., DI
G6•.9 J
77
G-7o 5(ol2/l:!.; C7(!:51::>t;J F-6(9
The following eight-measure example will use various chords containing tensions 11 and 13. Additional chords from past chapters are also used to enhance voice-leading. The C7 (f 11/~ 13) chord is yet another way to notate this voicing, which was originally introduced as a C+7 C# 11) or C7(alt5) chord and later as a C7~5(~ 13) chord. As mentioned earlier, this notation (b 131# 11) in the same symbol has various and confusing implications. While still recommending its avoidance, it is included here for demonstrative purposes. Also note the additional chordal substitution for a dom9(no 5) chord { ~ 3 ~ 7 9} at the end of this exercise:
CC# l l/9J = D9. B-7b5(b 13/11) E7b5
A-maj7(6)
A -6(9j
A-maj7(11/6) A-6(9)
G-7(11) C7(b 13/#11)
!
~
:r
()
I~
"."
(!)
4
Fmaj9
f'
I
I:": -
I
F-7(11) Bb 13(~11 )
C6(9)
A 13(;:9)
I
~
D-6'-
~ I
iJ~
I
..
bi
I
~".
I
I
f:
I ;? i
I
:
l i1~
I
(F-maj9)
C(#ll/9 )
I
D.f4
(Bb 13)
~
(Gb 9)
D- 7h5(~13/11) Gl3(~11)
I
l
bP-
(D7~5)
(Fmaj9)
(G#+7) Fmaj7
D.p.
..
R~ ...
'I' I
I
::~
1~
,,
(
11 I
(D9)
This next II-V blues example uses various chords from the past tension chapters. Also included are a couple of new functionsinthesecondmeasure:G-maj9 {1 ~ 3 7 9} = E-7~5(11/9) and G-9 [1 ~3 b7 9} = A7(b9/b 13). This example incorporares chromatic voice-leading to a greater degq::e than previous examples. Note the voiceieading motif in measures five and six is repeated in measures nine and ten and inverted in measures seven and eight. Also note rhe contrarv chromatic voices in the last two measures. F6(9 l
Fmaj9
E-7b5(1 1/9) A7(b 13/ b9) (G-rna,i9l
* t)
~
-
I ;=~
I
B P7(13/9)
~i
~..,.:;.
~
-
B~9(#11 )
B?-7(11 "
D-9
G+7
fr
C2
F7(b 9/~5 )
C-7(11/9 )
(G-9 1 I
I
Eb9<#11 l
A-9
±zG
- r-6'
I
I
A~-7
D9(b 13)
Db 9 (~ 13)
(C+7) I
~
I
D.a.
C2
bg
.a.
. bfr 5:.t-
" ins'
11i~~
I
oa.
b-.9-
t>-@-
--""'
~
G.., - I
D~7(13/9 )
C9(ii 13) Cl3(b9 )
i
' u
Q
D.p.
i
~
Clfr
F(add9) D7(alt5) (A-7~5 ) (Ab 9 ) I
ltc;i 'ro·
Q I
!~
~;§ I I
I
78
GO' v DO fr
I ~~ I
C9(b 13 )
F9
[>fr
%~ I
'3
1
11
~
Chapter Eleven. Voice-Leading Chord Scales Upon completion of sin~le tension additions to the basic four-part chords, it is possible to voice-lead any note from any chord scale.
2
5
4 (11)
(9)
7
6 (13)
The addition of two tensions often eases the physical difficulty (fingering) that some of the single tension voicings produce. Examples: maj7(6) - - - - l o -- - - maj7(9/6)
6
6
1
9
7 3
7 3
The following are examples of harmonized chord scales. The "avoid notes" can be harmonized by standard dominant, chromatic, or diatonic approach techniques. These avoid notes are based on traditional jazz harmonic concepts and might be available in today's more contemporary music where an increased dissonance level is more accepted. These notes are in fact the more desired notes in modal music.
(Ionian) _ _ _ _ _ _ _ _ _ 5
7 (Gmaj7) _ _ _ _ _ _ _ _ Gmaj9 Gmaj 7(9/6) Gmaj7 6
" (Lydian) _ _ _ _ _ _ _ _ _ 5 (Gmaj7) ___ _ __ __ Gmaj9
#o
GS
GmajS
0
-e.
umaj': .a.
(1 l is an avoid note)
3
9
#11
Gmaj7b5 G6b5 Gmaj7(9/6) Gmaj7b5 Gmaj9b5
::o
'.
3
1
I
G6
9
II
,.,
6
1
.n.
-0--
0
;f-e-
lmin7J (Dorian or Aeolian) _ _ _ _ 5 (13 and b 13 are avoid notes) (G-7) _ _ _ _ _ _ _ _ _ _ G-9
b7
1
9
G-7
G-7
G-9 -&
b3
11
G-7(11) G-7(11/9)
b.a.
-e-
e =&_,_~~~~~~-~~~~~--H 0
II
79
lmin7bsl (Locrian) _ _ _ _ _ _ _ _ b5 b 13 b7 1 b3 11 (b9 is an avoid note) (Locrian with natual 9) _ _ b5 b13 b7 1 9 b3 11 (A -7b5) ____ _ __ _ A-7~5 A-7b5(;, 13) A-7; 5( 11) A-7b5 A-7b5(9) A-7b5 A-7b5(11)
4""
..a.
~
..0..
0
IJ
'''With the exception of the voicing containing the 9th. these voicings work in a pure Locrian situation as well. ldom71 (Mixolydian) __ __ _ _
5
(07) - - - - - - - - - -
G9
~
b7
13 G7(13/9)
G9
0
0
t 1
0
1 G13
5
13
l>7
1
(07) - - - - - - - - - -
G9
G9(13)
G9~5
Gl3
(Mix. b9/;, 13) (with addition of# 9) - - - - - - - - - - - - - 5 (G7) _ _ _ _ _ _ _ _ _ G7(b9)
(altered) _ _ __ ___ __ b5 G7b5(~9)
b13
3 G7b6
#11 G9b5
-&
..a.
~
G7(#9/~5)
(11 is an avoid note) b9 #9 3 G7(b9) G7(#9/#5) G7(b9) ..a. ~ la-
1
b7 G7(b9)
G7#5 0
0
II
#5 G7#5(b9 )
b7
1
G+7
G+7
b9 #9 G7b5(b9) G7#5(~9 ) De-
0
3 G+7
..a.
~
II
~5(b 13)
b7
1
9
3
G9#5
G+7
G+7
G9#5
G7b5 ..a.
p 00 (domina:1t-diminished) ___ 5 (07) _ __ _ __ ____ G7(~9 J
..a.
II
0
(whole-tone) __ ___ _ D5(#11) (07) _ __ _ _ ___ _ _ G9b5
-e-
9 G9(13)
0
0
11
!JC I
(07) _ _ _ _ _ _ _ _ _
3 ( I 1 is an avoid note) G7
II
(Lydian b7) __ ____ _ _
0
9 G9
0
13 Gl3(~9)
I)
b7 G7(b9 ) 0
-&
0
1 G13 0
ll
b9 ~9 3 #11 G7(b9) G13(#9) G7b5 G7b5(#9)
be-
ta-
n
#&
II
80
Chapter Twelve. Three Tensions (9/11/13) The past tension- substitution formulas become inappropriate when deaiing with three tensions on a four-note voicing. The approach used here will involve determining the most appropriate guide-tone or chord mne to accompany the three tensions. All of the three tension combinations presented in this chapter form complete triads: 9 9
~11
9
i
11 1i
b9 #9
I
11 11
major triad minor triad diminished rriad minor triad diminished triad
13 13 b13 13 13
When these triads occur on the top three voices, they produce upper-structure triads over the basic or original chord. As discussed earlier, ~ 11 and b 13 will be avoided in the same chord symbol. The following three-tension combinations (which do not produce basic triads) are enharmonically examined in the Tensions 9. and 13 chapter:
dom7(b 13/fill/9) dom7(b 13/~ 11/b9) dom7(b 13/t.111#9)
= = =
dom7bscb 13/9) dom7b5(b 13/b9) dom7bscb 13ti9)
Withtheexceptionofthedom7(13/P,lllb9) {l b9 all voicings have been previously introduced.
C7(131# 11/b9) { 1 b9 # 11 13 }
=
#li
13} andthe dom7(131#111#9) { b7 #9 F, 11 13} chords,
Eb7(131#111#9) { b7
#9
#11 13}
Imaj7(91#11113) I #
The onJy characteristic voicing would have to contain the 7th {7 9 #11 13}. The {3 9 11 13} and {5 9 ~ 11 13 } voicings have been previously inrroduced as rnaj6(9i# 11) chord voicings under the Tensions 9and11 chapter. The remaining { 1 9 11 13} voicin·g, though incomplete, will be exarninec. Keep in mind that this voicing. lacking a 7th, could function as an incomplete dom7(91#11113) chord as well.
#
Note the major triad rormed by tensions 9, #11, and 13; Cmaj7(9/~ 11/13) - tensions form a D major triad
Cmaj7(91# 11113)
{7 9 #11 13}
=
B-7 I D6
Avoiding tension 9 on the 5th string 1eaves three applicable inversions:
9 13 F. 11 'i
13 9 I
7 #11
#11
D
9
Cmaj7(9/~ll/13)
D-9(11) G7019/~5j
-&
C-7
B7 Bbmaj7(9/ Ul/13) A-9
b..o..
-&
-e-
II
!1
c
Af17 Gmaj7(9/;tll/ 13) ito
-&
II
1I·
(B-7 !
(A-7 )
81
ii
(Ftt-7)
C(91# 11113) = D7
{1 9 #11 13}
A voiding: tension 9 on the 5th string leaves three applicable inversions:
9 13
13 9
#11 1
D-9(11) 0
G7(~5/b9) C(13/~11/9 )
-;:o
-&
C-7
B7
v.n
-&
Bb(l3/# ll/9'l
l!
'
9
#Il
13 A b7
CC7)
G03/#11/9)
l>e-
'Z
It
(D7)
1
A-7(11)
v.n
1
#11
b-s-
II (A7>
*These voicings will reappear in a dominant functi~n under dom7(91# I i/13).
Imin.maj7(9/ l 1/13) j The most characteristic voicing contains the 7th {7 9 11 13 }, yet it produces one of the m ore ambiguous sounds bec ause these notes also form Lhe V9 c hord of the originai minor c.:hord. This dual (tonic/dominant) functi on can be a very confusing sound and should be used with care. The lb 3 9 11 13} voicing (perhaps the best voicing using these three tensions} has oeen previously introduced as a min6(9/l l)chord undertheTensions9and llchapter. The {5 9 11 13} voicing was also introduced in that chapter as a min6(9/l l) chord. Note the minor triad formed by tensions 9 , 11, and 13: C-maj7(9/l 1/13) - tensions form a D minor triad Also note that those voicings not containing the 7th could have a~ 7th (modal dorian sound). C-maj7(9/11113) = B-7~5 I G9
{7 9 11 13}
A voiding tension 9 on the 5th string leaves three applicable inversions:
D7 Cb l3/~ 9 )
G-maj7(13/ll/9) D-7b5
I
v.n
9
13
13 9
7 11
ll 7
7 11
9
G7 (~5/b 9 J
b&
13
C-maj7(13/11/9)
~
I! (F!:-7b5l
C- 7b5
i
on
CB-7~5 )
F7( ~9 i
B l:> -m aj7(13/ 11/9 J
~o
~~-------5=@ (A-7b5J
82
C-maj7(9/ll/13)
{l 9 11 13}
= D-7
*Note that this vojcing also could function as a dom7sus4(9/13) chord. 0....
Avoiding tension 9 on the 5th string ieaves three applicable inversions:
13 i1
C7( ~ 13/b9)
G-7b5
~
Fm(l3/ll/9;
J
9
li
13
G7C#5/#9) Cm(l3/11/9)
-e-
t>e-
0
D-7b5
1 11
13 9.,
0..0.
0
-&
~
I! (G-7)
C-7~ 5(~ 13..i
(D-7)
B7
B11m(l3/ll/9) !).fr
(C-7'1
lmin7b5(9/11/b13)
I
The only characteristic voicing would contain the~ 5th {~ 5 9 11 ~ 13}. The remaining voicings will be examined, although less complete and producing some very ambiguous, if not weak, sounds. The tritone produced by tension 9 and b13 is partly responsible for this ambiguous sound. Note that tensions 9. 1Landb13 produce a diminished triad~ C-7~5(9/l l/b 13 i
-
censions form a D 0 rriad
The two inversions contr.ining 9 or 11 on the 5th string will be avoided.
{65 9 11 613} Tnere
~re
l\ ·0 1
~pp lic :ible
C-7h 5(9/ll/~13J
inver-:1on::: bi.?. 11
9
bs
(• ';!
bs 11
bu A-7;,5(b13/11/9) D7{#5/ ~9)
C-7b5(9/ 11/b 13) F7(~9 ,1 I
f;.
~
~
= A~13(b 5)
9..0.
I
a.a.
b.n.
G-6(9} Qi•
=i·,
4 ~1",·. c--~-..(0-._::-___-_________-______-__-_____,+:.;_,-_-_-_ --''---------~ · ;_• -----'-
83
{b7 9 11 ~ 13}
C-7b5(9/ll/b 13)
There are two applicable inversions: 9 b 13 11 b7
= Bb7
b7 11 9 b13 F-6(9)
G-7li5(b 13/ 1119) C7('.,9)
~.fi
B-7b5(bl3/ 11/ 9) Bb7
A6(9)
I
-e-
~PA ~~--'~~~ ~o~~~
-e-
#13
11
II
(A7)
{b3 9 11 b13}
C-7b5(9/l l /b 13) =Ab6 (#1 1) ( I 5 6 ~11) D -7b5(9/ 11/b 13)
There is one applicable inversion:
G7(::5/b9)
C-6(9 )
11 9 b 13
b3
{l 9 11 bt3}
C-7b5(911lib13)
There are two applicable inversions: 9
E-T, 5(013/11/9) E b7
= D-7b5 I F-6
1
b13
11
ll I
9
b13 D-6(9 •
A.-7?5(~ 13/ ll/ 9) D7(~5/D9 )
-e-
0
lt-e-
G-6 ..a_
(D-6 ,
ldom7(9/~ 11/13) I There is one characteristic voicing {b7 9 ; 1 J 13}. Incomplete {3 9 #11 13} and {5 9 #11 13} voicings have been previously introduced as maj6(91# J 1) chcrds but wi ll be examined here for their dominant iunctions. Aiso . the ( l 9 ll 11 13 } voicing introduced as~ maj7(9/~ 11/13) chord wi!! be examined for its dominant fonctic!'l. T he im·ersion containing rension 13 on the 5th srring wili be avoicied. The inversion containing tension 9 on the 5th string will be avoided when the dom 7 chord is functioning as a V7 chord. When the dom7 chorci is functioning ~ a Sub V chord. the 9 on the 5th string will be aliowed. since it is really functioning as a #Sth on the V7 chor,i: (th:9th of G7 is the !5 ,, of Db 7)' * Keep in mind that tensions 9, #11. and 13 on a dominant chord are most characteristic in a Sub V function .
. iote the major tri ad formed by tensions 9 . : 11. and 13: C7(9/f 11/l 3: -
84
tensions form a D major triad.
{b7 9
C7(9/~ll/13) = Bb maj7~5
#11 13}
in l
There are three appiicable in versions:
b7
13 ,., '-j
G-7(11) C7(9/ Ul/ 13) F6(9J
&bn
9 13 ~ll ~7
13 9
b7
#11 E7( 13/~ 1118;
D-9 G'7(9/Ul/ 13) C(add9 , ~ -e-
0
('3
p
e
(B 11 m aj7#5 l
(Dmaj7!l5)
...
SUB \"
{3 9 #11 13}
091#11113)
There are three applicable inversions:
G7sus4 CC131ttll/9) :r·maj9
£&;
0
v
~!
=
F#-7#51C6(91#11)
3
#11
13
13 #11 9
9
3 9
G-i
13 3
#l l F( 13/ ;.ll/9)
Cd3/ :: 11/ 9) F6(9l
ig (F~-n5>
(F~ -7#5 >
CB-7!:15 >
f..
j
I C~ - 9( 11 ) F~7(:;5/~9>
SUE\'
~~ ~
~~l
B6(9J
C~- 8
F:!7(;!5/ ::9) Bmaj9
Ft:-9
B7(~5/~9 l E6(9 i
-e-~~-~~-e~~--.,~~~R~ . ~---~~~~n~~~., :: E' ~~~~ ~~-•'
(DIE )
85
{5 9 #11 13}
C(91# 11113)
There is one applicable inversion: 13 #li 9
5
= A13(sus4) I C6(91# 11)
4
E-7 a
AC13/U l/9)
,;!
B11-7 (SUB V)
D6(9) -a-
II
Ej,(jt9/#5)
~~
At:imaj9 a
... 0
f
I!
(B/ E ) C(91#11/13) = D7
{1 9 #11 13}
There are three applicable inversions:
li 11
9
# D-9(11) G(13/#11/9) C(add9)
13 9 l
"I
13 11
13 9
#11
G-9 0(13/#11/9) Fmaj7
E(13/#11/9) j±.e.
j
·;
II
(A7)
(D7)
l
l
Ab-9 Db(alt5/#9) Gbmaj9 SUB V
ft;
C#-9 F#(alt5/#9) Bmaj7
JI
a..
(F #7J
+!:a
-&
ll~
t
F7sus4 Bb(alt5/#9) E bmaj9
b.o.
1±-e-
b.o.
b.o.
II
II
Idom7(b91#11113) I The b9th dictates a dominant type chord aiiowing it to be the mosr charactenstic nore. This means the guide-tones will noc be missed in voicings not containing them. Again, tension 13 will be avoided on the 5th string. Note the minor triad produced by tensions b9, #11. and 13: C7(b9/~ 11/13) -
{b 7
~9 #11 13}
C7(b9/~ll/13)
There are two applicable inversions: ~9 13 ~ 1l b-
=
Eb 7t#91#11 ) {5 b7 #9 #11}
13
b9 b7
til
D-9 G7(:i9/lHl/ 13) C(add9)
G-: 7(11)
~
0.0. :I
!' Ao-7(11) I
SUB V
-& v
DO
t
D,(~9 .l
!>&
tens ions form an F# minor triad.
Gl,maj7
-
C#-9
C7(b 9/~11/13) I
-e-
-~~ I t
F6(9) a
II
F~(#9)
Bmaj7
-&
#e-
I
P.O.
to
Ii
(C~m/F )
86
II
C7(b91# 11/13) = F#-7
{3 b9 #11 13}
Note that the Sub V chord forms a complete min 7 chord. and when used in its related V7 situation, it has the ambiguous fu nction of an incomplete V7(#9) or V-7 chord. There are three applicable inversions:
13 3
b9
13
#11
3
D7(13/~ 11/ b 9 )
C7(13/#ll/b 9) Gmaj7(6/ 9) G-7(11) Fmaj7
A7sus4
(,
l
F#- 9 SUBY
Emaj7
-&
II (F~-7 )
(G#- 7)
t
E b-9(11) Ab7(#9) Db6(9)
~
#o
&i~ @)
-&
Ii
1:
(B-7) B7(~9)
b..o..
-&
0
~
l
F#7(#9 )
C#- 9
Bmaj7
f±o
11,
1•
II
• !
••
{5 b9 #11 13}
C7(b91# 11/13) = A 13 I Eb 7b5(#9f
There is one applicable inversion:
13 ~ 11
F7sus4
Bb(13/#11/b 9)
I
E t>maj7
:
;9 ' ,..
0
!I
(G13)
E(alt9)
B-9
Amaj9 f;o
II {1 b9 #11 13}
C(b91#llll3)
There are two applicable inversions: ~ 1 ! l
13
bq
',..
=
Eb7(#91#1 1/1 3) {b7 #9 #1 1 13 }
13
b9 1
~I! I
F7sus4 F(13/::11/!>9) B 96(9) I
::..0.
~!
G-9
-&
§!
-&
II
C(l3/# 11/l>9) '
tr
F6 -9·
';!i;
II
\'
F~7sus4
(S UB V)
4
..0..
B(:;ll/,9) Em aj7(9 J ..0..
.fi
C$.-9 tio 11 ·
87
F;t (~
1 J/i:9) -e-
Bmaj7 l>-&
II
ldom7(#91#11113) j The { 1 #9 #11 13} voicing will be omitted due to the rather ambiguous sound produced by the complete dim7 chord formed: {l #9 #11 13} = {1 b3 bs bb7}. Those voicings that contain tension 13 or #9 on the 5th string w ill be omitted. Note the diminished triad produced by tensions #9, #11, and 13: C7(#91# 11/13) -
{~ 7 #9 #11 13}
=
C7(#91#11113)
There are two applicable inversions:
#9
Eb
A7(b91#1111 3) {l ~9 #11 13}
13 #9
13 ~ 11
b7
~7
#11
G-7(11) C7(# 9/# 11/13) Fmaj9
'bn
tensions form an
~
D-9
G7( 1 3/~1V#9)
fie-
-0-
0
II
Cm aj9 .n. 11
l \'i
v
Ab-9(11) Db(13/#9) Gbmaj7
F#(13/F,9) B6(9)
b.o.
b.o.
b.o.
(SUB V)
II
{3 #9 #11 13}
=
C7(#91# 11/13)
There are two applicable inversions: ~ ~ 1
13
3 #9
13 3
A-7(11)
D C13/:fll/~9 )
A6(# 11) { 1 5 6#11}
#11 C(13/UV~9)
Gmaj7(9/ 6 ) G-7 I
b.o.
-0-
Fmaj7(6)
I' E~ -9(11 )
(SUB V)
~
k
A?l3(#9)
k
Dbmaj9
k
C11-9 11
FH3(tt9) Bmaj7(6)
~
~a ~
~]~--------·-------';:~-~
{5 #9 ~11 13}
.Q
C7(#91# 1l/13J = Al3b5
There is one appiicable inversion:
i3
~ 11
E-7
A(13/#11/#9)
Dmaj9 -&
r9
II
i
B~-9
Eb(l3/alt9)
:±e
88
Abmaj7(6)
~Q
II
0
triad.
The following examples will use various chords containing tensions 9, 11, and 13. Additional chords from past chap1crs are also used to enhance voice-leading. Hybrid chords will be listed as 1hey occu r. Thi s firs1 "·Il-V" bl ues example in the key of " F" contai ns some interesting chromatic voice-leading. In measure three, the top three voices contain contrary - chromatic motion while the bottom voice sustains. Measure four into measure five [F7(~9/alt5 )-Bb 7(9/ 13)) contains a good example of contrary chromatic motion in all four voices; the top three voices ascend while the bottom voice descends. In measure eight to measure nine [Db 7(91# l l/13) Gm(add9)], the top three voices descend chromatically wh ile the bottom voice sustains. Tn measure nine to measure ten, those same three voices again descend chromatically. Fin ally, note the chromatic constant s tructures produced by the last six chords. *Note that the E-7b 5(9/1l/~ 13) voicing conrains a major 7th width .
F6(9)
_:,:, ..... : . . ~
E -7b5 (9/11/b 13)
A7 (\,9/b13)
D-9
G7(b9/alt5) (F-7#5)
C-7(11) (G-7#5)
F7(b9/alt5) (A6(9))
~1~f~~~ w~br~p~ r ~,~;~ ~~:::::!E-~~ Bh? (9/13)
Bb7(9/#11/13) Bb- 7(11) Eb7(9/#llll3) A-9 (Abmaj7#5) (Db/Eb) (Dbmaj7#5 )
__
D7(b9/alt5 ) (Ebm/ Ab )
Ab - 7 (11)
Db7 (9/#11/13)
~--~~-~1~ -,; q ~1r~~b~~~-~-1-~1_~ ~,~ - ~ Gm (add9)
Do7 (9/ 13)
C7 C7(tt9/alt5) Fmaj9 D7C#9/ alt5) G-7(9/ 11) C7(b 9/alt5) F (9/ ttll/ 13) (9/13) (Emaj9).... (Fmaj9) .. (F#maj9) (F/G) .... (F#/ G# ).... (G/ A)
~~·~-+--f-==----==--bf-===--=Ll-__ f _ . ~~ .;i. ~,'-.----#1~-~____,~--==--t!l+-.-.-l=: : ;,~-==t.i1
89
This next example also contains some interesting chromatic voice-leading as well as another chord voicing containing a major 7th width (F-9). In measure four to measure five [Eb 7(b9/alt5)-Ab6(9)], three voices descend chroITJ&tically while one middle voice ascends . In measure seven, again, three voices descend chromatically while one middle voice ascends . In measure seven to measure eight the top three voices contain minor triads w hich descend chromatically. Finally, note the same structures a whole step apart on the last two chords.
Cm (9/11/13) (F1 3)
t! ~~
A-7h5 (9/11/b l 3) (G7)
~
Bb -7(11) E b7(b9/alt5) CDb6(9 )) (Aadd9)
b
~' Eb(9/#11/13) (FIG)
~~i
D-7b5 (9/11/b 13) (E 0 /Ab)
G7 (b9/alt5 ) (F-7lt5 )
C-maj7 (9)
I~~
& "bl
I ~~
Ab6(9)
bi
lbf
(G- 7) C7(b9/alt5) (E6(9))
~ J &~-
(Dbm/Gb)
( ~9/alt5 )
,i,
( G/E ~)
Abmaj7 (91 #11/1 3)
b
F7 (Db7)
Ab-7(9/ 11) Db7~5( 13 ) (Gbl Ab) CG7(#9 ))
I~"¥
Bb 7(b 9/ #11/ 13) F-9 (Abmaj7) (G13)
E b m aj9(#11) (Fl3 )
11.I'~
ijg~
II~!
(Em/F)
(Drn/Eb)
(Cm/Ab)
b
ij 1f
II
)
·..
•"·l-,,..
90
Chapter Thirtee110 Altered 9th Tensions (~9 and #9) on Dom7 Chords These dominant chords contain both tensions b9 and #9 in their voicings. Since tension b9 dictates the dom7 chord , voicings with and without the guide-tones will be examined. Some of the Sub V chords will produce very incomplete structures and should be used with care.
#9
\Vith the exception of the dom7(alt9/13) {3 b9 13 }°chord. all of the voicings in this chapter have been previously introduced enharmonically. Those inversions placing tension #9 on the 5th string will be avoided. Those chords using tension 13 wiU avoid this tension on the 5th string as well .
Idom7(alt9) I The most characteristic voicing would include the guide-tones {3 b7 b9 #9 }.
{3 b7
b9
#9}
= Db -6(9)
C7(alt9)
~9
There is one applicable inversion:
~-~7 J.
{ l b3 6 9}
C-9
F7(alt9)
Bbmaj7
-e-_---H ;b ~ ar ~ ~~~~~~(F.~~ -6 -(9))~~~~~~~~-' _
0_ _11 · · - 1 -_
_
9
l
F~-9
(Sub V)
{l b7
b9
#9}
C7(alt9)
E6(9)
B13
-4-#o___#n____~.....___i---Hll
= Gb6C# 11)
There are two applicable inversions: #9 1
#11}
{3 5 6
b9 1
t~ f~
C-9
b.o.
(Sub V)
' '
F7(alt9)
B~ maj7(6J
~
lz~ J,
F#-7
{5 b7 b9 #9)
-e-
B6(#11) jio
C7(a1t9)
There are three applicable inversions:
E -9
=
Dea.
A
g
II
E6(9) .n
I v
Bb7sus4
Eb6(#11)
b.&
b..o.
rbs I
Eb7
~~
5 b9
A7(alt9) Dmaj7(# 11)
b7
~99 5
91
b9 5
~~
#;t
II
A~maj9 I
hii;;;23
Fmaj7
G7(alt9) Cmaj9
D- 9
be-
-9-
1
II (Ab7)
F #-7 (Sub V )
_,,4~--e---~-·
{3 5
o_
b9 #9}
(Eb7)
C~-7
B13(b9) Emaj9 _
s_'
= Eb7(b9)
F#113(b9) B1maj9
Ab-7
Db13(:i9) Gbmaj9
(Sub V)
{ l 3 b7b9}
D-7(11)
#9
'9
t
Cmaj7(6/9)
ij ~!
Ab-9
Db 13(b9)
bn
bn
II Gb6(9)
,:,,.
1---- - - - -- _.:;. . Q'&-B-- - -tttl 7 9}
C-9(11)
#9 1
F7(alt9)
=
3
b9 F~-9
(Sub V )
G7(alt9)
b.o.
lH
= Db-maj9 {1 b3
There is one applicable inversion:
(Bb7)
++-11
5
{1 3 b9 #9} C7(alt9)
II
o- --rrJ[-.o. - - -v..a. _ _ _v_.o._ _ i___ 1>&_--'~-9-<~B---tij[
C7(alt9)
There is one applicable inversion:
0
B13 (~ 11 )
~ --l';kt
Bbmaj7(6)
II Emaj9
,._,.,..,;g,--_ _ ~ -------:#~:1----+tii 11_0
~·
{1 5 b9 #9} C7(alt9) = E~ 13 { 1 3 b7 13} I A7b5(#9) Note thal this voicing comains a strong modal phrygian sound: { 1 b3 5 b9} .
There is one applicable inversion:
#9 1
C-9(11)
F7(alt9)
Bbmaj7(6)
I
~
i F~-7
(Sub
B(l3/Ul/b 9 )
Emaj9
V)4 _,,___-e-_ _ __ r_o----""z~#1~·- ----+lll -.;
92
I dom7(alt9/ff 11) I C7(alt91#1 1) = E~ -7/G~6
{~7 ~9 #9 #11}
There are three applicable inversions:
C- 7
'~fi
F 7b5(alt9) Bbmaj7 -e
Ji
~I~
F #7sus4
"
'f
t,e-
There are two applicable inversions:
!;9
b.&
~
-e-
II
Eb6
Ab6(9)
~.il.
b.a.
118
II
!!
C7(alt91#11)
Bb-7
Bmaj7
(LI
{3 ~9 #9 #11}
I
!V.O.
.0..
II
F#6
.0..
#o
:!to
~tf~
E-9 A7b5(alt9) D6(9)
F6 -e-
b.u
I
\}'
Emaj7
B6
~ ~i
C7b5(alt9)
b.o.
it'
F#-9 (Sub V)
G-7
II
= A6(#11) {3 5 6 ,,#11}
11
9
F7sus4 F(b5! alt9)
F9
G-7(11) C(# 11/ alt9)
~Q
.~!
#*r
Bb6(9)
I
I
17..0.
t~
II
I
(C/F "
FH3
B(add9)
I
17.Q.
\g
I!
\
C ~ -9
(Sub V )
~ ~a
{l ~9 #9 #11}
;o
#~a,
F#7sus4
Bl3
..0..
-e-
E6(9J _o_
II I
C7 (alt91# l l ;
There is one ::i.pplicable inversion:
=
li9
C7sus4
"1
~ l; ~9
Gb6(#1J ) {1 5 6 #1 1 ]
~
F(alt9/b5)
v.o..
I
~
Ff-7 (Sub V)
~ \!'
B6(#11) ,,
e.
'Ito
& E;)
93
Bbmaj7(6)
E6(9) ..0.
n
{5
b9 #9
C7(alt91#Il )
#11}
=
Eb7(~9) {l 3 b7 #9}
This voicing cannot be used, since the single available inversion has tension #9 on the 5th string.
Idom7(alt9/~ 13) I {3 b9 #9 bl3}
[dom7#5(alt9)] C+7(alt9)
=
There are three applicable jnversions:
Amaj7(#11) {3 5 7 #11} #9 #5
3 ~9
!~
,9 G-7( 11) C+
F7sus4 F+(alt9)
Bb6
Ii.,,_
b.u
!#~
(C/F)
(Sub V)
F+(alt9 ) Bbmaj7
0
II
dH
II
,. . _,--++-jl
-l*r---~# #
C+7(alt9) =
There are three applicable inversions:
----H-11-~-r..e-.o------ttll
Eb 7sus4
~~
b7
b9
~9
tt5 ,,
~7
~~
#5
~ (Sub V )
C-9
E-7(11} A+7(alt9) D6(9 )
C-8
;J..0..
?.O.
?
(C7sus4) ~· B!,-7(11) E76(9/ Ai rel="nofollow">majS 17.n.
F+7fa1t9} Bb6(9 l D-6-
:e
F -7(11) Bb+7(alt9) E,maj7(61 f).0.
0
"o
i
1I·
,:.
~k. tti: v
~
i~
(Ab7sus4)
Ii
(Db7sus4)
I
';'
F;l-7 -&
B6(9 l :tl:c
::
Emaj9
(Sub V not applicable)
:lo 11
94
II
{l
b9
#9 b13}
C7(alt9/b 13) = Eb 13sus4
There is one applicable inversion:
#9
1 ~13
b9
C-9(11)
F+(alt9)
be
'(B~Eb)
0
II
.:. (Db / Gb)
J
F~-9(11 )
(C/ F )
B(13/ #11/ 9)
_o_
#o
(SubV)
t(E/A)
The {5
Bb(13/#ll/9)
Emaj9
io
(C#/F# )
II
(B/E)
b9 #9 b 13} voicing will be omitted, as was done in earlier chapters, due to the natural 5andb13 it contains.
Idom7(alt9/13) I (3 ~ 9 #9 13} -
There is one applicable inversion:
C-9
F13(alt9)
:~
0
(SubV)
{b7 b9 ;9 13}
0
~@-#_
Bbmaj7
_
_
_
0 ~_
-&
II
_
0 _ __ _
#
~ : ' (". C7(alt9/l.J i = c:;, '!t1 l ) { 1 5 ~7 ~l lj
There is one applicable inversion:
~9 13 ~9
-prr 7
E-9
~
_o_
B~ -7( 11 ~
(Sub V )
~~%:
95
A13(alt9)
·r
"'b_o_
v Eb{13/ #9) ~..a.
D6(9) -&
II Ab6(9 )
b..a.
II
---+1~
C I 3(alt9) =
{1 b9 #9 13}
There is one applicable inversion:
Eb13(b5)
#9
{1
bs b7
Fl3(alt9)
C-9
1 13 b9
13}
~
' b.o ~
~2
II
J,
B( l3/#1 1/~9 )
F#-7 (Sub V )
{5
b9 #9
13}
Cl 3(alt9)
=
There are two applicable inversions: #9 13 5
b9
f.Q
C- 9 F 13(alt9)
~
E6(9)
#o
-&
II
A7(b5) I E b7(b 5) 13
~~
5
B~ maj 7(6)
~
~
G-7 C13(a lt9) Fmaj9
b.o
~ - ~
II
F #-7 B13(a lt9) E maj9
I!
(Sub VJ
The following dom7 chords have four tensions ana no c:iord tones. These unique voicmgs imply specific chord scales and have several enharmonic spellings.
I.
dom7(alt9/alt5)
{bS
;s b9 #9}
I dom7b5(alt9/b l 3J
I dom7#5(al t91# 11) I dom7(~91#91#1llbl 3 )
{b5b9 #9bl3}
1~ 5b 9# 9# 11}
These tensions im)'ly the "altered" scale:
b'.2 (b9J
II.
~2 (#9)
dom7(alt9/pllll3 )
3
(b9 ~ 9
b:-
f5 ( ~ 11) C'b 13 )
b7
~I J 13 ] I doml3b5(alt9J {b 5
b9 #9
These tensions imply the symmetrical "dominant diminished'. scale:
b2 (b9)
#2 <# 9 1
3
6 (13 )
96
b7
13 }
Idom7(alt9/alt5) I
C7(alt9/alt5) fb9 #9 bs #5} = Ab7sus4
There are three applicable inversions:
C-9 F7(alt9/alt5) B:imaj7 1±
C7(alt9/ alt5) G7sus4 Fmaj7(6)
-&
-&
0
(C#7sus4) C~-9
B6(9) Emaj7
Eb maj7(9/ 6) -e-
1
II
1
F#6(9) B(add9)
ito
(Sub V)
~
(F #7sus4) (G7sus4)
(G#7sus4)
l
~o
b.o.
II
II F~-7
B~7(alt9/alt5)
F7sus4
II
II
(Sub V not applicable)
Id om7(alt91#11113) I
C1 3(b5/alt9) {b9 #9 # 11 13 } = Eb-7(b5) ,, A voiding inversions containing tensions #9 or 13 on the Sth string leaves two applicable inversions:
#9
13
f~l #~~11 13
C-9
G- 7
F13(alt9/ :i5) B:imaj7
·ito
b.o.
-&
I! !"'
l (Eb -7,5)
(G:!-7o5J
I ~t
F#-9
Emaj7~ 5
~o
C#-!? .c.
1
F~-6
-e-
n
I!
(CIF'J Bma57
ii-e-
-&--#-----------+i---------~ I! II 0
(Sub V)
B-6
C13P5(alt9) Fmaj9 -e-
'l!o
The following exampies will use various dominant chords containing alrered 9th tensions. Additional chords L'"orn past chapters also will be used to enhance voice-leading. This first "II-V blues" example in the key of "D" contains some interesting constant structures and chromatic motion. The.first two chord structures arc re~eated a whole step lower in tne second measure. The E7 (alt; structure in measure three is repeated a whole step higher in the following measure. The three chords starting m measure five contain one common tone while the top three voices descend chromatically. The B 13(alt9) chord in measure seven has two common tones while the remaining voices move in comrary chromatic motion to the next chord. Measure eight" s two chords share one common tone while the tap three voices descend chromaticaliy . Measure ten 's A7(alt) chord has t wo voices ascending and two voices descending to the next chord. Finally, note the last three chords use the same structure descending chromatically. 97
Ctt-7b 5(b 13) F~7(b 13/ alt9) B-9 (G6(9)) (A7sus4)
Dmaj7(6) D6(9) (A6(9)) (B7su s4)
~
#fr
1;
-6-
,"'2
£f
=§=
I
E-7
'
~
~I E -7(11/9 ) (DI E )
::~
!~~
~ I
~~ •
&:~
D6(9) B7b5(alt9J
lb.a..
-f'T
ii~
I
~
!
E- 9 A7(b 9/ alt5) D9 (Bm/E) (B~m/E,) (Am/D)
~~~!
Ii M
I
I
I
~
!I
l ~I
~
I
Bb 13(,9) (G7)
F -7
~
~
A7(alt9) A7(alt) (C7) (F7sus4)
1 ~~
l?:f
F;-7(11 ) B13(alt9 ) CD7b5 )
I
D.t.2.
"'19-
l
G-9 C7(#11/alt9) (F6(9)) (Eb -7)
I~
A-7(11 ) D7(b13/#9) (D7sus4) I
Q
I
G7(13/9) G7(b 13/alt9) (Bb7sus4) -9-
E7(alt) (C7sus4)
II
This next example in the key of "C' also contains some interesting voice-leading ideas. In the first measure, the top two voices sustain while the bottom two move in contrary chromatic motion. Note that only one voice moves (chromatically) in measures two and three on the C7(alt9) to Abmaj9 chords and Abmaj9 to G7(alt51#9) chords. Measure three' s G7(alt51#9) chord sustains the lead tone while the remaining voices produce contrary chromatic motion to the C6(9) chord. Measure four's C7(alt) chord contains contrary chromatic motion between the top two voices ascending while the bottom two descend to the Fmaj7 chord. Finally, note the contrary motion between the top voice and bottom voices on the last two chords.
Cmaj9
B+7(alt9)
4~ ~ Fmaj7 -6-
4~ I
F- 6(11) (Bb7) t>.a.
,r
B, 13(b9 ) A7(alt9 ) (G7) (C7)
I~ E7(~9 )
I~
-~
Abmaj9
G7 ( ~9/ alt5 }
C6(9)
C7(alt ; (Ab7sus4)
(E b7)
if- ··7
i:-~ ~I
A7(alt9) (BP-6(9))
D7(alt9) (F7) -6-
-5-
!:!~
~~~
98
I
' r>-:9-
G7ti5(alt9)
~
Cmaj7
(D~ 6 )
v.a.
~!1~
b.n. I
i~
II
Chapter Fourteen. Enharmonic Chordal Substitutions The following chords (highlighted within boxes) appear in the order they were introduced in this text. Enharmonic substitutions for each one of these chords appear in the order they were introduced as well. Chords include the basic four-part chords and all the chords introduced in the tension chapters. To the left of each chord is the tension chapter where that chord can be found. Additional enharmonic substitutions of the same voicings that have not been introduced to this point will be examined in the Additional Enharmonic Chordal Substitutions chapter. This chapter will include the Substitute Vth chord for eacr dom7 chord introduced as well as the most common relative major and minor situations. Some of the more incomplete voicings will receive additional notation for the same root to the right of that chord in parenthesis. A more in-depth and organized approach to relative major and minor chords can be found in the Relative Major - Minor chapter.
Tension Chapter (9) (9 & 13) (9 & 11)
I major7 I Cmaj7 A-9 D7sus4(13/9) Fmaj7(# 11/9)
Imajor7~s j (9) (9) (9 & 13) (11)
Cmaj7b5 A-6(9)
Sub V~Ab7#SC#9) D7(13/9) F#-7b5(1 l)
j major7#5
(9) (9 & 11) (9 -11 -13)
I
Cmaj7( #5) A-rnaj7(9) F #-7b5(11/9) SubV ~ D7(131# ! 1/9) Ab7(#91#5)
c
E
G
B
1 ~3 ~7 5
3 5 9 7
5 ~7 4
7
9
9 13
#11
,
c
E
Gb
B
1 b3 3
3
bs
5
6 b7 3 1
7 9 #9 13 11
bs
#5 9 b7
c
E
1 ~3
3 5 b7 9
b7
bs ~7
..,
;)
99
#5
G# #S 7 9
#11 1
B 7 9 11 13
#9
I minor7 I
(9) (9) (9 -11 ) (9-1 1-13) (9-11- 13) (9-11- 13) (dom/alt9)
C-7 E b6 Abmaj9 F9sus4 F-7(9/il ) Db maj7(9/~ 11/13) B b-maj7(13/l 1/9) Sub V ~ F#7(13/~ l 1/b9) C7 f9 (C-7) Sub V ~A 7 5(alt9) Eb 13 (Eb6)
l minor7bsl C-7b5 Eb-6
(91 (9 )
(9) (11)
(9 -11-13) (9- 11-13) (dom/alt9)
SubV~Ab9
D7 (b 91#.SJ F7sus4(!79) Gb6(# l l ) Db-maj7(9/l l/13) B b-7b 5(b 1311119) Sub V""Al3b5(alt9) Eb 13(#9) (Eb-6)
I minor7#S I (9) (11)
(1 1) (9 -13)
C-7( #5) Bb9sus4 Rei ~ F-7(1 11 A!7 (add9l Eb-6(11) Sub v~ D7b5(b 13/b9) A~9
(9- l l ) (9 - 11-13 )
Gb6(ff I 119J SubV ~ ob 13( ~ 1119) "- C7(~9f'#S \
c
Eb
G
Bb
l 6
b3 l 5 b7 b7
5 3 7 9 9
b7 5 9
9
#11
13
11 13
13 b9
....)
~~
b7
Eb
c'
Bb
b3 l
bs
b7
~
.)
5 5 7 9
#11 1 I
#9 13
c 6 .., :-
s
bi
b9 b7
5
5
3
7tl
b3 b7 ...,
:·
b9
4 II
J
b7 b9 5
s
9 ~~ :r 4 3 13 1 b9 5
ff 11 7 9 #9 13
6 9 11 bs
l 11 bl3 13 #9
c
E~
GuTI
l
b3
9 5
4
Fs p7
b7
b3
I I!
I Ii
5
..,
s
_)
6
I b9
b7 ..., ,)
tlI
..~ 11 I
9
b13
-'
I 9
9
13
9 ~s
rt~9
Iminor6 !
refer to minor7b5
I major6 I
refer to minor7
100
Bb b7
bs
6
[Bb7sus4(13/9)]
3 3
b7
(Eb I 3sus4) (07(b 9/alt5 )
ldom7
(9) ( 11)
(9- J 1-13) (9-11 -13) (9-11-13) (dom/alt9)
I
c
E
SubV~C7
]
F#7(b 91b5) G-6(11 ) Sub V~Bb7(131# 1119) E7#5C# 111#9) Bbmaj7(131# 1119) D-7b 5(b 13/9/ 11 ) Sub V~A7 (alt9) Eb 13(b9)
bs
3 b7
11
6
9 #5
#11 1 #11
#9
9 5
1I b7
ldom7#SI SubV~ C+7
(9)
(9) (9-11-13) (11 ) (11 )
(9-13) (9-13)
Frb5(9) Sub V ~B . 9(b5) E7(alt5) F-maj7(1 1) Db-rnaj7(6) D-7~5 (b 13/9) Sub V ~ D7b5(b 13/9) Ab9(#5)
(9) ( 11-13) (11 -1 3) (dom/alt9) (doml alt9)
b7 3 b3 l 11 1 bl3 b9 5
#
9· b7 #9 13
b9
c
E
GU
Bb
l bs
3
~5 9 b7 3 b3 5
b7 3
0/
b7
13 .,
.)
c
E
Gb
Bb
SubV~C7b 5
1
bs
b7
F#7b 5 Sub V~A~ 9(# 5) :D9(#5) G-maj7(1 l/6) Db -m~j7(1 l/6 \ Sub V ~ Ai3 (alt9) E b 13(alt9)
bs
3 b7
(9)
Rei
(11) (11 )
C7sus..: Eb6(9 1 ~ C-7(1 1)
R el
~G-7 ( 11 )
(1 1-13) (dom/alt9)
5 b9 i 13
bs 1 7 b3 9 9 #5
Idom7sus4 i
(13) (9-1 3)
Bb
#5 5 7 b7 b7 3
I dom7bs I
(9)
G
B b6(9) D bmaj7b 5(6)
Rel
~ Abm~j7(9/6)
F-70119) D-7bscb13111) Sub V ~ A+ 7(alt9) Eb 13(9) SubV ~ E7(a1t9/alt5) Bb9(1 3)
3
#S 9
I
6
bl3
b5 _, 1
b13 9
1
3
11 1
9
.,
b?
13
5 b9
#9
6 p9 5
c
F
G
Bb
-+
5 3 5
b7 5 b7 b3 1
#9
6 1
11 9 7 3 5
.
(I
7
11
b?
j
7 lJ
u
I
5 3
6 bs
6 1
7 9
.. -
1:
bl3 b9 5 b5 1
b7
b3
13 ll,. s
9
b9
b7 3
9
5
,. 13
#9
101
t, J
#9
[D9(#51b5)]
~~
b7 11 7
6
[B b-7b5(9)]
b5 Ii
bs
,,
[E-7b 5(b 13)] [Bb6b5(9)]
6 9 11
[F9sus4]
Idimin.7 1 C07 E b0 7 A07 Gb 0 7
(9- 11)
Gb
Bbb
1 bb7
b3 1 bs bb7 b9
b5 b3
bb7 bs I b3 5 3 b9 b7
b3 b7
F7( 9) Ab 7(b9) B7(b9)
C-maj 7 A-7b5(9) D7sus4( 13/b9) Sub V~ F7(#11/9) B7(#51b9)
(9-13) (11-13) (11-13)
Rel
(9)
B
1
b3 b5 b9 b7
5 b7 4 9
7 9 13
5
b9
_..,
( 13)
,,
.J
b3 ,.., .::;
b7 5
I
5 b 13 9 ,..,
bs
F#-7b5(b 13111)
#11
#S
1
5
7 9} ...refer to mi.
B
D
7 9 #9 13
9 11
bs
I
#11
13
b7
11
b 13
9 for I I drop 2 {3 b5 7 9} refer to major6(9) Ninrh(no3) { l b5 7 9} refer to dom7b5(# 9)
I
9 for 11 drop 2 {b3 5 7 9 } referro major7#5
E !)'
B
D
C -mai9
l
9 13
B7(alt9 1
~3 b7 3
I
5 b9
~c-9
'---- E bmaj7(6) Fl3sus4
[Ab 7(#91alt5)]
I
c Sub V~F7(13!# 11 )
Rel
E
1
A-( 11/9) Sub V~Ab7b5 (b 131#9) D7(13/9) Fmaj7(131# 11 j
!minor7(9) j (9)
3
9 for 1Idrop 2 {3
jminor maj7(9)
(11-13) (dom/alt9)
b9 b7 5
G
b7
~Cmaj 9
j major7b5(9)
.J
Eb
c (9)
1
,,
c b3
Imajor7(9) I
bb7
~7 5
5 3 b9
Iminor (maj7) I (9) (9-13)
E~
bs
D7~9)
(9) (9) (9) (9)
c
#11
#9
9 for 1Idrop2 {b3 5 b7 9} refer to major7
c
E~
B~
l
b3 l b7
b7 5 4
6 5 102
D 9 ~7
13
I minor7~ 5(9) I
Imajor6(9) I
9 for 1Idrop2 fb3 bs b7 9} refer to wjn. maj7 Ninth(no3) { I bs b7 9 } refer to dom7#S
9 for 1 I drop 2 13 5 6 9} refer to dom7(sus4)
c (9) (9)
Rel
(13)
Rei
C6(9) ~ Bbmaj7b5(9) Am(l l) ~ Fmaj7(6)
D-9 Ft-7b5(b 13) Sub V~A 7b5(b 13/b9) 09 G-6(1 1/9)
(13) (9-1 3) (9- 11)
Iminor6(9) I (9)
C-6(9)
(1 3)
SubV~ F l3
(dom/alt9)
B7(alt9)
ja om7(9)j
E
1 9 b3 5
b7
I -
p)
....
.)
b7 ll
(11)
(9) (9-13) (11)
(11 ) (11 -13 )
Sub V S C9 CF#+7(# 11)) F~7(alt5) Sub V ~D7ti.5(91 (A~ 7f 5( ~ 1319)) Ab 91altS , Sub V ~E+7(~ 11) I B b9b5 G-6(1l 1 r-maj7( J 1/6)
I
Idom7(b9) i (9) (13) (dom/alt9)
Sub V ~ C7Cb9)
F~7(~1 ,. 1 )
Ctt-mai7(6J S ub V ~ A 7(alt9) I•
~
EbJ3(b9i
6 7 1 3
bs 5
7
9 ....
.)
11
s
9 b7
b3
bl3
b9
9
5 9
6
{b 3
6 i
(09)
b13 bs 1 5
(G7sus4(13/9))
5 6 9} referto major7b 5
c
E~
A
D
1
b3
..6
5 b9
b7
3 b7
9 13
3
#9
9 for 1 I drop 2 {3 5 b7 9} refer to minor7b5
1
bs b7 ,, .1
#5
9 11
1 J
:
E
Bb
D
3 b7
b7 3
#5
L' '7
p)
#l J
b7
l
....
b>
5
11
f::
9
;s l b5 6
I
is
9 for 1 I drop 2 { 3 5
c (11 )
....
.)
9 for 1 I drop 2
c (9)
D
A
i
#I 1 -; I
p9
I "1 ,_.
103
9 l
J
b7 b9}
E
Bb
D~
3 b7
b7
bCJ
~
5
' ._
::>.)
-·'
~9
6
b9 <:,
" ~7 .)
{E-7b5(b 13)} {B bmaj9b5}
refer to dimin.7
l dom7(#9)
I
9 for 1 I drop 2 {3 5 b7 G
Bb
Di
3
5
r> I
b7 3 b9
#9 13
5 b9
b9 b7 3
9th(no 5) voicing ....... C
E
Bb
D# #9 13 9 #11
E (9) (9-13) (9- l l )
(9) (13 ) (9-13) (dom/alt9)
#9}
Sub V~C7(#9) I 3(b9) Sub V~A7(ij 11/~9)
F#
l -
Eb (~9)
Sub V~C7(#9) Ft13(b5) D -maj7(6/9) Sub V~A7(# ll/alt9) Eb 13(b9)
Idom7p5(9) I
5
bs
b7
3
b7
7 ¥,9 13
b3 5 b9
3 6 b9 5
1
#11 i
l
9for 1 /drop2 {3 bs b7 9) refertodom7#5 Ninth(no3) { l b5 b7 9 } refer to dom7 tt 5
Idom7~5(b9) I
9 for 1Idrop2 {3 bs b7 b9} refer to dom7
9th (no3) chord voicing not available until triad over bass chapter: C7(b9/b5) {1 bs b7 ~9} = Gb/C
Idom7b5(#9) I (9) ( 13) (9) (9-11 ) 01 -13) (9-1 1- 13)
Sub ~.,,'~C7(#91b5 )
F#13 . Rel
~Emaj9b5
Ci -60 119 B~-7b 5(~ 13/11) Sub V~A7(131# l llb9) ·Eb7(alt9) 1
9forl/drop2 {3 bs b7 #9 }
E
Gb
Bb
3 b7 1
I p)
b7
D# #9
1 9
3 bs
13 7
·-~
0
..., rI -· .
i
1
~5
~1 3
5
13 #9
b9
l b9 5
11 #11 1
ldom7#5(9)l 9forl / drop2!3 #5 b7 9}refertodom7b5 Nimh wirh oniUred 3rd chord voicinJ? { 1 #5 b7 9} refer to dom7(9)
I
j dom7~ 5(b9) 9 for l / cirop 2 {3 #5 b7 b9} refer co minor7b5 Ninrh with omitted 3rd chord voicing not available.
ldom7~5(#9ll
9forl/drop 2{3 #5 b7 #9}refertomajor7b5 Ninth with omitted .)rd chord voicing not applicable: { 1 #5 b7 #9} forms an incomplete dominant sound. This voicing will appear later in a dominant capacity.
104
Idom7sus4(9) I j dom7sus4(b9)
9 for 1Idrop2 {4 5
b7
9 for I I drop 2 {4 5
b7
9} refer to minor7 Ninth(no5) voicing { 1 4 b7 9} refer to minor7#S
I
b9} refer to minor7b5
Imajor7(#11) I 11for5 { 1 3 7
#11 } refer to major7b5
11 fo r 3 { 1 5 7 #11 }; no enharmonic substitutions through the tension chapters. The relative minor forms a model dorian voicing:
c
(11) (13)
(dom/alt9)
Rei
B
F#
b7
7
b3
#J l
9
13
11 for 1 {3 5 7 #11 } E
G
B
F#
Cmaj7(# 11) C #-7b5(1 l )
5 bs 1 b3 3 b7
7 b7 3 5
#11 11 7 9
9
13
Cmaj7# JI A-7(13/9 )
(11)
G
~Gmaj7(6)
Em(9) Sub V~Eb +7< alt9) A 7( 13/9)
l
5
3 b3 6 1 b9 5
#5
#9
I major6c# 11) 1
11for5 { l 3 6#11} refer to minor7b5
(11) (9-11 -13 ) (9- 11-13)
<dom/alt9)
11 for 3 { J 5 6 #11 }
c
G
A
F#
C6(# 11 )
l bl3 13
5 ~3 3 ~7
6 11 #l l
#11
l
5
13
13 1 #11
A
F~
5
6
Ip.) -
#11
bl3
11
E-7b5(b 13/l l/9; Sub V ~ EP(l3/~ 111¥9) A7(131#9) Sub V ~ F~7(# l l/alt9) c 13(# 1 1)
r 11
l
11 for 1 {3 5 6 #11 } E (11)
(ll- 13) (dom/all9) (dom/alt9)
C6(# 11) CH-7b5(b 1311 1) Sub V ~ Eb7b5(alt9)
3 b3
Al3
5 b7 3
Sub V ~ F #7(alt9) C l3(# l l )
b9
G
b9
3 ~7
~9 5
105
lt9
9
#9
b5
#9
I
i3
#9 13
#11
1
(A-7(13))
Iminor7(11) I ll for S {l b3 b7 ll} refertodom7sus4 11for 3 { 1 5 b7 11} refer to dom7sus4 11 for1 {b3 5 b7 11} refer co minor7#5
j minor6(11)
I
11 for 5 { l
b3
6 11 J refer to dom 7 11 for 1 {b 3 5 6 11) refer 10 dom9
j minor maj7(11)
I
llfor5 {l b3 7 11}refertodom7(#11) {I 5 11 for 3 { 1 5 7 I J } unique... no substitutes 11 for1 {b3 5 7 11} refer to dom7# S
ldom7(#11) I 11 for 5 { 1 3 b7
i 11 } refer to dom7b5
11 for 3 {1 5 b7 #11 } C ( 11) (11 )
(dorn/alt9)
SubV~C7(# 11 ) F#7(b9/b5) G-maj7(11 ) Sub V~A,13(alt9) Ei, 1 3(~9)
1
bs 11
#9
13
·'
11for1 {3 5 b7
G
B~
F#
5 b9 l b7
b7
#11
3
5
3
b3 b9
#11} refer to dom7(b9)
Idom7 ~ 5(t 11)! 11 for 3 { l #5 ~ 7 #l l } refer to dom9 11 for 1 { 3 #5 'rJ 7 #11 J refer to dom9
lmaj or7(6)
!
6 for 5 {l 3 6 71 rcier to major7(#11; 6 for 1 {3 5 6 7 } refer ro major6(9;
Imajor7b 5(6) I 6 for 1 {3
hs
6 7} refer to domisus4
Iminor maj7(6) I 6 for 5 { l b3 6 7} refer to dom7 (#11) 6 for 1 {b3 5 6 7} refer to dom7~5
106
1 7
13
#9
b7#11l
Iminor7b5(b 13) I 13 for 5 { 1 ~3 b7 b13} refer to minor7!5 13 for 1 {b 3 b5 b7 b13} refer to maj6(9)
j dom7(13)
I
13 for 5 { 1 3 b,7 13} refer to dom7b5(#9) 13 for 1 {3 5 ~ 7 13} refer ro min6(9)
j dom7b5(13)
I
b5 b7 13} refer to dom7(#9) 13 for 3 { 1 ~5 b7 13 } C Gb Bb 13 for 1 {3
(13)
Sub V ~Cl3b5
""'F#7(#91~5)
(9-li)
G-maj7( 11/9)
(9-11-13)
E-7bS(b 13/11/9)
(9-11-13) (dom/alt9)
1
~5
II
l 7
bs
~ 13 9 13 #9 #9 , 13
SubV~Eb 7(131#111#9) Al3(alt9)
~7 "'-'
A 13
l ,.., [) .1
#9 q
~5 5 b9
11 #11 1
A
Idom7sus4(13) I 13 for 1 {4 5 b7 13} refer to minor7(9)
(1 3) (9-11 )
Rel
13 for 5 {1 4 b7 13}
c
F
Bb
(13sus4
1 11 9
4
b7
13
b7 5
b3
9
l
0,·
:
..,. 1
9
5 b9
~G-7(11/9)
Bbmaj9 (9-11 ; (9- 11 -1 3) (dom/alt9)
E~6(l:l l/9 1
,.>....
Sub V ~Eb 7( lJI# 1.1/9) A+7(alt9)
.t
#9
Imajor7(9/6) I f 3 7 9 6} refer rn dom7sus4
I minor maj7(9/6) I {b :i 6 7 9) refertodom7(#9)
!minor7b5(b13/9) I
{b 5 b7 9 bl3} refertodom7#5
107
#S
7
t
i
*- 1 1
Idom7(13/9) I {3 b7 9 13} refer to maj7b5
Idom7(13/b9) I {3b7b9
I3} refertodom7(#9)
Idom7(13/;9) I {3 (9- I 3) (9- 13)
b7
#9 13}
Sub V~C13(#9) F# 13(#9)
E 3
b7
jdom7Cb 13) with 9, b9,or #9
Bb b7
D#
A
#9
l3
3
13
#9
I
refer to dom7~ 5 with 9. b9 . or #9
jdom7b5(13) with 9, b9, or #9
I
refer to three tensions as dom7 with: (91#11113), (b91#11113), or (#91#11/13)
Idom7b5(b 13/9) I {3 b5 9 b13) refertodom7(9) {l 3 {b5 b7 9 bl3} refertodom7(#5)
b7
9}
Idom7b5(bl3/b9) j {3 b5 b9 b l3 } refertomaj6(9) {l 3 6 9} {b5 b7 b9 o13} referro min7(#:)
Idom7b5(b 131#9) i {3 I> 5
ff 9 bi:; I refer w maj7(9) l l 3 7 9 }
Idom7sus4(13/9) I \4
b7
9 13 ! refer to major7
Idom7sus4(13/b 9) I {4
b7 b9
13} refer to minor maj7
108
j major7(#1119) {3 7 9 {5 7 9
#11 } refer to major7b5(9) #11 } refer to major7
j major6(#1119) {3 6 9
{5 6 9
I I
#11 } refer to minor7#5 #l i} refer io dom7sus4(13)
Iminor maj7(11/9) I {b3 7 9 11} refer to dom7b5(13)
Iminor6(11/9) I { ~ 3 6 9 11 } refer to dom7b5(#9) {5 6 9 11 } refer to maj6(9)
Iminor7(11/9) I {b3 b7 9 11 } referto dom7sus4(13) {5 b7 9 11 } refer to minor?
Iminor7b5(11/9) I : {b5 b7 9 11} refer to major7#5
Idom7(# 11/9) I {3 b7 9 i 11 } refer to dom7b5(9) { 5 ~: 9 f.11 } refer to minor maj7
Idom7(~ 11/b 9) I D b7 ~9 fi 11} referto dom7bS(b9) {5 b7 b9 ~ 11} refer to dom7(#9)
109
Idom7{# 111#9) I {3 b7 #9
#l l} refer to dom7b5(#9)
{5 b7 #9 #11 } (9-11 )
Sub V~ C7(#111#9)
Bb
5
b7
b9
3
Sub V-.:::::-A7(131# l llb 9)
b7
"'--Eb(#9)
3
b9 5
F# 13(b9) (9- l 1-1 3 I
G
#9
13 #11 1
Imajor7(#11J6) I #11 6 f refer to major7b5(6) {5 7 ffll 6) referto major7 (9) { l 3 7 9}
{3 7
Iminor maj7 ( 11/6) I {b3 7 11 6} rercr to dom7b5 { 5 7 11 6} refer to dom7(9) { 1 3
b7
Idom7(131# 11) j {3 b7 #11 f 5 b7 ~ 11
13} refer to dom7b5{13) l 3) refer to minor maj7(9)
Iminor7b5(b 13/11) j {b3 b7 l J {~ 5 ~ 7 l 1
bD } refer to dom7sus4 b! 3 ~ refer to ma.ior7(9 ·
l major7
#11
.# l l
I
w minor? i3 I refer to ciom7
13 } refer
9~1113 } refertoma_ior6 (~ 11/9)
! :; 9 ·~ ll i3) refer1omajor6(~ 11/9 }
Iminor maj7(13/ll/9JI ('7 {I
9 l! 13freferto minor76 5 9 ! I 13 } refer to minor7 {b3 9 l l l 3 i refer LO minor6(11/9) {5 9 1 l U I refer to minor6(11/9)
110
9}
Iminor7b 5(~ 13/11/9) I {1 9 11 b13} refer to minor 7b5 {b3 9 11 b13} refertomajor6(#11) {b5 9 11 b13} refer to dom13(bS) {b 7 9 i1 b13} refer to dom7
j dom7(131#11f9)
I
{ l 9 #11 13} refer to dom7 {3 9 #11 13} refer to minor7#S {_5 9 #11 13} refer to dom7sus4(13) {b 7 9 #11 13} refer to major7#5
Idom7(131#1llb9) I {3 ~9 #1 1 13 } refer ro minori {5 b9 #J 1 13} refer to dom7b5f#9) {b7 ~9 #11 13} refertodom7(#1Il#9) {5
b9#11 13} Sub V~C7(131#1 llb9) {l
(9-11-13)
(9-11 -13)
C ,/
1
""'F# (lil 11# 9)
#11
Sub V~E~i(Bl#ll/#9) "Al3(#9)
13 #9
Db b9
b7 #9
#11}
F#
A
5
b7 3
I dom7(13/#111#9) I #11 13} not appiicable {3 #9 #11 13} refer to major 6(#11) ( 5 :±9 ~ l t J3 f refer to dom13(~51 {b7 #9 ~11 13}retertodom7(131#1llb9)
·{ l #9
I dom7talt9) I { 3 b7 b9 #9} refer to minor6(9) { 1 b3 6 9 } {1 ~7 b9 #91 referrnmajor6(#11) {3 5 6 #ll} {5 b7 b9 #9} referto dom7 13 5 ~9 #.9} refertodom1(~11) {3 5 ~7 #11 } { 1 3 b9 #9} refer to minor maj7(9) { l b3 7 9) { 1 5 b9 #9} rder to
1
dom7(li ll/alt9)
{~ 7, ~9 #9 ~ 11 j refer to minor7 {3 ~9 #9 #11 } referrnmajor6(#11) {3 5 6 #11} {l p9 j 9 #11 } refertomajor6(#11) {1 5 6 #11} !5 b9 #9 #Ii} refer todom7(ff9) 3 b7 #9}
{L
111
Idom7(bl3/alt9) I {3 b9 #9 b13} referco major7(#11) {b7 b9 #9 bl3} referto dom7sus4 {1 b9 #9 b13) refer lo dom13sus4 {5 b9 #9 b13} not applicable
I dom7(13/alt9) I { 1 b9 #9 13} refer to dom13(b5) { 5 b9 #9 13} refer to dom7b5 {b7 b9 #9 13} refertodom7(# 11) {l 5 b7 {3 b9 #9 13}
(dom/alt9)
Sub V~Cl3(alt9)
""'- F# 13(#9)
E
D!,
D#
A
3
b9
13
b7
5
#9 13
Idom7(alt9/alt5) I {b9 #9
bs #5 } referto dom7sus4
Idom7(131#ll/alt9) I {b9 #9 #11 13 } refer to minor7b5
112
#Ill
#9 CFlt-13J
Chapter Fifteen. Additional Enharmonic Chordal Substitutions Up to this point. our enharmonic chord.al substitutions have been produced by tension additions. dorninant Sub V chords, and relative major and minor chords. By relaxing some of the rules established through the tension addition chapters, additional chordal substicution possibilities can be added to our previousiy established voicings. Though some of these substitmions \Vill produce .. incomplett" voicings. they might prove more effective in certain situations than a more complete chord voicing. Aiong with i:hese ircomplete voicings . two additional voicing types that were previously omitted will be examined; dominant 7th chords with a namral 5th and tension~ 13. though its Sub V will not be examined, and tensions 9 & 11 on a rnin7~5 chord. At the e nd ohhis chapter the ''incomplete" Sub V chords that were produced by their Sub V relation to the dominant cnords presented in the tension addition chaprers wili be displayed.
Imajor 7~5 !
c
Cmaj7b.::: E9(bl3 ) Bsus4(~9)
Cm~j7 (#5 ) E7(li 13) B l 3sus4(h9)
~1 :
i' rimn7 ~~ ! ' C7# 5 E~ 13sus<-t1 li't J
B
-".\
~ :i 9 5
7 5 1
G#
B
::i
¥,5
1 4
3 13
7 5
4
c
E ..,
'
i.
b13 J,9
>--
u
r
r
b3 r·
..,
5 1 1?
b3
>
#5 ,
,. '
....-
G'.-~.
B~
3
~5
i_-;
b7
~~
4
5
~
C-7
E~ 7sus4(13/9 ;
G~
~9
Iminor 7 I G-7~5(11 l
E
11
....
r:..
113
.1.>:·
~7 I
{B~ -raaj7(13/l l/9) j
I dom7bs I C7b5 Bb9(alt5) E9(alt5)
j major7(9)
I
1 9
c l
G~
Bb
....
.J
bs
b7
bs 1
~5 9
bs
.
B
D
r;>
..., .J
b13
j minor maj 7(9)
C-mai9 Suh V ~ Dl3(b9) A~ 7(~ 111#9 1 A-7b5
I minor7(9) I C-9 Sub V ~ D7(b91#5 ) Ab9C# 11)
Imajor6(9)
J
C6(9) E-7 #5 (11)
I
c ~, 7
Eb b3 b9
3
5
]
C-6(9) Sub V ~ D7( b9)
r
5
9 b7
B
D
7
9 l
I
13
a,, i 1
bs
c
Eb
Bb
D
1 b7 3
b3
b7 #5 9
9
b9 5
c
E
A
D
6 11
b7
_...
1
#11
A
D
j
r ..., p -'
I -
[,9
6
9 '
"'\
1
#11
b9
6
5 o5 l
b)-
7
c
E
B ;;
Db
1 9
.... _.,
I -
b7
_;
' .... p-'
(Ab (# 11/9))
9
Eb
...,
(Bb -7b5(b 13/9)) CE-1bscb 1319))
11
c DI
Ab 71 (~ l llb9) A-7b5(1 l ) E bmaj7b5(6)
..,
b3
#5
J
l
!9 9
l
Iminor6(9)
C7(b9) Bb-7b5(9)
E
#S
Cmaj9 E7(b 13)
Idom7(~9)
c
1i
1
b9
b3
p)
114
....
Idom7(#9) I C7(#9) A b7(id 3/9) Bb-7b5(1 l/9)
l d om7b5(#9) I C7(#91b5) A b9(b 13)
Imajor 7(# 11) I Cmaj 7(tt 11) B7(b i3/~9)
Cmaj7(# 11) F#7sus4(b 9)
Imajor 6(# 11) I C6(# 11) G-mai70 l/9) B7(bi31b9J .
O:· t,,1 : l ; Relative ~Em( 1119) Gmaj7(9/6)
I minor m aj7(11) I
c
~
1
3 9
~
b13
bs
Bb b7 9
D# #9 5
11
D#
3 bl3
Gb bs b7
Bb b7
c
G
B
,1
.:;:
b9
,,6'l _..,"1
7
,._
~
G
B
F f.''
3 b7
5 b9
7 4
#11 1
c
G
A
F~
l 11 b9
5
6 9
#11 7
E
..)
9
#9 5
Ftt #11 5
bl 3
bi
5
E
G
A
F ~''
3
-
:.
6
#'
6
b3 l
11
9
7
c
G
B
F
!
11
I
::
C-m~j7 (11)
v13
-
liq
j l
9
b3 b9
~7
J Q .
b9
A-?n5(9) ~ B7(b9/alt5) ........._ F9(~ 11)
!
b5
5
f.. 5
9
E71 b 13/all9) Sub,.
E
!I~
~!l
115
(E-7b 5(1119)) (G-maj7(9/6))
#5
{f(~ 1119)}
Idom7(#ll) I
c
G 5
Bb
Ff. #11
C7(# 1 1)
1
E-7b 5(b I 3/9)
b13
b3
bs
9
E
G
Bb
3
s
b7
F# #l l
C7(# 11 l E-7b5(9)
l dom7~ 5(13)
I
C1 3(b5) D7(b 13)
Ci3sus4 D7(b 131#9)
@om7(13f #9)
~3
b5
9
c
Gb
Bb
A
l
b5 ,.,
b7
13
_,
b13
s
c
F
B~
A
1
4 #9
b:
b7
b13
1.3 5
E
Bb
A
....
_)
b7
b7 ~9
3 5
D# #9
b7
Idom7sus4 (13) I
I
Sub V ~C l 3(#9)
Ff13(#9) Sub V ~ E 7(~ 1 llb9) A7(;111b9)
A7(#1 1)
:~1
. ''
c
D~
F:
A
'-
j,9 ~ i:.
~; J
..
D~
D~
A
b9
#9
13
J;" .......
Sub V ~ E~7(~9/b 5 )
13
-
j dom7(1 3/a lt9) j
Cl 3(alt9) E-maj7( : 1/6) D~-7#5(9)
13 1
b9
~.
acm703/j;ll/b9) ' C7(l 31# l I /b9 ) F7(~ 13/b 9 }
b7
..., _..,
l
6
b3
1
9<}
s
I -
~ I
1
13
-
Jl
9
F='
b5
r .
3
I
#11
116
(A(#l J))
Incomplete Sub V Chords This is a list of the dominant Substitute V chords that were introduced in the tension chapters by only their Sub V relation and not by tension additions. Some of these voicings appear quite incomplete and might not prove very useful in dominant situations. The list will be in order of the Sub v· s appearance through the tension chapters and will include the original dominant chords that produced the Sub V chords and the original chords that introduced the voicings.
Sub V Chord
Original Dom Chord
Original Chord
1
C7(alt5) {I 3 bs #5}
F#9(b5) {l bs b7 9)
Ab+7
2
C7b5(b9) {l 3 bs b9)
F#7(# 11) { 1 5 b7 #1I)
F~7(#11)
3
C7b5(9) { 1 3
F#+7(#11) {1#5 b7#11}
D9 {1 3 b7 9}
4
C7b5(#9) { 1 3 b5 #9}
F#I3(b5) {l b5 b7 13}
F# 13(b5)
5
C9(#5) { 1 3 #5 9 }
F#7~ 5(b 13/9) {b5 b7 9
6
C9(#5) {1 #5 b7 9}
F#7b5(bl3/9){3 b5 9 b13}
Bb9 {13 b7 9}
7
C9 {1 3 5 9}
F#7b5(b 13/b9) {b5 b7 b9 b 13}
E-7(#5)
8
C9 11 5 b7 9}
F#7b5(bl3/b9){3 b5 ~9 b l3}
9
:
b5 9}
C7(13/9) {l b7 9 13}
i
II
b13}
F#7b5Cb 131#9) {3 b5 #9 b 13}
E+7
I I
#11 } b7 b9 #11 }
Bb6(9) {13 6 9} B bmaj9 {l 3 7 9 }
F #7(9/#, 11) {5 b7 9
Db-maj7
C7(b9) {l 3 5 b9}
F#7Cb91# 11){ 5
A7(#9) {3 5 b7#9)
12
C13(b9) {1 3 b9 13}
F#7C#91# 11) {5 b7 #9#11}
13
C7(#51#9) {1 3 #5 #9}
F#7(91#11/13) {b 7 9 11 13}
Emaj7#5
14
C?(#Sl#9) {1 b7
F#7(91# 11/1_3) {3 9#11 13 }
C-7(#5)
15
C7(#91alt5) { 1 b5 #5 #9}
F #7(91#11113) {l 9 # 1113 }
Ab7
16
C7(#9) { 1 5 b7 #9}
Fff7(b91#11113) {3 b9 #1113}
C-7
17
C7(#111#9) {l 5 #9#11}
F#7(~91# 11113) { 1 b9#11 13}
F#7(b91# 11/13)
18
C7(ff9) {1 3 5 #9}
F#7Cb91#11113) {b7 b9#1113}
A7(# 111#9) {5b7#9#il }
19
C13(#9) {I 3 #9 13} .
Fff7(#91# 11/13)
20
C13(# 9) { 1
21
Cl3(b9) { 3 5 b9 13}
22
C13(#11) {3 5 # J I 13}
10
C+7(b9) {1 3 #5 b9}
11
23
b7 ~ 9
#
#5 #9 }
13 i
C 13(b9) {5 b7 b9 I3 )
F#7(#91#11)
l
I
!
Eb7(b9/~ll/13) {l b9#1113 }
13}
F~ 7(#91# 111! 3) {3 # 9~11 13 }
F #7(alt9) {5 b7 ~9 #9 } F#7(alt9) { 1
I
{b 7#9#11
Eb6(#11 ) {1 5 6 tt ll} J
A7
b7 b9 #9}
F#,7(alt9) {3 5 b9 #9}
.,
C6(#11) {3 5 6#11}
l
Eb7(#11) ( 3 5 b7 # 111
F~7(alt91#11) (~t b9i9 #II }
A-7 I C6
C l 3{15 b713}
F #7(alt91#11) {3 b9#9 #11}
Eb6(#1 1) {3 5 6#,IJ}
26
Cl3(#11) {l 5 # 1113 }
F~7(alt91# 1 1) { l
27
C13(b9) { 1 5 b9 13}
Fff7(alt91# 11) {5 b9#9 # 11}
28
C7(13/9) {5~7 913}
F #7(alt9/b 13) {3 b9 #9
E~maj7(#1 1) {3 5 7 # 11 }
29
C7(13/9) { 3 5 9 13}
F #7 (alt9/b 13) ·{b7
A7sus4
30
C7(131#9) {3 5 #9 13}
F # 13(alt9)
31
C7(131#9) { 5
32 33
24
C13 {l 3
25
~ ~
13}
~
b9 #9 #11}
b13 } b9 #9 b13}
{b 7 b9 #9
13}
C6(# 11) { 1 5 6 ~11} A7(#9) { 1 3
A7(ff ll) {l 5 b7 # 11}
F # l3(alt9) { 3 b9 #9 13 }
F ~.. 13(alt9)
C7 (13/9) {1 5 9 13}
F #7(alt9/alt5) {~ 5 #5 b9 #9 l
D7sus4
C7(131#9) { 1 5 #9 13}
F#13(alt91#11) {b9#9 # 1113}
A-7b5
b7 tt 9
13}
b7 #9 }
All of these Sub V chords can be found in a II - V - I simai:ion placdl under the original dominants. 117
Chapter Sixteen. Relative Major-Minor In this chapter both the relative major to minor (and vice-versa) and the relative minor to minor 7b 5 (and vice-versa) will be examined: C major to A minor (A minor to C major) C minor to A minor7b5 (A minor 7b5 to C minor) The following chord types with tension additions will be explored:
1) major 7/major 7b5 and major 6/major 6b 5 relative to minor: Crnaj7/Cmaj7b5 and C6/C6b5 relative to A minor. The relative minor of major chords containing natural 5th and #11 form a "dorian" minor (b 7 & 13) which will be examined in a later section. 2) minor 7 relative to major: C-7 relative to Eb major.
3) minor 6 relative to both major and minor 7b5: C-6 rel ative to Ebmajor and A-7b5. 4) minor 7b5 relative to minor: C-7 h5 relative to Eb minor. 5) minor maj7 relative to minor 7bS: C-maj7 relative to A-7b 5. With the exception of the drop 2 C-maj7(9), which is relative to Ebmaj7#5, the minor(maj7) chords' relation to major chords will be avoided, since the majority of these chords would produce tensions on a major 7#5 chord. Those relative chords that were not displayed in the tension chapters will receive asterisks and an example of a ITV-I situation at the end of this chapter. Chords are listed as they were introduced in this text. Some of the relative voicings are so incomplete that they can have more than one function in relation to the root of the chord. When this happens, the additional function will be listed in parentheses.
Four-P.art 7th & 6th Chords (Drop 2): Cmaj7 .............. relative to ....... A-7(9) Cr.J.aj7 ~ 5 ................................. A-6(9)
Cmaj7#5 ................................. A-rnaj7(9) C6 ...... .................. .................. l\-7 C-7 ......................................... E b6 C-6 ......................................... Eb6b 5 or Eb6(~ 11) and A-7 b5 C-maj7 ......... ........................... A-7b5(9) C-7b5 ..................................... E~-6
118
Original Voicing
ITension 91 Cmaj9;
E-7 I G6
drop2{3 5 7 9}relativetoA-7(11/9){5 b7 9 ll}(A9sus4) { 1 3 7 9} re.lative to Am( 11/9) {b3 5 9 11 } *
Cmaj9b5; drop 2 {3 bs 7 9} relative to A-6(11/9) {5 6 9 11} (A7sus4(9/13)) {l ~ 5 7 9} relativetoA-6( 1119) {b3 6 9 11}
06(9) { 1 3 6 9}
Ab7b5(#9)
C6(9); (A7sus4)
drop2 {3 5 6 9! relative toA-7 (11 ) {1 5 b7 11} (A7sus4) {l 3 6 9}relmivetoAm(JJ ){l b3 511}*
Bbmaj9b5
C-7(9); Ebmaj7
drop 2 {b3 5 b7 9 } relative·to Ebmaj7 {1 3 5 7} {I b3 b7 9 } relative toEbmaj7(6) {1 5 6 7} *
C-6(9); drop 2- {b3 5 6 9} relative to Ei,maj7b5 {1 3 bs 7} relativetoA-7b5(11) {l b5 b7 11 } {l b3 6 9} relmivetoEbmaj7b5(6) {1 bs 6 7} *
Ebmaj7 b5
relative toA-7 b5(ll) {1 ~3
bs
11\
*
C-maj7(9); drop 2 {~ 3 5 7 9} relative to Ebmaj7#5 relarivetoA-7b5(1119) {b5 ~7 9 11} f l b3 7 9} relarivetoA-7b5(1119) {b3 bs 9 11 ~ '"
Ebmaj7#5
C-7b5(9); Ev -maj7 0+7
cirop2 {~ 3 ~ 5 b7 9} relam·e toEb-ma.i7 { l b3 5 7 i {! b5 b7 9jrelativetoEb-maj7(6) {b 3 5 6 7 1
119
Original Voicing
ITension 11 I Cmaj7(# 11); 11for5 = Cmaj7b 5 under Four-part 7th & 6th Chords #11 and 5 not applicable
C6(#11);
11for5 = C6b5 C6b 5 relarive to A-6
#11 and 5 not applicable C-7(11);
b7 11 } relative to Eb6(9) {3 5 6 9} { 1 b3 b7 11} relarive to Eb6(9) {l 5 6 9 ) * { b3 5 b7 11} relativeto E b(add9) 11 3 5 9 }
C7sus4 F7sus4 G-7(#5)
{1 5
*
C-6(11); { 1 5 6 11 } relative to Eb6(?f# 11) {3 b5 6 9 } relative to A-7(#5) { 1 ~3 #5 b7} {b 3 5 6 11 } relative to EbC91b5) { 1 3 ~5 9} * relative toA-7b 5(b13) {l bs bl3 b7} * {l b3 6 11} relativetoEb(91#1111 3) {l b5 6 9} relative to A-7b5(~ 13) {1 b3 bs bl 3} *
A-7(#5)
F9{ 1 3 b7 9 }
F7
C-maj7(11); { 1 5 7 11} relative to A-7# 5(9) {b3
;s b7 9 } *
G+7
!b 3 5 7 ! l } relative toA -ibscb1319) fp5
F7 ( ~ l l J
{1
{ 1 5·b7 ¥, 11 }
t:::
#S
b7 9 1 (A9(alt5) J
I >} reicmvewA-7p5( o 13l9 J {~3 ~ = ~S 9 ' ·
C-7b5(11); Gbmaj7b5 Bmaj7('. 11)
{ 1 ~:., bi I 1} relative w Eb-6(9) {b 3 5 6 9 } {~3 b5 b7 11} reiative toEbm (9) { l b3 5 9}
120
*
Original Voicing
ITension 13 ! Cmaj7(6)
*
{ 1 3 6 7}relatlvewA-(add9) {1 ~ 3 5 9} {3 5 6 7 i relarive to A-9 i 1 5 ~ 7 9 1 (A9) '~
Fmaj7(# lJ) G6(9) { 1 3 6 9}
Cmaj7b5(6) B7sus4
{3
b5
6 7} relative to A-6(9) { l 5 6 9}
* refer to maj6(9) { 1 5 6 9}
C-maj7(6) { l b3 6 7 } relative ro A-7~5(9) l b3 ~5 9) ''' { b 35 6 7)relmive to A-7 ~ 5(9) 1 ~ 5 b7 9 }
F7(~ 11)
B.-7
C -7b5(b13) {1 b3 #5 67} relativeto Eb.-6(11) {15 6 11} (Eb l3sust.P {b3 b5#5 67} relacivetoE~m(ll) {1 63 5 11} *
C-7(#5)
G66(9) { 1 3 69}
I Tension 9 &13 I Cmaj7(13/9J {3 7 9 6} relative to A-701/9) { l S 9 11) tA9sus.d. 't ,,.
E7sus4
Cmaj765(13/9)
C-m aj7 (6/~t
{b3 7 9 6} relative to A-7 65(1119) ! l
BHli9)
{ 1 3"b 7 #9 }
bs
9 11)
C -7b5(b 13/9)
Bb+7
[~5 ~ / 9 ~13} relarive TO Sb-maj7(1 ! ' j i;3 5 7 ] J l
121
Original Voicing
I Tension 9 &11 I Cmaj7(#1119)
#11 for 5 = Cmaj% 5 under Tension 9 #11 with 5 not applicable (# 11for5 =C6b5(9)) { 3 bs 6 9} relative to A-6(11 ) {I S 6 11}
(F#-7(ff 5))
C-7(11/9) FI 3sus4 Bb6 I G-7
{b3 h7 9 11} relative to Ebmaj9 {1 5 7 9} { 5 b7 9 11 } relarivetoEbmaj9 {3 5 7 9}
*
C-6(1119) { i 6 9 11 } refer to C-maj7(13/ll/9) {b3 6 9 11} relative to E~maj9b5 {1 bs 7 9} relative to A-7b5( b 13/11) { l b5 #5 11} * {5 6 9 11} relative to E bmaj9b5 {3 bs 7 9 } relative to A-7#501 ) {I #5 b7 11 } *
B7b5(#9) F6(9) {l 3 6 9}
C-maj7(11/9) {b3 7 9 11 i relative to A-7b5(b 13/1119) {b5 9 11
F1 3b5
b13 }
C-7 b5(11/9)
(b5 b7 9 11) relative to Eb -maj 9 l b3 5 7 9 )
Gbmaj7# 5
ITension 11&13 1 C-maj7(11/6) F7b5
(b3 7 6 11} relacive ro A-n s(b 1319) {l bs #5 9} (5 7 6 11} relativewA-7#5(9 ) {1 b7 9 } *
#S
G9 (1 3 b7 9}
*
C-7h5(~ 13/11 i
Gbrnaj9 {I 3 7 9} I
•
.Bb 7sus4
{b 5 b7 11 bl3 } relativeto Ebm(ll/9) {b 3 5 9 11) * {b3 b7 11 b13 } relazive to E~m(I 1/9) { l 5 9 11} (Ebsus4(9))"'
122
Original Voicing
j Tensions
9. 11, &13 j
Cmaj7(13/;11/9) {5 9 ~ 11 13 } is not applicable D 9 t 11 131 relarive to A-6(11/9) { 1 6 9 11 J (1 9 ;11 13 i relaiive to A-6(11) {1 ~3 6 i 1} {3 9 !t 11 i3 1 under T ension 9 & 11 as C6(il 11/9)
B-7 D7
••
1t
•
C-maj7 (13/1119) B-7~5 /D-6
{7 9 li 13}relativeroA-7#5(il/9){1#5(b13! 9 Il l { l 9 11 13 1 relm~ve to A-7 #.5 0 1) { 1 ~3 f5 1 l} ~, relcaivetoE~nrnj7(131#1119) {7 9 #1 11 3 )
D-7
C-7b5(~ 13/11/9'1 { ~ S 9 l l \ rel="nofollow">13 } relarive toE~ -ma_j7<1I/9){b3
7
9 l}!
The new relative chords that have been discovered, (and receiv ed asterisks), will now be displayed in various II V 1 examples. These chords will be grouped into three different categories: major, minor, and minor7b 5. The relaci ve chord or chords will be listed as well as the originai chord to first introduce that voicing. The following is an organized list of the relative chords that will be examined. showing the order in which they will appear and any multiple funcnons they mighl nave.
:MAJOR major (add9 ) ')
majorb5 (add9)
Functions
11 3
s o./ J·
dom7(9i, maj7(9'
{l
bs 9)
dom7~5(9) I maj7~5(9 )
~
_,
n:aj7(0'\
!l
4
maj6(9)
{ J
5
maj7(6)
{l
,.,
.)
c
::: 7
s s
6 9) 6
7}
6
maj7 b5(6)
{i
I -
7
maj7(6/9)
11
6 7 S1 \
;J)
maj6(9 J I min6(9) maj7(6) I min. maj7(6)
maj7 b5<6 1on]~.:
r: 7 : ·-·
maj7(6/9) i min.
1m~j7(6/9 i
MINOR
Functions
l
minon add9.1
min7(9 ) I min.
2
minor( add 11)
{i
_;
mmor(9/l l )
{'7:-1 5
4
mino:(9/l 1,l
{i 5 9 J1}
5
minorf9/l n
{1 ~ 3
6
minor 7(9)
{ l 5 b7 9 \
min7(9) I dom7(9)
7
min.maj7(9111 J
ll
m.in.maj7(9/l .l lonly
8
min.maj7(6/l 1~
..,
b3 ""
J;
I min6(9}
min7(1 l )/min. map(! I )/min6( 11 )
11 }
CJ l! }
C)
m2~j 7 (9 )
min7(9/1 l)/min.maj7(9/l l )1min6(9/ 1 I ) same as above plu&ciom9sL:s
l
min7(9/i l Jirnjn.maj7(9/l i l:min6(9/1 1 1
7
9 1l J { 16 7 11 )
min.maj7 (6/l l )only
123
Functions
MINOR 7b5
min7 ~ 5(9)
{ l b3b5 9}
min7b5(9) only
2
min7 b5(11)
{ 1 b3 bs 11}
min7b 5(1 l) only
";)
min7 b5(9/l l )
{l b5911}
min7b 5(9/l 1) only
4
min7b5(9/l 1)
{b3 bs 9 11 }
min7b5(9/1 1) only
5
min7b 5(b 13)
{I bs b7 b n }
min7b 5(b 13)idom7(alt5)
6
mjn7 b5( b 13)
{l b3 b5 b13J
min7b5 (b 13) I dom7(# 91alt5)
7
min7 b5(~ 13/9)
{b3 b? 9 bi3}
min7b 5(b 13/9)only
8
min7 bs cb 13/9)
{b3 bs 9 b 13 }
min7 b5(b l 3/9)only
9
min7 b5(b 13/9)
{lb5 9 bl 3 }
min7b scb 13/9)/ dom9(alt5)
10
min7b 5(b 13/9)
{l b7 9 b l 3}
m in7bs cb 13/9)/ dom9+
11
min7 bS(b 13/9)
min7 bs cb 13/9)only
12
min7b 5( ~ 1311 1)
b3 9 b l 3} {lbs 11 bB}
13
min7b 5(~13/1 l )
{l b7 11 b13 }
min7b s cb 13/ l l )only
14
min7bscb 1311 1)
{l b3 11 b l3 }
min7b5 (b 13/1 l )o nl y
Imajor 1add9) I
{l
min7 bs cb 13/ll )only
{1 3 5 9}
C(add9) relative to A -7 (11 ) ( b3 5 b7 11 } original chord E -7#5
A voiding tension
9 on the 5th string leaves three applic able inversions :
G-7(11) C7(b9/ alt5) F(add9)
fi Imajor bs (add9) I
5 9
9
s
l 3
~
0./
l
1
5
3
C-9
F 7b 9
0
-e-
11
B ~( a dd9 ) [).0.
·;;
11 3 bs 9 l
C(9/~ 5) rdative t0A-6(ii)(~ 3) 6 ll } original chord D9 { 1 3 b7 9} A voiding tension 9 on the 5th string leaves three applicable inversions:
bs
9
9 I
bs
1 3
3
9
~
124
C-7(1 1) F7(b9/alt 5 ) BJ (add9 l
: p)
II w,§
jz~a
P! '
II
D-7(11/9) Db (9/b5) C(add9)
Imaj7(9) I
A-7( 11)
D7(b13)
G(9/b5)
-&
-a-
-&
11'Z
#~§
§&§
B-7(11) Bb (9/b5) A (add9)
b.o.
.0.
II
·z
t:
-&
#o:g
II
{1 5 7 9}
Cmaj7(9)relativetoA-7(11/9) {b3 ~7 9 11 } original chord D1 3sus4 { l 4 b7 13} Avoiding tension 9 on 5th string leaves only one applicable inversion: E-7(11)
~
Dmaj9
A7(#5/#9)
~
~i 'U
jmaj6(9) j
9 7 5 1
~n
{ 1 5 6 9}
II
(min6(9))
bs
C6(9) relative to A-7(11) {1 b3 b7 11} ; C-6(9) relative to Ebmaj7b5(6) {3 original chord D7sus4
6 7}
Avoiding tension 9 on the Sth string leaves three applicable inversions:
6 9
I 5 9 6
1
5 D-9
G7(#5/b9)
C6(9)
E7(#5/b91
B-9 e-
Imaj7(6) j
A6(9)
A -7(9/11)
Ab7
~*
"
G6(9J
-e-
-e.
l1!
II
9 6 5 1
0::
iii
{l 5 6 7}
Cmaj7(6)relativetoA-9 { l original chord A-9 There is one applicabie inversion:
b3 b7 7 5 I 6
9}
C-7(11)
~ 9'£
125
F7(alt9) ~
Bbmaj7(6)
;I
II
II
Imaj7b5 (6) I
{lb567}
Cmaj7b5(6) relative to A-6(9) { 1 original chord A-6(9)
There is one applicable inversion:
b3
6 9}
7
F7(alt9)
C-9
bs 1 6
Imaj 7(6/9) I
B~maj7 b 5(6) ,-&
'13
1
11
{l 6 7 9}
Cmaj7(6/9) relative ro A-(11/9) { l b3 9 11} original chord F6(# 11) {3 5 6 #11 } There are rwo applicable inversions: 9 7
l 7
6
9 6
F#-7(11J
B7(b9/alt5) Emaj7(6/9)
'#1
E9sus4
I~
p~
~2
E7(alt9/b 5) Amaj7(6/9)
~q
#~
I
"' ote: The above E9sus4 voicing is introduced in the New Voicings chapter.
Iminor(add9) I
{ lb.359 }
Cm(add9) relative to A-7~5(11) {b3 ~5 b7 11} and E~ maj7(6) original chord A~ma.i7(~ l l 1 ; ? - 7 hl ; I ...,
There arc three applicable inversions:
9 5
p.)
9
b:::
fl 3 6 7}
5 9
l
G-7b5 P.O..
'
C7(13/ ~ll/b 9 ) ~
l+!!
Fm(add9) A-7P5(11 ) D7(H l/ b9) Gm(add9)
~~ I
~
ll
· ~~
°it
(F #-7)
E-%5
b.o..
-e.
~~
II II
A7(a1t5) Dm(add9 J 1-G
~:'!
!
(F+7 )
126
-&
~; :
!!
Iminor(addll) I
{Ib35 11}
il .3 6 9} andA-7~5( bl3) {b3 bs b7 b13}
Cm(addlllrelativetoEb6(9) original chord Eb6(9)
There are four applicable inversion:;:
I ~
.17· ' -·.-
,.
B13(i:J9 ~
j
lI
11 1
b3
1j
::"
D-7b5(11)
Em(ll)
i·H
Rm
~3
~3
~.
...
F#-7(#5 )
-
€--
G7b9
~
II;,5
8
Cm(U)
"2
(G#7)
A-'7b5(b 13)
i&
D7b9
Gm( llJ
on
-&
1zg
B-7o5(bl3i
«'£
r;iz
•'g'
II H
Am(ll i -Go
jlo
d~
t)
E13(:,9 l
(C#7J
Iminor(ll/9) I
{b3 5 9 11}
Cm(ll/9)relativetoEbmaj9{137 9}andA-7b5(bl3/ll ) {b5 b7 11 b13} original chord Ebmaj9 There are rwo applicable inversior.s: 11
9 5
b;. ~ -7b5( 11)
5 b3 9 11
B7( 13/~ll/b9) Ern,( 11/9 )
D-7!15
G7C~9/alt5)
Cm( ll/9)
= ! ~ . ~ el ~-B~~-=:~~~!~~~~___...l!~__&h~?;J.__-v_~=t~!~===!J gg~
j
minor(ll/9)
~ ,,
I
Cmfll/9)relativetoEbma_i7(6/9') 136 7 9 i :rndA-7b5(bJ311 1) lb3
b7 11 b13l
original cnord G7su,..! A voiding tension 9 on the 5th smng leaves three appiicable inversions: 1i 9 5 Am(9/11) D7(b9 )
G6(9 1
Gm C8/11)
9 5 1,
5
1
11
9 t
.I.
C7(~0ialt5l
Fma.i9
r .-7(11/8)
F7(a1~9 ) B~ m a.~716/9 '
=~&_.~i--~~~--i~~~~.c__~~~~''~·z~~-1i~10~~*-~·l (Ab7J
Iminor(ll/9) I
{lb3911}
Cm(ll/9) relative to E~maj7(6/9) { l 6 7 9} originalchord A~6(#11 ) {3 5 6 #11}
b3
There are two applicable inversions: 11
9
9
1
11
b3 Dm(ll/9) G7(alt5 )
1
Em{ll/9)
C
A7(alt5 )
D(add9)
II *Nore: The above A7(alt5) and D(a
Imin7(9) j
{ 15
b7
9}
C-9 relative to Ebmaj7(6) {3 5 6 7 J original chord B~6(9) { 1 3 6 9} A voiding tension 9 on the 5tb string leaves three applicable inversions:
I
b7 A-9 -&
-~ g
Ab7 I
.t rel="nofollow">-0-
I!~~
G6(9)
9 1
5
F -9
§ li''9
Imin. maj7(9/11) I
b7
9 ~7 5 1
5 9
E9
i
Ebmaj7 0
!
Ii
C-9
B7
?..a.
-&
~~
b131
A voiding tension 9 on the 5th string leaves only one applicable inversion: 9 7 11
G-7b5(9)
~i u
C7(~9/#5 )
b.&
~~ i la
F-maj7(9/ll)
~~~
!!
'
128
-&
II
{179 11 }
C-maj7(9/11) relarive to A-7b5(b 13/11/9) {r3 9 ! I original chord F6(# 11) { 1 5 6 ~ 11)
B11m aj7
Imin. maj7(6/11) I {1 6 7
11}
C-maj7(6/ll) relative to A-7b5(b13/9) { 1 b3· 9 b13} original chord A b13(alt9) {3 b9 #9 13} There is only one applicable inversion:
7 11 1
B-7b5(H3/ 11) E7(alt9) A-maj7(6/11)
II
6 u(Fmaj9)
Imin7bs(9) I
(F-6(9))
{l b3 b5 9}
C-7b5(9) relative to Eb-maj7(6) {1 b3 6 7} originalchordAb?(#ll) {3 5 b7 #11 } There is only one applicable inversion:
9 b5
G-7~5(9)
C7(#5/~9 )
Fm(add9)
~
b3
II
l
lmin7b5(11)1
{l b3
bs
11}
C-7 h5(11 ) relative to E b-6(9) {l h3 6 9}
original chord E b-6(9) There is only one applicable inversion:
ll
1
t~ Imin7 ~5(11/9) I
F#-7~ 5(11 ) B7(13/#11/b9) Em(ll/9)
4~t
~1~
~
II
{lk' 911}
C-7~5(11/9)relativetoEb-maJ7(6/9) {b3 6 7 9) original chord D7(~9) { 1 3 b7 #9 J There is onl .v one available inversion, and unfortunatelv . this one has tension 9 on the 5th strim!: ~
11
1
bs 9
Imin7b5(11/9) I
(~3
b5
9 11}
C-7 b5(1 l/9) relative to E ~ -maj9 { l originai chord Eb-maj9 There is only one applicable inversion:
b3 li
7 9} E -7,5(11/9)
A7(#5/b9 )
-~I
9
I -
p)
~3
129
D-6(9) -e-
Imin7bS(b13) I
{1
bs b7
b l3 }
C-7bS( b l3) relativetoEb-6(11 ) {b3 5 6 11} original chord Ab9 { l 3 b7 9}
b7 bs
There are four applicable inversions:
l
bs
bi3
bi3
b7 ~1 3 1
1 b7
1
bs
b13
b7
A-7b5(b 13) D7(alt5/#9) G-6(9)
'
i:-~ ..:
Ii~
E -7 ~5(b 13)
E-7(alt5)
~
~~~
'·~
jmin7b5(b13) I
b..a.
'-e-
!i :! {1 b3
Ii
lillo§
~~
;
bs
~
D-7b5(b 13) G7(#5/#9)
!
tJ.o.
A7(#5/#9)
If!'
A7(alt5/alt9) D6C9)
b..a.
b5
b..a. ~
9
D-6
e
II Cmaj7(6) , -&
q~
2J
bl3 J
C-7bS(bl3)relativetoEb-6(11 ) {1b3 6 11} original chord Ab 7
b13 b3
There are four applicable inversions:
l
bs A-7b5(b 13)
~
,8
D-7b5(b 13 )
~
~ &~
A~ ? I ~
11~~
b5 b3 b...1"::-
G-6
1stl
n
~~ CFT!
b3 b1 3
b13
bs
b3
E -7!7 5(bl3) ·,
I
~~ e
q
,_
b13
b3
b3
Si b13
I -
D /
Al3(b9 )
r:!~ :;i:~ CF~7 )
C-7~5(b13/9 ) relative toEb -maj7(lJ){l 5 7 l lJ
There are three applicable inversions :
A-6(9) il.
Jj
l'b3b7 9 ~l3 i 1min7 f.4 5(9)\ •I
orif?ina! chord E ~-n..J7( 11 l
l
It!
'!
C-6(11)
l
B-7115(b 13) E7rn5/t.9J -e.0.
v..o.
G7b5
I min7~ 5([, 13/9) I
bs
1
I
'.,
b L'
D
130
9 I...,
p,
b3
Dm(ll)
q~ (F6(9 ))
Ii
A-7#5(9)
t
D7(:!5/ ~9 .l
B-9~5
G-6(9)
b.o.
_o_
g
-e-
~
-=·:
1:
j min7~ 5(b13/9)
E7(#5/b9'1
A-9
D-7~5(9)G7(~5/ h9)
0.0.
E
bi
I!
C-maj9
I
ire-
n
1:
I :i
C-7b5( b l3/91relacivet0E:>-mai7(11 ) 11 }
original chord Ab 7(# 11 ) ~ 1 5 ·b 7 There are two applicabie inversions:
#
b::
7 11 ;
9
9
b5
; ' -
I
b?
b13
p.)
iJ L'
A+7
b3
A -7:i 5(ol3/9) D7(#5/#9 l
D<9/b5 )
' ..o_
ibR
I
D-'l.
G-6(9) I
-e-
tcg---t/~.k~;--~!j
!1!1E
I min7 b 5( ~ 13/9) I C-7b5(b 13/9) relative to E?-maj7(6/l l) {b3 7 6 11 }
original chord Ab7b5 / D7b5 i'\oce: Since the original chord mirrors the same chord a critone away, ic applies co any substitution chords of the
original chord: Ab7~5
=
E~-maj7(6/l 1)
D7bS A-maj7(6/1 l) F# -7b5(~ 13/9)
=
=
C-7 b5(b 13/9)
,-woidmg tens ion Si on lt1e 5til smng leaves mree appiicabic inversions:
1
b:' ,,
t
I
bl ".\ A-7:i5bl3/9) D7
G--6C9
~ 13
9
0
bl3 ~5
l
bs
1
_:,_7,5.., 1319; D 7!?Sl
G-r
A-7;,5 '. l. 131~ 1 ..Q.
I min7~ S(b 1319) I C-7b5(b13/9) relativetoc.b-maj7( il/6 l {5 7 6 11 ) origir.al chordB b9 {l 3 b7 9 } .~;.vo id ing
tension 9 or. the 5th
s~rin;
ieaves rnrec appiic:J.ble in versions:
i b13 ' \ '-;
l ..., D I
9
[,7
b7
9
b13
I J
bi ~;
..
131
D7\;,5 ; -6-
Gr."ai7~2 £..
E-7#5(9) A7(alt5/b9) Dmaj9
A-7#5(9) D7(alt5/#9) G-6(9)
I ~1 §
I
t)e-
(G9J
I ~ ~#~
~~
f\
D-7#5(9) -e-
I~
#~
G7(b9)
b.a. I
Cmaj9 .0.
~
(Gbmaj9 )
I min7b5( b13/9) j
{ 1 b3 9 b 13 } (rn.in7#5(9))
C-7b 5(b 13/9) relaiive to Eb-maj7(1 l/6) { 1 6 7 11} orig inal chordBl3(alt9) {3 b9 ~9 13}
?
There is only one applicable invers ion:
tJ
F#-7tt5(9)
~3 ~ j min7bS(bl3/ll)
I
F9
13
E6(9)
6!2
{I b5 11 bl 3}
C-7b5(bl3/ll)relativetoEb-6(l l/9) {b 3 6 9 11} ori}?inal chord D7b5(#9) I A~ 13 There are two applicable inversions:
b13
1 ~5
11
1
11
bs
bB A-7b5(b 13/ 11) D7(tt5/#9) G-maj7
B-7b5(b l3/ ll) A-6
E (!79)
I
-&
I
P.O.
D.il.
II
Imin7b5(b 13/11) I
{l
b7
l1
b13 }
(min7# 5(11 ))
C-7b5(~ 13/i 1; reiauve iO E~ - 6(i 119) ( 5 6 9 l l; original chord Ab6(9) { 1 3 6 9} A voiding tension : l on the 5th string leaves three applicable inversions:
b7 11
b,,,
!_)
11
~1 3
A-7#5(11) D7(Ul/ b9 ) G-6(9)
b;
G-n5(ll )
1]
b7 b3 C7 (~ 13/ #9)
F -6(9 )
E -7;5(11) A7(alt5/b 9) D6(9 ) e-
j±e-
1~~-==--.'.G. 1;~.:_ 1,b5-,:=..-==--=tt=-I!.:::&-=:_ffi~~ 1i~tg==:=;5__ i ==:-:1! m±:=-==-~ -'-.-0. _ '-==-~ z. . _ _ -==--:::::::.6 ;~ .........,..._:-==--==:::II ..........__t
132
..fi
Imin7b5(b 13/11) I
{l b3 11 bl3} (min7#5(1 1))
fl 9 11
C-7b5613/ll)relmivetoEb-maj7(13/ll/9) original chord F-7
13} orEb-6(11/9) {1 6 9 11 }
Avoiding rension 11 on the 5th string !.eaves three applicable inversions: I- ~
;1 ~
11
b<"' L'>
~3
1i
bl"'_,
A-7 ~5( 11)
D7(b9)
G6(9) -e-
G-7~5{11) I I
i).Q.
11 j
bl3
b3
Gb7 I
D..O..
Fmaj7
E-7 ~ 5(11 )
E lD,7
D-6(9)
b..u
I!
133
Chapter Seventeen. Additional Substitutions in II-V-I Examples After removing all of the chords that were examined in the Relative Major-Minor chap ter, only dominant type chords remain in the Additional Enharmonic Chordal Substitutions chapter. These can be organized into three different groups: J) Dominant chords with b13 and natural 5 l HO Sub V's). 2) Dominant sus4 chords with b9 (no Su b V 's). 3) Rem~ining cominant chords (including Sub V's).
T he dom7sus4(13/9) {1 4 9 13} voicing (original chordmin7 /maj6) will be omitted, due to the ambiguity produced by formi ng a complete 16 chord in relation to the V7sus4(13/9) chord: C 7sus4(13/9) F6.
=
ldom7(b 13) I C7(b1 3) = Ab maj 7#5
{1 3 5 b13}
.....
There are three applicable inversions:
.)
.)
b1" A_)
5 1
Gm( ll ) C7(b13)
@ i~ {15
~lg
I
~~(i
= Ab maj9
T here are two applicable inversions'. ~ 7 5 ~1.3
~ {3 5
;I
b.o.
!~I~~
C7(b l3 j
E-9
5 ... .)
.)
bl 3
...
F-7(11) Bb7(b 13) E~rnaj9
F(9/b5)
b7 ~13}
i
bi ~
A7
~~
-e-
6~
I!
I~
G7(b13) I
..0..
11~
{ 1 3 7 9}
l
b7 D6(9)
as
F7(9/13 l
II:M]
F7(~ 1 3
~~ '1-0
B11 (add9 )
~:·
I!
b7 ~ 13}
There are two appiicable inversions: ~ ~ 5 .)
-
.)
b13 5
b7 E-9(ll J
A7(bl 3 j
D6(9J
D-9
-&
-&
I; !! 134
G7(b 13) ..0.
Cmaj9 '
.0.
G~
b13
-e-
bg
D-7
~..a.
b.a.
Cmaj9 .0..
II
II
Idom7(b13/9) I C9(b 13) = Abmaj7(b5)
{l 5 9 b13}
There are two applicable inversions: 9
b13 5
1 5
9
b13
l D-7(11) G9(b13)
C6(9)
F-7( 11)
B~ 9(b 13 )
~&-'e~_hi~~~~!~f--~11~~n~m {3
s
Eb6(9)
~~t~11
C9(b13) = E7(#9) {l 3 b7 #9}
9 b13}
5 9
There is one applicable inversion:
A-7
D9(1' 13)
G6(9)
I l"' p .)
,, '.}
.
f. {S b7 9 b13}
C9(b 13)
t1
= E7b5C#9) I Bb 13
There are two applicable inversions: b7
5
9
bl3
9
b13 5
b7
E-9(11) A9(P 13) D6CU1/9)
.£ 9
C-9(11) F9(b 13) Bb(add9)
, b.n.
Idom7(b 13/b9) I C7 ( b l 3/~ 9) = Dt>maj7(#11 ) {l 5 7 #11}
{l 5 ~9 bl3}
There are two applicable inversions: S 5
(] .. ' !,c;
' 1~
E -7(11 )
~
-e.
!
A7 ( ~ 13/,9) -6-
9g
b9
~ 1~
D6(9)
B-9(11) E7(b 13/ b9) A 6(9)
-a
]
:·§g
135
{5 b7 b9 bt3}
C7(bl3/b9)
There are two applicable inversions: b7 5
b9
b9
5 b7
= Db6(# 11)
{l 5 6 #11}
bl3
b13
Dm(ll/9) G7(b 13/b 9) C(add9)
E-7( 11) A 7(b13/b 9) D6(9)
i.m
1·!
I
C7(b l3/b9) = 07(131# 111~ 9) {l ~ 9 # II 13}
{3 5 b9 b13}
b9
There are two applicable inversions: 3
b13
5
5 b9 E-9
l
;
~..a.
i
3 bl3
A7(b 13/b 9 ) Dmaj9
b.o.
F7sus4 F7(b 13/b9) Bbmaj9 I
,o..o..
-e-
~~~!
!!'' ~ ~
J±:! lf'~~ ;l
-e-
-&-
-~
~~
"I<
II
Idom7(b131#9) I {5 b7 #9 bl3}
C7(b131#9)
= Bbl3sus4
{J 4 b7 13}
There are two applicable inversions: b7
5
!iJ F-9(11) Bb7(b13/#9) Eb6(9) E,maj9
C-9(11) F7(!113/#9) Bbmaj7(6)
I
I
L
t A· (Constant strncture 1- -
0-&
1 :1 Dv:
~s
~
(F6(9 ))
Idom7(~ 13/alt9) I {5 b9 ~ 9 b13}
C7( bl3/ait9 ) = Ab -maj7(JI) {1 5 7 11 }
There are two applicable inversions: ~ o ~ 13 5
b9 E-9
&·t
b9 5 £9
~1 3
A7(!J13/a1t9> Dmaj9
'-"- ..
C-9
'
b.o.
136
F7(b 13/alt9) BP6(9)
\,..
~
I dom7sus4(~ 9) I {l 4 5 b9}
= Dbmaj7(~5)
C7sus4(b9)
There are three applicabie inversions:
4
5
1
1
b9
4
5
1 4
b9 5
J,9 C-7(11) Fsus4(1:i9) Bl:imaj7(6/9) A-7(11)
Dsus4(~9)
Asus4(~9)
Gmaj7(6/ 9) E-7(11)
Dmaj7(6)
~~~Q'£====~ ~t =====~~l·-==-~~IE~z~_: : :~---=-'__,_' : :- 0.:!_ . . .,._: : .: : : - -' "q<_l.'-·'---!,_~--=-~l1-0-I . .i i_=-.=_::-~i=.=:§J!f"-'-,:,..e--.§"=~II {l 4 b7 b9}
C7sus4(~9)
= Gbmaj?(# 11) 1 4 ~9 ~7
There are three applicable inversions:
D -7(11) G7sus4(b9)
,,§
u
'
C6
qg
C-9
4 ! ~7
b9
b9 1 4
b7
F7sus4(b9)
'
#11}
{3 5 7
B~muj7 ( 6)
Dm(add9)
I I
D.U
I 1).0.
Ii~ i=
11 11 : ;
l
~ ::5
r
I
G7sus4(~ 9) Cmaj7(~11 )
I
(Constant structure)
Idom13sus4(~ 9) I {l 4
b9
13}
C13sus4(~9)
= Dbrnaj7#5
Avoiding tension 13 on the 5th string leaves two applicable inversions:
C -9(11) F 13sus4(v9) Btimaj7(6j
f~-==-~. ;: : : :_ :-: : - - -~~n '- --'--~-==---==ti!_ . ~-=--=--=-1 1 -,-,H'- A----i_.~_:::-h?_i..___b9
13}
13
]
13
b9 1
b9
4
Am(ll) Dl3sus4(b9) Gmaj7(6}
1
{4 5
4
C13sus4(~9)
=
==II
_-qf,_,__ ·._.___:
A+~·
.'-\voiding tension 13 on the Sth string leaves three applicable inversions:
4 13 5
~9 C-7
b..a.
~!,~
F13sus4(~9) B~maj9
b.n.
A-7(11) D13sus4(1:i9) Gmaj7(6/9) E-7 -e.
II 00 ·'
--
"i 137
'-e-
i*
I!
5
13 4
13 4
b9
b9
5
Al3sus4(~ 9)
I W!
Dmaj9
;~
II
Idom9(alt5) I {1
bs #S
9} C9(alt5)
Sub V
~F#9(alt5)
{ 1 ~5 #5 9}
-1 J,, -1 t
= D7 ~ 5
/Ab7b5
{ b5 1 9 #5}
Remember to avoid tension 9 on the 5th string leaving two applicable inversions:
Not:::: T his voicing also was used in the R elative Major-Minor chapter as a min7bs (b 13/9) chord { 1 b5 9
C9(alt5)
G-9
Sub
VI
'
~
~
-e-
:g
C#-7(11) F#9(alt5)
I
E-7(11) A9(alt5 )
Fmaj 9
D6(9)
-&
-&
;!
I! !
~
Ji
avoid Sub V ... has tension 9 on 5th string
B6
I
II
II
I
' doml3(b 9) I dom7(~ 11/~ 9) {1 ~ 7 b9 13} I { 3 5 #9 #11} !
Sub V
'\
{ l b7 b9 13 } = Bb -maj9 {l h379 }
C i3( b9)
. . -1 I
" F#7(# l 11#9l
{#11 3
Ti1ere is one applicable inversion: l
I
I
~ -~-
"!;'
5 #9 ~ D -7(11 )
G13 (b 9J
C6(9)
--7~11
U--7
l
#9
b9 --7 5 b7--7 3
.j,
SubV .
A~- 9
I
~b.o.
!
I_ -~''"ii 138
DVi(#9/ #11) Gb6(9) bo
1b.e-
II
b13 ).
dom7(b91#S) I d.om9(#11) {11j5 ~ 7 b9} I {3 5 9 #11} Sub V
C7(b91# 5)
~F#9(#11)
{ 1 #5 b7
b9 } = B b-9
{ 1 b3
b7
9}
1 1 J, J, f~ 11 9
3 5}
There is one applicable inversion:
D-7(11)
C6(9)
G7(b9/#5)
II
I
Sub V
Ab-9
&1:~:
l
Db9(#11) Gb(add9)
I~
~o
II
Nore: The dom9(# 11) voicing could have a lydian function since no 7th is present:
{3 5 9
#11}
CC #1119) = Cmaj9(# 11). The following II-V-1 example displays the Lydian function: D-9
.C(#ll/9)
G7(b 9/#5)
II dom7(b9) I dom7(# 111~9) {1 5 b7 b9} /{35~9#11} Sub V
C7(b9L ......... { 1 5
b7 b9 } =
~F~71~1l/b9• {i71:9: ;;
There is one applicable inversion:
b3 6
Bb-6(9) { l
D-7(11)
Sub
1
I!
J, Ab -7(11 l
1_
;, §
~
VII
C6(9)
G7(b9)
; t& n !
9}
D~ 7 C:.llt li9)
~ , ' ·~-
139
bo
-
Glixµaj7(6/9 )
'...!:....;;.--0' l~g &----n:I
dom7(b9/alt5) I dom9(#11) {1 bs tts b9} / {t s 9 ~n}
C7(b9/alt5)
Sub V
~F#9(#II)
= D b-maj7(1 1)
{ 1 b5#5b9}
-1 j,J, j,
{l 5 7 11}
{tt ll l 9 5}
There are three applicable inversion: b5 ~ J 1 ~ #11 #5~ 9
~9~ 5
C-7(11) F 7(alt5/t,9) B1'6(9)
b_a_
!- ~ Sub V
I
G-9 C7(b9/alt5) F6/9(#11) E-7(11) A7(alt5/b9) D6(9) ~ -e~ -e-
b..o.
:ta.
&;~
•--g-+;-~-fu!j. §i
l
C~-7( 11 ) Fli 9( ~11 )
F::-7(11) B9(# 11) E6(9)
~n
,
L
i§f~!
II F~tg
1
=&_..a.
.o.
~
,..
Jig
#3,____IJ
avoid Sub V ... has tension 9 on 5th string
B6(9)
~
· o~ zt#e.__---tt1! ----~
ll ;Cf,..._ : _
Note: The dom9(#11) voicing could have a lydian func tion since no 7th is present: { 1 5 9 #11} 1119) = Cmaj9( #11). The following Il-V-I example displays the lydian function.
C(#
A voiding tension 9 on the 5th string leaves two appropriate inversions. C~ -7
F#7 ( alt5/ ~ 9)
#~
ei!
dom7(#11Jb9 ) { l 5 b9 #} l } !
Suh \'
BC# ll/9)
Ao-7(11J
11 :· ~~
.0.
~!n '~
C7( ~ 11/~ 9)
: '.
~
G7
G~ (~ ll/ 9 )
~
~~i
~; ~
J
5 ~ 9~J l ) = Al 3( ~ 9l/Eb! 3 (~0l f3!, ; !:91; ·
-i j, -1
i
'- F #7( #111 ~ 9){ # 11 b9 5 1 } T he re is one applicable inversi on :
C-7(11 ) F7(Ul/b9) Bb 6(9)
#II ~ l
~
=t ~~
i'"'
~= '!!
1
b9 ~ 5
I
~
\
Sub \' I
~
I
I
I
I I
~.;1
0..0..
F~ - 7 ( 11 )
n.
~#II Q)
140
B 7(U l / f;9 J E CU l ) .n. fi-tr
~~
I~
dom7(b9/b5) I dom7(#11) {l b5 b7 b9}/{13 5 #11} C7(b9/b5)
Sub V
~#7(#11) E-7(11)
-e-
I Sub V
'
§ Bb-7(11) I
L ,~1 'f;
{l bs b7 b9 } = Al3(alt9) {3 b9 #9 13} Thereisoneapplicableinversion:
i iii {# 11
~'8
1 3 5 }
D6(9)
A7(b9/b 5)
, .a-
I -7#11 b5 -71 b9 -7 5 b7 -7 3
-&
§¥s
II
l
Eb (#ll) Ab (add9) ~
I
0..0.
11
Ii
•'Z
II
Note: The dom7(#11) voicing could have a lydian fu nction, since no 7th is present: {l 3 5 #I I} C(#ll ) =Cmaj7( jll) .The EC# 11) chord under dom7(# Illb9) presents this function.
141
Chapter Eighteen. New Voicings By examining all of the possible interval combinations that are physically available within Lhe established framework (9,~ l 0, 10. 11, and~ 11) on the middle fo ur strings of the guitar, (excluding doublings and ~9th intervals), we see that the vast m aj ority of these voicings already have been introduced in the tension chapters. W ith the exceptio n of one voicing. the few remaining interval combinations physically available within this framework appear to be inversions of the ninth (no 3) or ninth tno 5) chord voicings introduced in the Tension 9 chapter or drop 3 type voicings. b oth of which produce some physically difficul t fingerings and potential voiceleading problems wher. inte grated with drop 2 voicings. L O\\" l merval Limits allowing. these voicings offer ail of the enharmonic possibilities previously applied to their chord tones and tensions under the Enharmonic Chordal SubsUtution chapters . ~inth
(no 5) Chord Inversions : dom7(9)
9
...
dom7(#9J
~7~b7 3~9 1
T he foll owing ninth (no 3) or ninth (no 5) chord voic ings can be produced by using the same inversion formula:
9
9
Z>
9
_1
.)
I
7
dom7(# 9)
_..,
9
9
3
b7 min 7(9)
maj6(9)
]
,,l
~7
dom7sus4(9)
6
domn5(9)
'.'J
9
J
1
b3 b7
k.
b7
I n:.: followmg drop 3 type voicings arc physicaliy available on the middle fo ur strings:
d orn7
3 J
::.
b7
dom7 b5
3 I
min7b5
b ~'
.
b7
142
b3 I b5
b7
dom7#5
min7#5
I
b7
1 b7 b3
3
#5 dom7sus4
#5
min.maj7(11) 7
b7 5 I
5 1 11
4
Obvious enharmonic substitutions:
b3 -
l -
3
l 6
b7 - 9
b7 - 5
b3 - 5 #5 - 1
1 -
bs - b3
7 5 1 11
- #11 - 9 - 5 -1
The final voicing introduced in this chapter is unique in that its chordal structure has not yet been introduced. This voicing also affords only one "legitimate" chord. although a couple of "progressive" enharmonic chordal substitutions will be offered.
C::::::::::D#
5
~ major 3rd perfect 5th<::::::B ~ 1#9 major 3rd<::::::::E ~ 1d3 C
Ab7(b 131#9)
~ 3
AdditionaJ possible enharmonic chordal substitutes: Cmaj7(#9) {l 3 7 #9 } A-9(#11) {b3 5 9 #11 }
This voicing aiso might imply an incomplete polychord. The bottom two notes form a major 3rd intervaL suggesting me root and third of an incompl~re major triad, while the rop rwo notes also fom1 a m~ior 3rd interval, suggesting a major triad a half-s tep below or major 7th above the bottom structure: D~
implies a B ;najor triad over a C m~ior triad.
B E
c
143
FJ
c
Chapter Nineteeno Enharmonic Substitutions of Ninth Chords with omitted third or fifth The ninth (no 3) and ninth (no 5) chord voicings introduced in the Tension 9 chapter produce some of the most interesting and useful enharmonic chordal substitu tions. Some of these chords have so many substitutions that it is possibie to find one voicing that will satisfy all three basic harmonic functions: Cmaj9 { l 3 7 9}
=
Am(l 1/9) {~35911}
Tonic Am(l 119) (Cmaj9)
I
F#-7b5(b 13/ll) {b5 b7 llbl3}
I
Ab 7(alt51#9) {3b5#5#9 }
Dominant
Sub-Dominant B-7 b5( b 13111) (Fmaj9)
E7~alt51#9) (A~rnaj9)
It is conunonly referred to as "constant structure harmonic motion" when moving one voicing around to satisfy different chords. This conrept will be examined in more detail in the later chapter appropriately titled Constant Structure Har monic lVfotion. The follow ing list will include all of the ninth chords with omitted 3rci or 5th and their enharmonic substitmions. Cmaj9 {1 3 7 9}
Am(l 1/9) I Fmaj7(131# 11) I F#-7b 5(b 1311 1) I A b7(alt5/#9) I D9(13) I E7( b 13)
Cmaj9(b5) { l b579}
Ab 7b 5(#9) ID 13 I A-6(1119) I F# -7 bscb J 3/11) I FI3(# 11/b 9) I B7(alt9)/E9( b13)
C-maj9 { l b37 9 }
F13(# 11) I B7(alt9) I Dl3(b 9J I Ab7(# 111#9) I A-7b5(l l/9J
C -9 Ebmaj7(6) I F13sus4 I D7(b9!#5) I Ab9(# 11 ) jl b3 b7 9 } C -9 b5/ C9b5 D7#5 IAb9(b5)1F# 7(al6)/G-maj7(11)!Ep-maj7(6)/E-7b 5(b13/9VE9(alt5)/Bf,9+ /Fbsus4( b'l
{lb5b79) C6(9) { l 3 G 9}
Am(l i) I BP maJ9(b5.i / Fmaj7(6) I D-9 1F~ -7\alt5) I G-6( 11/9) I A~ 7(alt5/b9) I D9 I E-7 #5(1 l !
C-6(9 )
Fi 3 I B7( alt9) .' D7Cb9) I A~ 7: ~ ll/b91!A-1lf, 5 I E~maj7(6/b5 )
llb369} C9 f l 3 ~ 7 9\
G? 7(alt.5J /D9+ /Ab9
C 7(b9) Gb7( ~I I) I Db -maj7<6"l I Eb l 3(bQ) I A 7< alt9) I Bb-7b 5(9) {13 b7b9} C7(lt9) {I b7 #9}
G!, 13(b5) I Db-maj7(6/9) I ..:.. 7 (alt9.' :! 1!1IEb13(b9) I Ab9
C9(b5 )
refer to C-9(b 5) abo\'e
C9(#S) { l ~5b79}
refer to C9 above (C9
C9sus4 { i 4 b7 9)
D-7 ~ 5 I G-7(1 1) I B b! add9) I F-6(11 ) I Ab6(91ff l I ) I
3
= D9#5J
144
Ab 13( #11/9) I D7 (#91#S) I E7( alt5/b9 l I Bl,9
The following "blues" progression will use ninth (no 3) or ninth (no 5) chord voicings to substitute each chord. The original chord changes are above the stave while the ninth chord substitu te~ are below in parentheses. F6(9)
'
F
Fmaj7(6)
E-7b5(b 13)
r
~
(F6(9))
(C6(9))
Bb13
Bb7(alt5)
, 1,F (F-6(9))
I'
A7(b9) ?
~~
1p
I
(Bb6 (9))
Bb-7(11)
(G-6(9 ))
I
1)
(E9)
(E b9sus4) (Db6(9))
$
~~
' ' I
(Bbmaj9) (G-9)
&[~
I
C7(alt5)
C7(alt5/~9)
1t; 1;1 I
(Gb9)
(Emaj9)
(Eb9sus4)
Am(ll/9) D7(alt9)
:~
I
(Cmaj9) (Eb -maj9)
I~
;,~;
I
I I
(F6(9)) (Eb-6(9))
145
F7(#9)
1z#~ !
(E bmaj9)
Ab-9
(F7#9)
Db13(#11)
~~,
1~1I
&~~
F6(9) D7(alt9)
Cm(ll/9)
i~r
'if
(F6(9))
Eb9
11it~
Gm(ll/9) G-9
Dm(ll) G7(alt5/b9)
I &~
(A~ -maj9)
(Gb6(9))
G13(b5) C7(alt9)
I
I
~~
(Db7(#9)) (Db -6(9))
Fmaj7(6)
II
i
(C6(9))
II
Chapter Twentyo Tension Additions on Diminished 7th Chords Ir must be noted that when tensions are added to a dim7 chord. the symmetrical quality of the chord is destroyed and the resulting voicing is often heard as something different than a diminished chord. To further compound this problem. most dim7 chords already functio n as dom7b9 chords, even before any tensions are added. Therefore, exploring tension additions on dim7 chords might prove of limited value and is presented with this in mind. All \'Oicings produced by the addition of tensions on dim7 chords have been previously introduced enharmonically as dominant chords with various combinations of tensions~9, #9, #11, and 13. Further examination of these tensions will be performed under the Symmetrical Dominant Substitutions chapter.
There are basically two approaches to the addition of tensions on diminished 7th chords. The first is the symmerr]r · approach. in which a whole si:ep above any dim7 chord tone is an available tension. The second is the diaton. approach. in which the tensions are chosen from the key or function of the moment. In either case, the tensions must be reaiized on the true function of the dim7 chord. If the dim7 chord is functioning as a dominant chord, the tensions added to the dim7 chord must be realized on that dominant chord: C 0 7(9) is functioning as F13(b9) ... the 9th of C0 7 is the 13th of F7(b9). In comrasL. if tbe dim7 chord has no dominant function. and instead is functioning as a "tonic-diminished" or chromaticallv descendin2: diminished. the tensions should be realized on that dim7 chord. Uoon further examination of the symmetrical appro'ach to tension addition on dim7 chords, we see tensions 7, 9, 11, a~d b13 appearing a whole step above the chord tones. Combining chord tones and tensions produces the traditional symmetrical diminished scale;
2
4
#S( ~13)
6(b b7)
7
8
L l _j L112_JL 1_JL l/2_J L l _J._____l/2 __J ~-- 1 _J L112 J
Tension b13 will be used instead of its enirnrmonic #5 spelling, which might apoear confusrng withm a dirr1ir.ished context (aug:rnented Sth on a dimi nished chord ). although !5 does . in facL describe this tone 's relation to the scale more accurate1Y b~;- ~ ~3. Within this chanter. bl3 \\ill nm imoiv nmurcl 5 . . since the naturc:.i 5th m!~ht -- r~c m1oiied . ... .
.
~ote that the major 7th appears as a tension above thebb7 chord tone. When the major7th is added to a dim7 chord, it is commonly referred to as a "dim.ma,i7" ..or .. tonic diminished" chord.
Since d1m7 chords duplicate the111selves tnrOL:gr. .minor .);·d inversions. b.e aware of rension relative dim7 chords:
adcfaior.~
on
~l!
four
no ~ensiom C 0 7 = Eb 0 7 = Fr'/ = A c7 oncrens1on C;maj 7 = Eb 0 7(b l 3) =.F~ 0 7(JJ~ = N,7(9) twotensionsC·maj7 (9; = Eb~maj7(1: rel="nofollow">1 ?. = F #..;7(ol3!li; = N '7(11/9) two1en:;ionsC0 maj7(11' = E~ 0 7!bl3/9 ) = F~ 0 mai7(1}) = .A 0 7(b!3/C}; threetensionsC·maj7(11/9) = E b-maj7
=D
0
7
146
Since a dim7 chord commonly functions as a dom7(b9) chord a half-step below any dim7 chord tone, tensions added to the dirn7 chord should be realized on all four relative dorn7(b9) chords: no diminished tensions
C0 7
=
E~ 07
=
F# 7
0
=
A0 7
B7(b9)
=
D7(b9)
=
F7(b9)
=
Ab7(b9)
one diminished rension
C0 maj7
=
Eb 0 7(b l3J
=
F# 0 7(1 I)
=
A 0 7(9)
B(b9)
=
Dl3(b9)
=
F7(# l llb9)
=
Ab7(#9)
two diminished tensions
C0 maj7(9)
=
Eb maj7(b 13) =
F# 0 7(b 13111)
=
A 0 7(11/9)
B(#9)
=
D l3(b9)
=
F J 3(# l llb 9)
=
Ab7(# 111#9)
two diminished tensions
C0 maj7( 11)
=
E b 0 1cb 13/9)
=
F# 0 maj7(1 l)
=
A0 7(~ 13/9)
BC# I llb9)
=
Dl3(~ 9)
=
F(# l llb9)
=
Ab l 3(#9)
three diminished tensions
C0 maj7(1 l /9)
=
Eb
=
F# maj7(b 13/11) =
B(# 111#9)
=
D ( l31#9)
=
F(131#l llb9)
0
0
maj7(b 13/9)
0
=
A 0 7(b 13/ 11/9) Ab 7(1 31# 111#9)
Note the dominant tensions (b9, ~9 , #11, 13) formed by the symmetrical diminished scale. By combining these dominant tensions and chord tones, the symmetrical dominant diminished scale is produced:
b2
#2
3
#4
5
6
b7
8
L l /2_jL. 1 _J 1- l/2 _J '._l_J:_ l /2_JL 1_JL1;2-1L1 ~
This scale and subseouem chords will oe examined further in the s,·mmetrical Dominan t Suhstitutions chanter. •
•
L
All substitute chords produced by the addition of 1ensions 7, 9. 11 and b 13 on a dim7 chord are either dominant and/ or hvbrid chords and have been oreviouslv introduced as dominant chords with various combinations uf tensiom '.'9,f.9.~11,13: , -
147
One tension; c cmaj 7 = E b 0 7(~ 13) = F # 0 7(1 1) = A 0 7(9) ._. First introduced as a dom7(# 9) (Ab7(#9)) chord. One inversion forms the hybrid chord B/C.
Two tensions : ccm~j7(9J = Eb ~maj7( b 13 J = F# 07( b1311 l) = A07(1119) First introduced as a dom7(# 111#9) (A b7( #111#9)) chord. Two inversions form t\\'O different hybrid chords, BID and Bm!Dff. Two tensions: cc maj 7( 1 JI = Eb 07(bl 3/9) = F ~ <Jmaj7(1 I) = A 07(b 13/9) First inrroduced as a d om13(# 9) (Ab 1 3( ~ 9) I D l3(~9)) chord. Three tensions: ccmaj7< 11/9) = Ebcmaj7( b 13/9) = F tt 0 maj 7(b 13111) = A0 7(b 13/11/9) First introduced as a d om 7 (b 91~11113) (F( J 3, ~ 11/b9) { I ii 9 ~ 11 13}) chord. One in version forms rhe hybrid chord Bm/F.
The diatonic approach to tension addition, on a dim7 chord can form different tensions dep~nding on the key or function of the dim7 chord. In the key of C. c~ ~7 C#I-c·7l would have tensions 7 (C), b9 (D), ~ I l (F). and b13 (A), which are derived from the key of~. Since 0 7 usuall y functions as a dominant V7 b9/II chord (A 7( b9)). the C ~ 0 7 tensions should be realizea on A 7(b9) : ~9 (C) . 11 ( D ), ;ii3 (F).root (A ).
#I
The following chan might be helpful in determin ing the ··function·· of a di m7 chord. A diminished chord will either ha\'e a dominant func tion or its own dimin ished functio n. If there is no clear dominant fu nction. the v " assume irs own tuncrion of ronic diminished (I"7 l or descendir.2 chromatic diminished (~ IIF7 I j, \ Keep in mind , since one dim7 chord equuls three other dim7 chords, there are only three different dim/ c .. possible:
= E~ 7 = F# 7 = A 7 C # 7 = E 7 = G 7 = Bb 7 D 7 = f 7 = Ab 7 = B 7
1)
C0 7
0
2) 3)
0
0
0
0
0
0
0
0
0
0
The foliowing chart is relative to the key of the moment: lI
2)
V IT0 7 = IT 0 7 = JV 0 7 = ti V 0 7 dominant tuncrions~ V7l ·)J l - of· VI. or V7( b9)
bVII07
= ~1°7 =
III07 = V07
dominant functions: \ '7fl,tl l - of - !!. o~· V7(b9 1 - f,f - TV
7 = b\'0 7 <#II 7) ( ~ TV 0 7) dominant functions: V7(,9 J - of- III. or V7C b9 i - of - V I Tonic Diminished cr·1 ! I Chromatic descending dimi nished ( i, n1c7 I~ y c:7)
3 ) VI0 7
= 1°7
=
bm
0
0
Jn the key of C: j I
s c7 = Dc7 = F~ 7 = G zc7 domin ant functions; E7 < :> 9l/ G 7<~9;
2 1 B;"7 = c : c7 = E"/ = G"7 dominant function!-. : A7( ,9 1 I C7( ,c.; J
-' > A"' 7 = C ·i
= Eb c7 = u~-7 < D ~ c7 J
domin ant function s: B7(f>9 ) I D7(b9 1 I Tonic Dim inished (C 0 7l (C"maj7 1 I Chromatic descending
148
Chapter Twenty-One. Constant Structure Harmonic Motion The E nharmonic Chordal Substitution chapters present many different chord types and functions within a single chord. It is subsequently possible to harmonize a progression of di ffe rent chord types and fun ctions with a single chord type. If on ly one inversion of this single chord is used while harmonizing a progression, it would be referred lo as "constant structure harmonic motion." The following example uses a maj6(9) (l 3 6 9) chord to harmonize the original chord progression (written in parenthesis).
G6(9) (Cmaj7)
D~ 6(9) .(A 7) ........ ·.,·,
C6(9) (D-7)
B6(9) ~ G 7)
Bb6(9) (E-7b 5)
F6(9) (0-7)
Db6(9) (A7)
Db6(9) (G7)
C6(9)
(C)
Although this approach can go "outside" of the original harmonic functions, often by symmetrical motion of one voicing, the approach here wi ll be to satisfy the original fu nctions through the use of their enharmonic substitu tional possibilities. Dominant chords offer some symmetrical constant structure possib ililies that will be examined in the fo llowing chapter. Obviously, this concept will often comprom ise vo ice-leading, but this can be accepted when the harmonic structure never varies. Voice-leading is at its best becween varied structures. Those chords found to have the most s11 bstitutions and varied functions perform best in a constant structure approach. The followin g chords will be examined fo r their most co mmon substitutions and functions, and each will be placed in a number of II-V-I situations to display their di fferent functions. Those chords that can satisfy all three basic functions have che best constant structure possibilities.
Maj or7bs Cmaj7b 5 = A-6(9) = F tt -7b5(1 1) = 07( 13/9) = Ab7( #9 #5) Tonic Function
I) D-7 2) B-7b5 3) G7
Sub-Domi nant Function
1) Cmaj7b5 {F#-7b5(11 ) )
Dominant Function
1) A-7
Cmaj7b 5 {D7( 13/9))
Gmaj7
2)Eb -7
Cmaj7b5 {Ab 7C H9#5))
Db n1aj7
G7 E7 A7
Cmaj7b5 (Lydi an) Cmaj7b5 {A-6(9)} (Minor) Cmaj7~ 5 {D7(13/9)} (Blues) 87
Em
Mult i-Function (Constant Structure) 1) Cmaj7b5 {F#-7b5(1 l)) 2) Fmaj7b5
Ebmaj7b5 {B7(#9US)} Dbnrnj7bs {A7( #9#5 ) )
{G7(13/9) }
149
Gm
C1naj7 p5 I 0 7( 1319) l
Minor7bS C-7b5
...
=Eb-6 =Gb6(b5) = Ab9 = D7(b9tt5)
Tonic Function
I ) Ab-7
2)F-7b5 3) Db7
Db7 Bb7 Eb7
C-7b 5 {Gb6(b5)} (Lydian) C-7 b5 {Eb-6} (Minor) C-7b5 (Ab9 } (Blues)
Sub-Dominant Function
1) C-7b5
F7
Bbm
Dominant Function
1) A-7 2)Eb-7
C-7b5 {D7(b9tt5)} c~b5{Ab9}
Gmaj7 Dbmaj7
Multi-Function (Constant Structure) 1) C-7b5
2) F-7b5 {Db9}
Eb-7b5 {F7(b9tt5)} Db-7b5 {E b7( b9tt5)}
G-7b5 {Bb-6} C-7b5 {Ab9}
Minor7#S C-7#5
= Ab (add9) = F-7(11) = Dbm
Tonic Function
I) Bb-7
2) Eb-7
3) G-7b5 Sub-Domi nant Function
Eb7 Ab7 C7
C-71 5 {Ab(add9)} C-7 5 {Dbmaj7(6/9)} C-7 5{ F-7(1 1)} Bb7 F7 Eb7
I) C-715 {F-7(11))
2) C-7 5
3)C-7 5{ Bb-7(11/9) } Dominant Function
l ) A-7
2) G-7 3) F-7
Ebmaj7 Bbm Ab6
C-715 {D7(b9/alt5)} 06 C-7 5 {C7(#91tt5)} F6 C-7 5 {Bb9sus4} Eb6
Multi-Function (Constant Structure) 1) C-7#5
Ab-7 tts {F-7(11)) {Bb7(b9/alt5)} Eb-7#5 2) C-7#5 {C-7bS(b l3)} {F7(~9/alt5 )}
150
G-7#5 {Eb(add9)} F-7#5 {Bb -7( 11)}
Dom7#S C7 #5 =D b-maj7(6) =F-maj7( 1 l) = Bb -7b5(9) or Bb7b5(9) = D7(9/alr5) = E7(alt5) = Ab 7 # 5(9) = Ob 7b5(9)
C7 #5 { Db-m<~7(6) } C7#5{F-maj7( 11 )}
Ton ic Function
1) Eb-7b5 2) 0-7b5
Ab7 C7
Suh-Dominant Function
1) C7# 5{B b-7b5(9) } Eb7
Dominant Function
1) B-7 2) A-7 3) F-7 4) Eb -7 5) C# -7
C7 C7 C7 C7 C7
Abm
5{ E7(alt5)l 5 {07(9/alt5)} 5{B b7b 5(9)} 5{Ab7#5(9)} 5{F#7~5(9)}
Amaj7 06 Eb6 Db6 B6
Multi-Function (Constant Structure) 1) C7~ 5 B7#5 {Bb-7b 5(9) } {Eb7(alt5)}
Eb 7 #5 ...... ... or. ......... 07#5 {Ab -maj7(1 1)} {Ab-maj7(6)}
Dom7sus4 C7sus4=B b6(9)=G-7(1 l)=Eb6(9)=C-7(1 l )=Ab maj7(9/6)=F-7( 11/9) or F9sus4=A7 #5(alt9)=E7(alt9/alt5) Tonic Function
1) C-7 2)F-7 3)Bb-7 4)A-7b 5
F7 Bb7 E b7 D7
Sub-Dominant Function
l) C7sus4{ G-7(11 )} 2) C7sus4{ C-7(11) } 3) C7sus4{F-7(11/9)}
Dominant Function
1) E-7 2) B-7 3) C-7
C7sus4{Bb6(9)} C7sus4{Eb6(9)} C7sus4{ Abmaj7(9/6)} C7sus4{G-7( 11)} C7 F7 Bb7
F6 Bb6 Eb6
C7sus4{A7#5(alt9)} C7sus4{E7(alt9/all5)} C7sus4{F9sus4}
D6 A6 Bb6
Mu lti-F unction (Constant Structure) 1) C7sus4 {G-7(11)} 2) C7sus4 {C-7(11 )}
E b7sus4 {C7 #5(alt9)} C# 7sus4 {F7(alt9/alt5)}
D7sus4 {F6(9)} D7sus4 {Bbmaj7(9/6)}
Major7(9) (1 3 7 9] Cmaj7(9)
=A-(1119) = F#-7b S(b 13/11) = D7(1 3/9) = Ab 7(# 9/alt5)
Tonic Function
1) D-7 2) B-7b5 3)07
Sub-Domin an t Function
1) Cmaj7(9) {A-(11/9) } 2) Cmaj7(9){ F#-7 b5(b 13/11 ))
07 E7 A7
Cmaj7(9) Cmaj7(9){A-(l l/9)} Cm
151
D7 B7
06 Em
Dominant Function
I) A-7 2) Eb -7
Cmaj7(9){ D7(13/9)} Cmaj7(9) {Ab 7(#91alt5)}
G6 ... Db6
Multi-Function (Constan t Structure) 1) Cmaj 7(9) {A-( 11/9)} 2) Cmaj7(9) {F #-7 b5( bl3/l l) } 3) Fm aj7(9) {G7( 13/9)}
F #maj7(9) Gmaj7(9) {D7(#91alt5) } Eb maj7(9) Gmaj7(9) {B7( #91alt5)} {E-(1119)} Db maj7(9) Cmaj7(9) {A7(#91alt5)} {D7(13/9)}
Major6 (9) [1 3 6 9] C6(9) = Am(l l) = Fmaj7(6) = Bbmaj7b5(9)
=D-9 or D9 = F #-7b5(b13) =Ab769/alt5)
Tonic F unction
G7 E7 C7 A7
1) D-7 2) B-7b5 3) G-7 4) E-7b5 5) C-7
F7
C6(9) C6(9){Am(l l )} C6(9){Fmaj7(6) } C6(9){D-9} C6(9) {Bb maj7 b5(9)}
Sub-Dominant Function
1) C6(9){ Am(l l)} 2) C6(9){F#-7b 5(b 13) ) 3) C6(9){ D-9}
Dominant Function
l) A-7 2) Eb-7
D7 B7 G7
G6 Em C6
C6(9) {D9} G6 C6(9) {Ab7( b9/alt5) } D b6
Multi-Function (Constant Structure) 1) C6(9) {Am(l l)} 2) C6(9) {F# -7b5(b 13))
F#6(9) D6(9) {D7(b9talt5) } {Gmaj7(6)} Eb 6(9) G6(9) {B7(b9/alt5)} {Em(ll)}
Dom7(9) (1 3 b7 9] C7(9) = G-6(11) = Bb(9/b5) = E-7bscb 13) or E7(alt5) = F#7(alt5) = D7#5(9) = Ab7(9/alt5) ·,,.·. •
Tonic Function
1) A-7b5
2) C-7
D7 F7
Sub-Dominant Function
1) C9{E-7bscb 13)1
Dominant Function
1) 2) 3) 4)
B-7 C#-7 A-7 Eb-7
:~··
C9 {G-6(11)} C9 {Bb (9/b5) } A7
Dm
C9{ E7(alt5)} C9{ F# 7(alt5)} C9{D7#5(9) } C9 {Ab 7 (9/alt5)}
A6
B6 G6 Db6
Multi-Function (Constant Structure) l) C9
Eb9 {E-7b 5( bl3)} {A7(alt5) )
152
G9 ....... or ........ E9 {D-6(11 )L {D(9/ b5)}
When only one inversion is used in the multi-function examples, it is considered a "constant structure" approach to the progression. If different inversions of the same chord are used, the constant structure sound is lost, but voiceleading improves and the "sound" of using one chord type remains . This might half-jokingly be referred to as "constant chord type structures." The following is an example of the two approaches discussed on the Dom7(9) chord"s multi-function progression: C9 [E-7~5(b 13)]
Eb9 [A7(alt5)]
G9 [D-6(11)] 2) (Constant Chord Type {different inversions})
I) (Constant Structure)
C9
Eb9
C9
G9
q 0.
Eb9
I~
G9
qc@
II
At this point, special attention should be given to the minor II-V-I cadences that appeared in the multi-function examples. It might have been noted, (as in the above example), that a certain interval pattern was evoi ving between the II, V, and I chords. By establishing one chord voicing that will satisfy all three functions, it can be moved a minor third from the II to the V and a major third from the V to the I:
1• . • • "\ ....... B -J"' 1p::Jt h' ,lfd) ....... G - 7 p:: ....... (ma:Jor t h'Ird, E -7pI ~- .....lmmor II-7b5 {E-7b 5} V7 l A7(b91#5)] Im {D-6}
Any chord that will satisfy the II-7b5 chord, with or without available tensions, can be moved through this interval pattern to produce a complete minor II-V-I cadence. The following is a list of some of the most obvious chords that could function as min7 b5 chords;
F# -7b5(9) = A-maj7 ....... Ab7#5 F# -7b5(11) = Cmaj7b5 .... A-6(9) (l b3 6 9]. ...Fmaj7(#11) (3 5 7 #11] F# -7b5(b13) = D7 .... D9 [l 3 b7 9] ...... C6(9) [l 3 6 9] F# -7b5(11/9) = Cma,j7#5 ..... A-maj7(9) [1 ~3 7 9J ......A-mai7(9) fb3 5 7 9] F# -7b5(b13/9) = E7#5 F# -7 b5(b 13/11) = Cmaj 7(9) [1 379]. ..... D 13 & Ab 7(#91b5) .......E7sus4 ....... F6(# 11) [3 5 6~11]
Each one of these chords will satisfy all three minor cadence chords (II-7 b5, V7, and I-) and each one can be moved through the interval pattern to establish a constant structure minor II V I cadence. In relation to their present roots, rhev . will function as Fli,. -7 bs, Ab 7, and A minor chords. Appiication of these concepts would make n possible to harmonize an en tire song with just two or three chord rypes. The following is an example of a typical "two-five blues" harmonized with just three chords; dom 7sus4, maj6(9) [l 3 6 9], and dom7(9) [l 3 b7 9). Their inversions will aid iu some harmonic. variety and voice-leading, whiie integrated with constant structure phrases.
153
F6(9) (F6/9)
Fmaj7(6) (C6/9)
E-7b5(b 13) A7(b9/alt5) (Bb6/9) (D~6/9)
D-9
G7(b9/alt5)
(C6/9)
(Cb6/9)
I
I
B b6(9) (G7sus4)
*Bb9
(Bb9)
I
Bb-7(11) (Db6/9) l
G-7(11)
G-7(11)
(Bb6/9)
(C7sus4)
E~9
I
Ab-9
D b7(alt5) (A9)
(Gb6/9) I
I
b~ 1+"' b,,~
1 ,b'
C7(#9/alt5) *C7(a1t) (Gb6/9) (Ab7sus4)
Fmaj7(9/6) D7(#9/alt5) G-7(11) C7(b9/alt5) (A7sus4) (Ab6/9) (Bb6/9) (E6/9)
I
?
l,~rfa
bf tJ
(Bb6/9)
Iii
A-7(11 ) D7(b 9/ alt5) (A7sus4 ) (Gb6/9)
(Db6/9 )
F7(alt5) CB9)
C-9 ~
II
I
F(9/b 5) (G9)
~ ·~
II
* L.I.L. violations on weak half of measure.
Here are some additional minor II - V - I cadences with two different chord types moving through the "minor rhirdmajor third" interval pattern;
1)
(A-n5) - - - - - - - - - - - C-6{9)
Eb6(9)
(D7 )- - - - - - - - - - - - - (Gm)- - - - - - - - Eb-6(9' Gb6(9 \ G-6(91 B~6(9 1 I~
'!18 71J
i fib§ 2)
i8
1~8
i
(A-7b5) _______ ____ _ _ __ (D? ) _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ (Gm) _ _ _ E:imaj7b5 E:imaj9 Gt1maj7t16 G~maj9 G-maj9 I
3)
€-"
of+
'
~§
~I
D..Q.
!~§
I
.~ ~~~
i;-&
I . ,,,.,
I ii
~
--n
.:
11
(A-7b5) _____ _________ _ _ (D7J __________ ___ ___ (Gm)_ __ Eb6(9) F6(9) Gb6(9) Ab6(9) B~6(9 ) ~.n.
-0-
41 i54
4)
(E-~
5) ___ __ __ _____ _ (A7) _ __ _ ____ _ __ _ _ _ (D m ) ___ ___ ___ __ __ _
Btirnaj7,5
E-7b5
D::imaj7»5
G-7P5
Fmaj7b5
B-7b5 ..n
!H
bu
5) <E- 7~ 5) ·- ·- __ __ _ __ _ _ ___ (A 7 J __ _ __ ___ _ ___ _ _ (Dm) _ ___ ___ __ _ __ - -
Bbmaj7#5
~tsu ~ !)
E-7~5
G-7~ f1
DDmaj7!=5
g
Fmaj7~5
~~g
I~ ';;
B-7 ~ :3
#
-e.
I±n
··f1.fajor'' cadences ; 2 ) n - Vl i - I !-7 -V 7 - iJ:
l ) (ll-7 - V7 -1);
D6(fl :E /su.s.-!
G-7(11/ 9) C7'.15\13/b 9) Fm ~i9 •D-7~ ff::C-1 !.A-7 • ;;.e-
TI
r .1
II
~-
~*
@
155
B7, 5(aJt8 l E-7' 11
~
A7 ~5(alt9 /
I
, D.D..
~
D m a i/(9/C: iF;/sus4 ~L:_
.: ~!!
i
Chapter Twenty-Two. Symmetrical Dominant Substitutions Every dominant chord has at least one symmetrical substitution a tritone away which has been presented as the "Sub V" chord. Specific tension combinations derived from the whole-tone or diminished scales can be placed on a dominant chord which can then be moved symmetrically ("constant structure harm onic motion") in accordance with those tensions chosen: diminished (minor third intervals), and whole-tone (whole-step intervals). Any combination of tensions 9, #l l(b5), and b 13(#5). which are in common with the whole-tone scale. can have whole-step substitutions. Seven different dominant chord structures can be produced from the various tension combinations; C7f5
C7b5
C9(no5) (I 3 ~7 9]
C9(~5)
C9(b5)
C7(alt5)
C9(alt5)
i
1\ ote that it is perhaps more appropriate to refer to# 11 and b13 as b5 and 5, si nee# l I and b13 could imp Iy a natural 5th.
Three different voicing possibilities exist for each of the last four chords:
#S
C9(#5) ........ .... [3 b7 9J, (1 #5 b7 9j. and [l 3 #5 9) C9(b 5) ............ b5 b7 9] . [I b5 b7 9) . and [13~59] C7Calt5) .......... [3 b5 #5 b7J. ll ~5 its Ii 7). and [l 3 h5 #5] C9(alt5) .......... [3 b5 ~5 9], [1,5f,51' 7 9), and [J ~ 5 ~5 9]
r3
When examining the whole-step substitutions for each chord, we find only three different interval combinations exist for four-note voicings within the whole-tone scale; _,
1)
C7 h5 [1 3b5b7]
D9(#5) [3 b7 9)
E9(alt5 ) [!~5#59]
F# 7h5 [l 3b5b7J
Ab9(#5) ~3 #5~7 9]
Bb9(alt5) [1~5#59]
2)
C7t5
E7(alt5J
F#9( b5) [3b5b79]
Ab9(#5 )
[I 3 ff 5 ~ 7)
D9(alt5 J [b 5 f5 ,, b7 9)
B b9( b5) [I bs b7 9]
C9 [I 3 b7 9)
D9(#5) [! ~5 b79J
E7(alt5) ll b5 ~s b11
F~7(alt5 l
Ab9(alt5}
[3 b5 !i5b7] ,,
f3p5~59]
3)
ns
I
(13b5tt 5J
[13~59]
Bb9(b5 ) [I3b59]
Note the symmetrica l Sub V chords in the first example;
.~7 .., ....- _F "" 7'b""'-
./-·-
TT
... ,
D9l;5)=Ab9(#5)
E9(alt5)=B b9(alt5 }
Also note those voicings missing a third could function as min 7b5 chords. and the B b9cb 5): [I 3 b5 91. could function as a Bbmaj7b5(9) chord. Any combination of tensions b9, ~9 , ~ 1 I, a:id 13. vvhich are in common \Vith the symmetrical dominant diminished scale (1 b2 ~2 3 ~4 5 6 b7 8), can have mi nor third substicuuom. fifteen different dominant chord structures can be produced from the various tension combinations :
156
Single Tension; 1) C7(~I• 11) or C7b5
2) C7(b9)
3) C7(#9)
4) C7(13)
5) C7(# l llb9) 9) C7(131#9)
6) C7(# 111#9) 10) C7(alt9)
7) C7(131# 11)
8) C7(13/b9)
12) C7(13/alt9)
13) C7(131#1llb9)
14) C7(131#111#9)
Two Tensions;
Three Tensions; 11) C7(# ll/alt9)
Four Tensions; 15) C7(13l#lllalt9)
Note that all those chords containing a# l lth tension could be accompanied by a natural 5th, or function enharmonically as ab5th. Also note the dom7b5 is the only chord that can function in the whole-tone system and the diminished system. Unlike tbe whole-tone scale, the diminished scale offers many different dominant chord types with very few reappearing under a new chord type. The following will att~mpt to organize the various dominant tension combinations and their related symmetrical substitutions over four-note structures. Single tension combinations; 1) C7b5;
(13 bs b7] = Eb 13(alt9) (5 b9 #9 13] = F#7b5 [l 3 b5 b7J = Al3(alt9) [5 b9 #9 13] C7(#11); [3 ~ b7,11] = ~b7(alt9) [3 5 ~9 #~] = F#7(b9) (1 3 ~7 b9J = Al3(b9) (5 b7 ~913) [1 ,:, b7 11] reJer to Eb 7( # 11) unoer C13(alt9) [b 7 ~9 ~9 13] [13~7 11] refer to C7b5 [1 3 S 11] refer to A(# 11) under C13(alt9) (3 b9 #9 13]
# 1
2) C7(~9);
[3 5 b7 b9] = Eb 7(b9) = F#7(b9) =A7( b9) (1 3 b7 ~9] refer to F~7 ( b9) under C7(#11) [15 b7 b9] refer to E~7( b9) under C7(alt9) [1 3 5 b9] refer to Eb(b9) under C7(#9) 3) C7(#9);
[35~719) =E b (b9)_[13 5~91 =F~ 13(b9) [3 b7b9 l3J =A7(# 111~9) [5b7b9#ll] [13 ~7 9] refer to Ff7C#9J under Cl3(#11) [1 5 b7 9] refer to Et rel="nofollow">7( #9) under C7( #1llalt9) [b7 b9 #9 #11] [1 3 S #9] refer to F#C#9) under C13(#11Jb9) [b7 b9 #1113] 4) Cl3;
[13 b7 13] = E b 13(#. l I/b9) [5b9#11 13] = F#7C#91b5) [3 b5 b7 #9] = A7(alt9) [1 5 b9 #9] [3 5 b7 13] refer to F ~ 13 under C7(alt9) [15 b7 13] refer to F~ 13 under C7(#11Jalt9) [3 b9 #11] [13513] refer to F# 13 under C7(#11Jalt9) [b7 b9 #9 #11)
#9
157
Two tension combinations; 5) C7(# 11/b9); [3 b7 b9 #HJ = Eb7(alt9) [5 b7 b9 #9) = F# 7 [l 3 5 b7] = A13(b9) [3 5 b9 13) [1b7 b9 ·#llJ refer to Eb 7(# I llb9) under C13(alt9) [3 b9 #9 13] [5 ~ 7 b9 #HJ refer to A7(# I llb9) under C7(#9) [1 3 b9 #HJ refer to A 7(# 1 llb9) under C13(alt9) [b7 b9 #9 13J [1 5 b9 #HJ refer to Eb 7(# l llb9) or A7(# ll/b9) under C13(#9) [3 5 b9 #llJ refer to A7(# 1 l/b9) under C7(alt9) 6) C7(# 111#9);
[3 ,5 #9 #HJ = Eb 7(alt9) [l 3 b9 #9J = F# 13(b 9) [1 b7 b9 13J = Al3(# 11) [5b7#11 13J [3 ~7 #9 #HJ refer to F~7(#91b 5) under C13 [1 b7 #9 #HJ refer to Eb7(# 111#9) under C13(#1llalt9) [5 b7 #'11] refer to E b7(# 111#9) under C13(#1llb9) [b7 b9 #1113] [13 #9 #111 refer tO A7(# 111#9) under C13(alt9) [1 b9 #913] [1 5 #9 #HJ refer to F#iC# I ll#9) under C13(#1llb9) fl b9 #1113)
#9
7)
C13(#11); [3b7#1113] = Eb7(#11/alt9) [5b9#9#1I J= F#7(#9) [1 3b7#9J =A13(b9) [15b913] [1 b7 #1113} refer to Eb 13( # 11) under C13(alt9) [1 b9 #9 13) [13 #1113] refer to Al3(# 11) under C13(#1llalt9) [15 #1113] refer to F#BC# 11) under C7(#1llalt9) [1 b9 #9 #11] [3 5 #1113] refer to Al3(# 11) under C7(#lllalt9) (3 b9 #9 #111 [5 b7 #1113) refer to Al3(# 11) under C7(#111#9)
8) C13(b9);
[3 b7 b9 13) refer to F# 13(b9) under C7(#9) [1b7 b9 13J refer to 13( b9) under C7(#111#9) (5 b7 b9 13J refer to A13(b9) under C7(#11) [13 b9 13] refer to A13(b9) under C13(#111b9) [b7 b9 #1113] (15 b9 13] refer to Al3(b9) .under C13(#11) (3 5 b9 13J refer to Al3(b9) under C7(# 111b9)
F#
'.! ! C13(#.9); [3b7#913] =Eb7(#lllb9) [l 5h9#11J=F#13(#9) [3b7#913J = A7(#1llb9) [1h7 ~9 13) refer to Eh 13(#9) under C7(~11ialt9) [1 b9 #9 #11) [5 ~ 7 #913] refer to F# 13(#9) under C13(alt9) [3 b9 #9 13] (13 #9 13) refer to A13(#9) under C13(#1llb9) [1 b9 #1113] [15 j 9 13] refer to Ftl 13(#9) under C13(#1llalt9) [3 5 #9 13] refe r to Ff 13(#9) under C13(alt9) rh7h9 #9 13]
ll 5b9#11]
10) C7(alt9); [3h7 h9#9J =Eb7(b9) [I 5b 7b 9J =F#13 [3 5b713) = A7(~lllb9) [3 5b9#11] fl b7 b9 ti.9J refer to Eb 7(alt9) under C7(~11/alt9) (3 b9 #9 f111 · [5 h7 b9 #9J refer to Eb 7(alt9) under C7(#1llb9) [1 3 b9 #9J refer to Eb7(alt9) under C 7( #111#9) [1 5 b9 #9] refer to A7(alt9) under C13 [3 5 b9 #9] refer w Eb7(alt9) under C7( #11)
158
Three tension combinations; ~
11) C7(#11Jalt9);
#
#
[ b7 b9 #9 #11] = E b7 ( #9) [ 1 5 b7 9] {E b-7 } = F# 13 [ 1 3 5 13 J {F#6 } = A 13 ( #11 I b9) [3 b9 11 13] [3 b919 #11] = Eb 7(alt9)[1b7 b9 #9] =Fi 13 [1 5 b7 13] = A.13(# 11) [35 # 11 13] {A6(# 11)} [lb9 9i11J=E~13(#9)[~b7 # 913]=F,1 3 (#11) [15#1113] {F#6(#11)} =Al3(#111#9) [3#9#1113] [5 b9 9 #HJ refer to Eb7( # ll/alt9) under C13(#11)
12) C13(alt9); [3 !,9 #9 13] = Eb 7(# 11/b9) [l b7b9#11] = F#, 13(#9) [5 b7 #9 13] =A(# 11) [l 3 5 #11] [b 7 b9 #9 13] = Eb 7(! 11) [l 5 b7 # il J = F~ 13(f, 9:' [3 5 #9 13) =A7(# 1 l/b9) [ 1 3 b9#11] [1 b9 #9 13] = Eb13(i 11) [1 b7#11 13] = F# 13(# 111#9) [5#9#11 13] = A7(#111#9) [13 #9#11] [5 b9 #9 13] refer to Eb 13(alt9) under C7b5 13) C13C#lllb9);
[lb9#1113] =Eb13(#1llt9) [b7#9#Il 13] =F#7(# 111#9) [l 5~9#11. J=Al3,(~ 9) [1 3#913] [b7 !,9 #1113] = Eb7(# 11/~9) [5 p7 #9 #11 ] = F#(~9) [I 3 5 #9J = A 13(p9) [13~913] [5 !,9 #1113] refer to Eb13(# 1 l /b9) under C13 [3 b9 #1113) refer to Al3(# 11/b9) under C7( #1llalt9) [b7 b9#9 #11] 14) C13(#111#9);
[3 #9 #1113] refer to A13(# 111#9) under C7(#1llalt9) [1 b9 #9 #11] [5 #9 #1113] refer to F# 13(# 111#9) under C13(alt9) [1 l,9 #9 13] [b7 #9 #1113] refer to Eb 13(#111#9) under C13(#11Jb9) [1 b9 #1113] (1 #9 #1113] is enharmonically the same as C0 7; 1 b3(#9) b5(# 11) b b7(13), therefore C13(# 111#9) = Eb 13(# 111#9) = 13(# 111#9) = A13(# 111#9).
F#
Four tension combinations; 15) C13(#1llalt9); [b9#9#11131 =Eb7(#111 ~ 9) [l b7#9#11] {Eb-7 b5 } =F#13(#9) [15#913] {F#-6 } = Al3(# 11) (13 #11 13~ {A6 b5 )
Note, with the exclusion of the dom7 b9 and the domlJ(# 111#9), the symmetrical Sub V chords in the dom7 b5 and dom13
E~ 7(#9) [ 1 5 ~ 7 #9] =Eb -7 F# 13 [ I 3 5 13]_ = F~ 6 Al3(# 11)[35# 11 13] = A6(# 11) E b13(#9) [1 b7 ~ 9 13J = E~-7(1 3) {Modal Dorian} F#I3( #11) [15 ~ 1113] =F#6C # ll ) Under C13(alt9);
F# 13(#9) [5 b7 #9 13] = F.#-7(13) {Modal Dorian} A ( #11 ) [ l 3 5 #11 ] = A7 ( #11 J or Arnaj 7( ~ 11) Under C13(# 111#9);
[1#9#11 13] = C0 7
Under C13(# ll/aJt9);
Eb 7( # 111# 9) = Eb -7b 5
A 13(# 11) = A6b5
159
The following II - V - I examples will present a single voicing in all of its relative symmetrical dominant functions. 1) Whole-tone (dom7 b5):
D-7
Cmaj7
Gn 5
~
~~
Ab-7(11)
A9(#5)
..a.
..0.
..0.
'
E-7(9)
I!
Db7b5
Gbmaj7
Bb -7(9)
b.o..
-&
D6(9)
..a. ~!
F#-7(11) B9Calt5) ..0.
-&
&!
II
c..., -
F9(alt5)
Bb6
b.o.
b.o.
b..a.
/
b..a.
.0..
E6(9) ..0.
&~
II
Eb9(#5) Abmaj7(9)
Ii
..0.
II
II
~) Diminished {doml3(b9)};
E -9 ..0.
'
F6 (~11/ 9 }
A13(b 9) Dmaj9
~-
G-9 C7(P.11/b 9i
-&
11&1
B l1-9
!
~;
Db7(U l /b 9) F-9 Bb13(~9) E bmaj7b5 Ab-7b5 Gb-6
~
',#~
bo
0
I!
l
~~~
120
~
II
A:i maj7(9/ 6) n7sus4
E:;i7 ( ~9)
~m
..a.
0..0.
F~ 7(b 9 ) B6(9 ~
i~ ;J~
II
,µ..O.
~e~
l+j2
El3(~ 9 )
G7(Ul/b 9) A-maj7(6) D-7( 11) C-6(9)
B-7b5(b 13)
II B .,#~
1:~
b~~
0
II
0
231
The following II - V - I examples wW move one voicing symmetrically , "constant structure harmonic motion." over a ~ ingle dominant chord.
J) Whole-t0ne (dom7#5); D-7(11 )
D-9
G9rn5 1 (B7~ 5 ) I
I
II
;fG
I ....
G9(b5 i G9(alt5 )
>
'
c;::-
~: ~fr
~~ ~t..o'
C6(9)
G7#5 (G7;5 l
.~!
Q I
I
I
0
I
'
2) Diminished {doml3(~9)};
A7sus4
A-9
Gmaj7
()
I
·· ~
160
I
ti!
Chapter Twenty-Three. Altered Dominant .,.. As was presented earlier in the Dominant Substitute V Chord chapter, altered or "alt" on a dominant chord refers to the fifth and ninth being flatted and raised; ( b5, #5) and (b9, #9) . Adding the root and guide tones to these altered notes produces an ''altered" scale or seventh mode of the "real" or "jazz" melodic minor scale; b2 (b9)
#2
<# 9)
bs
3
#S
[,7
8
(#11) (b13)
Observing the altered dominant scale fror- its Sub V shows a "natural" dominant scale, (or "Mixolydian" mode), with# 11. This scale is often referred to as the "Lydian b7" scale or fourth mode of the "Jazz" melodic minor scale;
Eb
D 6
C Melodic Minor.. ................. C F Lydian b7 ......................... ... 5 B Alrered................................ b2
#2
~7 3
F 1 ~5
G 2
#S
A
B
c
l
5 l,2
#4
3
b7
Tension #9(#2) and~ 5 (sometimes referred to as I, 13) appear to be the most "characteristic" altered chord tones or tensjons since they are al~o tensions 9(2l and 13(6) on their relative Sub V chord. The following lists the different dominant chords and tension combinations that have been presented and could be used as "altered" chords; 1) Basic 7th chords;
dom7b5
dom7#5
2) Single tension chapters;
Tension 9; dom7#5(b9) dom7b5( b9) Tension 11; dom7#5(# 11) or dom7~alt5)
dom7b5(#9)
dom7#5(#9)
3) Two tension chapters;
Tensions 9 & 13;
dom_7b5(~ l3/b9) or (~9/alt5)
dom7b5(b131#9) or C#91alt5)
4) Altered 9th Tensions on Dom7th Chords;
<.iom7b5(alt9)
dom7(alt9/no5)
dom7(alt9/alt5)
dom7#5(alt9)
The altered dominant contains a unique and characteristic property in the placement of parallel voicings a wholestep apart on the b5th and #5th of the original altered chord. By placing either major triads, dom7ths, or dom9th chords on these notes, an altered "upper-structure" sound is produced;
G7(alt);
(#5th) - Eb , Eb7, or Eb9
(b5th) - Db , Db7, or Db9
Realize each chords relation. to the original aitered chord ; Db .......... . G7(alt) .... .
1
bs
3
9 #5
5
b9
l,7
Eb ........
1
G7(alt) ..
#5
9 ~7
3 1
Note the sixteen different dom9th voicings produced by using all four "drop 2" [3 5 b7 9) and all four "ninth (no 5)" [1 3 b7 9] chord inversions on both Db9 and Eb9. Two additional structures, major(add9) and dom9(no3 ), can be placed on the b5th and #Sth of an altered chord as well. These structures could be viewed from perhaps a more familiar enharmonic root; Dh add9)
=F-7# 5
E b(add9)
=G-7# 5
RootrelationtoGaltered;
Db9(no3) =B6(9) [1 3 6 9]
bVII-7#5
I-7#5
III6(9)
"""' 161
Eb9(no3)
=D~6(9) [l 3 6 9]
bV6(9)
Notice three of the above voicings have rhree alrered tensions while G-7 #5 has two. Also note G-7 #5 and Db 6(9) contai n the " charncre ristic" #5 and # 9 altered tensions. while F-7 n5 a nd B6(9) h<.~ve the same three tensions; (b5, ~ 5. and b9).
G-7 #5: G7(alt) ..... ... ..... .. .
F-7P: G7Calt) .. ........... .
G I
b7 ................................ .
F
D b6(9):
Db bs
F
Eh
B6(9);
B 3
#5 ................................. .
b7
Additional 110H-sym111e1rical structures built off the b5th and# 5th of the dominant altered could include the triad plus any remaining altered notes:
Eb(b 13) [1 3 5b13]
Eb(add4) [I 3 4 5]
Db6[1356]
(G alt1:
These 1riads could place their additional notes in the bottom voice producing some interesting hybrid structures that could be used as G altered voicings:
Eb/B
DbJBb CBb-7 )
Db/G
* Bottom voice should not violate L.I.L. for G altered. l\otice the B note i~ the o nly non-triadic note for both pedal under these two triads: Db/B - Eb/B.
Db and Eb triads . T his note mig ht function as an interesting
The foJlowing examples combine the altered upper-structure concepts introduced here with past altered voicings;
(D-7 )-- - - -- - - - - - -- CG7altered )- -· - -- - - - -- - - - -- - (C l D9sus4 F6(9) D:19 B~ 7sus4 E~9 B6(9 J C(add9)
J)
:&'-"
M
§
~ :z;g
j110i!
o.a:.
b!
g~
I
·f
]
(G7altered l - - - - - - - - - - - - - - - - - - - - - - - - - - - CC; B6,(9) Cmaj7(9) E ti9 D::i6(9 J Do9
') I
-1
I§
~q: ~
4)
D-9
n q)
D ~6 ( 9
•
:w
J ~
o~
!5L-;~
-
F-7z5 ?
I
'-'
"'
I)!$'
Oi9-
'lg
11
I
Cmaj7
I -e-~
(C)
Cmaj7(91
Bo7sus4
-~
II
D-9
Ii 162
¥
0--S-
!'iz~
o.a ~1
.0.
Ig
II
The following alrered voicings include some "constant structure motion" ideas; I)
(D-9) C6(9)
(G7alt1- - - -(Cmaj7(#11/ 9 )) B6(9) D?6(9 J D6(9)
!
I
2)
3)
(D-7(11/9;) (G7a1t) - - - E-7f5 G -7~5 F -ns
(C-7(11 )1 G-7f5
(CC13/ ~11/9 )
F#-7~5
(F7aJtL - - - F-7~5 E?-7}5
(B~ (add9))
D-7~5
II ,
I
Chapter Twenty-Four. Approach Voicings Three basic approach techniques, referred to as "diatonic," "chromatic," and "dominant," can be applied to voicings that are used to introduce established chords.
Diatonic approach voicings are relative to the key or mode of the moment, and usually resolve to the chord being approached by diatonic step. These voicings can often be viewed as diatonic extensions of the previous voicing, (displayed in the followin g example). (C-7) - - - - - - - - - ·- - - (F7) C-7(11) D-7( 11) F7(13/9)
l
I
Domiilanr approach uses voicings that have a dominant reiation to the chord being approached; (C-7 I - - - - - -- - - - - - (F7 J C-7(9) C7(b9} Fl3(h9)
l[i
II
Chromatic approach uses voicings that are the same as the chord being approached, a half-step above or belo\1: that chord. This could be considered chromatic "constant structure" mat:ion.
' ~
~i
~r:~
g.tf
!~~
l
Note the above G~ i 3 cnora could ai~o be conswercd a dommanr
"Chromatic" and "dominant" approach functions in one voicing;
II Note the above approach voicing could also have :in addirional "diatonic., function; (diatonic to G ahered scale).
164
"Dominant" and "diatonic" approach functions in one voicing; (F7) - - - - - - - - - - - - (Bb ) F9 F7(13/9) Bb6(9)
'
~~
br
!
I
I
i
II
"Diatonic" and "chromatic" approach functions in one voicing;
(C-7) - - - - - - - - - (F7)- - - - - - - C-7(11) D-7(11) F7#5(alt9) F7rn9)
~'..&l·i..;.:.- , 1 -----f'.~,._ '-----il~1f+"'--·_____.hf__"r - 1 The usual and perhaps most effective piacement of an approach voicing is on the weak area of the harmonic rhythm where traditional rules such as "Low Interval Limits'·, can more easily be violated. In the previous examples, the approach voicing was placed on the weak half of the measure; beats 3 & 4. Some of the most effective uses of approach voicings are found in "stagnant" harmonic situations. Here, the harmonic color and variety these approach techniques offer can enhance an existing "basic'' progressjon or vamp.
In the following chord progression, which was taken from a common "standard" tune, each chord receives the duration of eight beats, producing a somewhat stagnant harmonic situation. By the addition of approach voicings, the progression receives more hannonic variety and motion. The original chords are in parenthesis. -
(G7#5) - - - - - - - - - - - - - - - - - - - - - - (C-7 ) - - - - - - - - - - - - - - - - - - C-7(9) D~-7(9) D-7(11) C-7(11 ) G9 G7(#9) Ab13 G7#5
,,
~
'
~
I
j i~
jili~
19~iI
I
Jti·· 4
~
~
I
' (Ab7) - - - - - - - - - - - - - - - - - - - (Bbmaj7) - - - - - - - - - - - - - - - - - (E-7b5 .l Ab9 D7(±:!> Ab7( U ~ 1 F ?( ;it,1; bt?maj7 E 11maji Bb6<9i Df.-7b 5 E -7b 5 '
~&t! i~
l&j ~&f--i-1---~-1---~~-IHH9-&~-
li·t~ "!~
The following is an example of using only chromatic approach voicings on the beginning of the same '·standard·· tune.
(Bb7) - - - - - - - - - - - B b7(13/9) E6(9)
i
I
~@:~
r
I '-' 165
CE~maj7)
Eb6(9)
Many different voicings could chromatically approach a single chord when the various combinations of above and below half-step resolutions to that chord are considered. In fact, considering all possible chromatic resolutions to a four-note structure produces fourteen different available approach voicings to that structure, although some will be omitted due to ~9th intervals. doublings, and awkward f~ngerings. In examining these fourteen approach voicings, we see there are four possible combinations of three half-steps ascending and one descending, six combinations of two half-steps ascending and two half-steps descending, and four combinations of one half-step ascending and three descending. The following examples display nine different chromatic approach voicings to the "drop 2" root inversion Cmaj7 chord. The remaining five approach voicings were omitted due to~9th intervals, doublings, or awkward fingerings. 1) Three half-steps ascending and one descending; Bmaj7(#11)
Bmaj7(6)
Cmaj7
~#~~u
II ~=i~I
~
(?)
Cmaj7
11~#~8 ' if&
~G -&
u
-&
D ~-7
Cmaj7
® t)-0-
II
2) Two half-steps ascending and two descending; E~ 7sus4
Cmaj7
§:"b~
Cmaj7
Gb6(#11) '
~~~~.
~fl
11k;w
-&
Gbmaj7
Cmaj7
~5~
lls?i
.a.
IJ
-e-
3) One half-step ascending and three descending; Ab / Db
Cmaj7
41.~~
~9-e-
G~ maj7(~11 )
Cmaj7
II ~i
D b6
~9
Cmaj7
µ-;
""??
-&
II
-&
The following exercises harmonize the chromatic scale. (ascending and descending), with a Cmaj7 type chord. while the non-diatonic notes receive chromatic approach voicings. 1 \ Ascending chromatic
2)
lin ~:
Descending chromatic line; Crnaj7(9/6) Ab7sus4
..a.
b.o.
' t
111,!!
Gt>maj7
C6(9)
§i Cmaj7
Cmaj7(~11) G~maj7'.,5
!f G7(#9/#5)
0.0.
Cmaj 7(6 • E b7sus4 -&
§~s
9§
Cmaj7(9)
.9).l>err! B6(9)
I
I};;
l
# ; u
166
'iS
C6(9)
C(#ll)
~;
\~§ c ~9i
Chromatic approach voicings could also involve one common tone while the remaining three tones resolve in various chromatic combinations. Thirtv-two potential approach voicings can be produced from these combinations! While one note remains common; four different chromatic approach voicings are produced by three ascending half-steps, four more voicings produced by three descending half-steps, !\velve more voicings proC:uccd by two ascending and one descending half-steps, and twelve more by two descending and one ascending half-steps. Of course ~9th intervals, doublings, and awkward fingerings will omit quite a few voicings, (although some doublings will be occasionally used). The following examples display twenty-four of these chromatic approach voicings, (with some doublings), to the drop 2 , root inversion, Cmaj7 chord. Common ronc&will be darkened for reference. 1) Three half-steps ascending ;
B-maj7(11) Cmaj7
@fi
; -e-
B
llt~~
Cmaj7
s
U'
-&
Db7
Cmaj7
Bmaj7#5
1 #f~ 1 U'
Cmaj7
~
-e-
c-ns I
11~~~
Cmaj7
§i~
~
-e.-
Fm
Cmaj7
II
2) Three half-steps descending; Db-maj7
4~2
Cmaj7
; -e-
I \?
~
Dbmaj7b5
Ii
-e-
&*
Cmaj7
D t).
Ii 1l8 •
~
-<>-
=ii
3) Two half-steps descending and one ascending;
Db-6
'"·~? G-7b5
~t!
Cmaj7
Gb7(#11)
Cmaj7
D b9(n o3)
I
-e-
II ~~g
§8
Crnaj7
Eb13
Cmaj7
Ab6(9)
q~
..
§s §~ -e-
1
II~~ 0
Crnaj7
-&
1 1i§[? l 1z~~
-e-
4 l Two half-st:eos - ascending - and one descendin£: F#7 Cmaj7 Cmaj':' BC~ll J
98 -&
Cmaj7
!~ 4i>-
Gb-maj7(11) Cm aj7
11~vi Ab/C I
~2
-&
Cm aj7
.. ..
111;'11
II
~~
II
~
~;:~ii ·;-a4L
Eb7
;f&[!
; q-&
Cmaj7 '
r~
-e-
I ~~ u
F~maj7b5
i ;~~
' -0-
~
-e-
D#.- ,.,)J . ( ,,0 II
Cmaj7
~
=1~ . ::-sC-7#5 '
- ii ~;z:~
'fir
-0-
167
Cmaj?
~
q-eCmaj7
a~~
'°'
G~m/ B
11 ~1 u
cc
11~:~~ . -<>-
Cmaj7
6g-e;..
Ii
Cmaj7
~ -0-
II
Two or three common tones in chromatic approach voicings are possible, but begin to destroy the "approach" quality of these voicings. Some of these voicings will be explored along with additional concepts in the Chromatic Guidelines chapter. The following example uses the three chromatic-one common cone approach voicings on the beginning of a "standard" chord progression;
(E-7b5)_ ___ _ _ E-7b5
B ~9(#5)
t~ CF-7}__ _ __ _ _ F-7(9J
Eb7(#9)
(A 7 ) _ _ -· _ _ _ _
A7(#9/#5)
C # 7(~9 l
I~
~
(F7L ____ _ _
C-7( 11)
F13
\&bi (E C, maj7) _ _ _ _
(Bb 7) __ _ _ _ _ Gb/Ab Bb13
~~
(C- 7)_ _ ____ _ _
E b6(9 l
A7~5
Dmaj7
d
A6(# 11)
(Ab7)_ _ _ __ _ Ab 13 E!i -7(9)
(BPmaj7) B b6(9)
~~!
The following is an example of a backward cycle-five chord progression that could be considered a chain of chromatic and dominant approach chords with one lead common tone;
A13
~
fr
D7(#9) 19-
G7(13/9) fr
B9
C13<#9J ~
1=:-
i
168
E9<#5) ;i6
A7(13/9J
I.... -
___u
Ii
The following "F Blues" uses a variety of chromatic approach chords with the emphasis again on a lead common tone. Voicings not fuily notated are drop 2 type voicings;
Fl3
Bb7(#9) Fl3
f F13
~
tf
r
Bti 9(13) B9(#5)
C9
E9(13)
B9
#•
Bb9
1¥
A9(#5) Ab9(13) A9(#5)
:
r
Bb7(#9) E b9(13) Bb7(#9)
B?9
r 1:
E7sus4 Eb7C#ll) E b 7(~9 )
F7
F13
1r------'-r_ __._r-----+~r-1~-+-~r-----l-r---+:---+r--I
r
E9(13) F9(13)
f
B9
B9
#r
b.c.
I ~#jii~ II
1
r
9
Eb9
*
D7(#9) Ab-6
t~ i~ r
F13
'i
~!··1
I
o..a.
;
I
b..a.
b!:§ ·~
I
C7(#9/#5) B13(#9) F13 Db7(#9) C7(#91#5)
#r #r #r
F~9
G-7(11 )
b..e..
~ #r
Bb9(13) e
II
169
G-7
If
Db7 C7sus4 Gb13
f
r
\~
!,
II
Chapter Twenty-Five. Fourth Voicings There are five b asic fourth-type voicings available to the middle four srrjngs of the guitar. The following will list each voicing as well as the initial chord type to first introduced it. Additional enharmonic chordal uses for each voicing can be fo und in the appropriate Enharmonic Chor dal Substitution chapter containing these chords. l)
C. .. 4th ..... F ........ 4th .....
BL.... 4th .....
E~ (perfect fourths) {F7sus4}
2) C.. #4th ..... F #· ···· 4th ..... B .. ..... 4th ..... E (one tritone) {Cmaj7~5} 3) C ... 4th ..... F....
#4th .....B ....... 4th..... E (one tritone) {Fmaj7 (~ 11)}
4) C ... 4th ..... F ........ 4th..... B ~ . ..
#4th..... E (one trjtone) {F-maj7(1 l)}
5) C.. #4th ..... F tt ........ 4th ..... B...... ~4th.....Eff (two tritones) {Dl3(#9) or Ab 13Ctt9)} Of course different inversions of the above chords are available. but do not contain all fourth intervals as do the specific inversions listed. When all or most of the voicings used in a comping situation are fourth voicings, a contemporary and sometimes .. modal'· sound is produced. It is also comm on to find a good deal of chromatic and diaronic approach chords using fourth type voicings in this conrem9orary environmenl. Occasional fourth voicings can and do appear in many different styles. bur a contemporary ··quarntl" sound can only be produced by using many fourth voicmgs. Fourth voicings can be found in " modal" or ''diatonic" situations, and each requires a different approach. Modal music, where many fourth voicings are commonly found , does riot contain the traditional "avoid" or weak notes that are commonly fo und in diatonic harmonies. In fact, many of the avoid notes in diatonic harmonies are the desired "characteristic" notes in modal music. The incomple te or ambiguous nature of fourth voicings seem to enhance this modal sound. It is certainly easier to play many different fourth voicings in a modal situation. where ~voicing is available, than it is in a diatonic situation where voicings that contain avoid noces should be omitted or placed on weak harmonic rhythms. Of course in many diatonic situations there are places where the harmony can be stagnant. allowing for a temporary modal approach to those harmonies.
When trying ro make the majority of voicings in a Diatonic situation fourth-type voicings. a difficult irony is produced by the need for !lliillY voicings cc clarify harmonic function. (often two o r more incompietc rounh voicing" are needed to clarify one chords function), and a consequent reduction in voicings due to diatonic avoid notes. Often a compromise between these two proi:>!en:s 1s needed ro ham1omz.c. ..changes.. \vith fourth type voicing~. Perhaos the .. need·· for harmonic cmrificarion 111 diatonic progress1om could De reducea and .. avoid. notes· could oe acceprcd more often . The following will examine fourth voicings oy diaconicall:: moving them through specific sca1es nnd determrning their modal and applicable diatonic use.:. .
MAJOR SCALE Modallv, all seven of the fourth voicings produced here will be arnilao1e to any one of foe seven maj or scale modes. Fourth vo1cmgs in C major scale . (or any of ns seven relative n.odes 1;
-n
e
g
§
-&
g
..0.
~
-e-
~
.£!..
-e-
~
jj
Nole that four of the five basic fourth-rype voicings originally preseQted are contained in the major scale.
170
A unique and contemporary chord symbol notation depiciing the different modes has recently evolved and appears quite different from traditional chord symbol notation since many of the characteristic modal tensions are "avoid notes" in traditional harmony. The following modal chord symbols are not uncommon in today's music. m aj(add4) rninl3 or min7(13 ) min6 9) or sus4(b 9) or min(l lib 9) maj7(# 11) dom7(addl I) or dom7(add4) min( add b13) min7b 5(b 9l
Ionian; Dorian; Phrygian: Lydian: M ixolvdian; Aeolian: Locrim;:
Descriptive modal chord symbols haYe also become quite common: C C C C
(lydian) = Cmaj7(# 11) and possible tensions 9 and 13(6) (dorian) = C-7(13) and possible tensions 9 and 1J (phrygian) = Cno3rd( I lib 9) or Cmin(b 9) und possible tensions 11 and~ 13 (aeolian) = Cmin(add bi3) and possible tensions') and 11
These symbols which are most common in modal mu.sic have also found there way into diatonic tune s, modifying many of the basic harmonic func rions by rhe use of traditional av0id noles . Contemporary diawnic runes ofrcn coma.in modal approaches to some or all of their hannonies. his nor uncommon to find a TI-7( l 3), V7(addl l l. or r·-n scb9) chord in today's diatonic nrogre ssions. Although these chords can involve many difforem types of voicings. fourth voicings still play a major role in supporting their "modal'' sounds. lts worth noting at this time that the dorian mocie is the relarive rninor of the lydian mode, allowing past maj7 (~ 11 ) and maj6(# 11) voicings (with or withour available tensions 9 and 13) to function as dorian voicings. As an example , Cmaj7(# 11) [ l 5 7# 11 ) = A-7(13/9) [b 3 ~7 913]. T he following wili examine o ne of the fourth voici!lgs established in "C major.. and apply some of the relatiYe modes and consequent chord notations.
G .....
Fourth voicing:
l ) D dorian........... ... .... ..... ..... ::'.iEphrygian ............ ............ 3) F lydian ... ..... ...... .......... ..... 4 ) G mixolydian .................... 51 A aeolian ............... ......... .. 6) 10cri
a
C .....
F ...... H
b7 ...... b3 ......
13 ...... D-7(13/9) ~ 13 .. ... b9 ....... 5 ...... Em(b 13/~9 ) ':! .. ..... . 5 .. ...... ! ..... tll ..... F(~ll/9) 1..... . 11...... b7 .. ..... G7 1add 11 j ~ : ..... . !) 3..... b13 ....... 9 ........ A-7(~ 13/9) ~ := ···· v ~ ... b: ........ 1 ....... R-7 i·~:',.~13/bQ
11.. .. .
~=1
.....
J .......
Addirion3l dominant possibilnies of above voicinf: G7( add 1 i ) - G mixolvdianh 91~ B (C harmonic minor!
B7(b9/alt5J
.
E7(b J~/alt9 J
::.:~
applicauons of fourth voicmgs usually involves finding one or mo re "safe'· voicings. <no aYoia noces and c:1ear harmonic function ). to begin and en.:i with whiie the mncr voicings conraining uYoid nores anci rncomol~~:: strucrures are used in between. It is aiso common to find "chromatic ap!Jroach .. voicings and/0r ·· s~·:nmemcal constant struclUre .. \'Oicm2s in 1.1crween or lillhlTI£ mese · · s~:L-- · voicins:c;. The follo wm!l ex:i.m.o1:!S . ,,·iii !:res::'nt som:: of these diatonic ideas with fo~1 rth voicings over typical II - \ · - l chord cadences
-
..._
\,:.
171
~
This first example uses~ diatonic fourth voicings in the key of "C ",ending on C lydian. D-7_ _ __ __ __ _ _ _ __ _ ___ G7 __ _ _ _ _ _ _ __ _ _ _ _ Cmaj7
~
@
f ~
1
~
F
'
II
This next example introduces chromatic approach voicings to the diatonic fourth voicings.
D-7_ - - - - - - - - - - - - - -
~~
G7 - - - - - - - - - - - - - -
Cmaj7
-f ___,_~ ~-: : t. .1- 'i9- f,._-- _-_ -=: . ,.·.,ll:-.-._=~.i---===-:=::.::=:....:..1.. __-_-_-_ ----'"-r-t..--f
---H---111
The following examples will examine symmetrical constant structure fourth voicings in different II VI situations. Some of these examples will present a major7th n0te on a dom7 chord; a very unique and contemporary sound.
# I 1 Whole-steps; c)
~
c)
D-7 _ _ _ _ _ _ G7_ _ __ _ .g
.
I
Cm aj7
~ ~
I
G7 _____ _ _
D-7_ _ _ _ _ _ _
G7 _ _ __ _
b) D-7 __ __ _ _
b.a.
I
Cmaj7
I
!:.~ ; ~--!--!F.l....,_---till
ba ~
Cmaj 7 (Lydian)_ _ __ _ _ _ _ __ _ __ _
b-e-
1>
Ii
#e
I
I
I
z -&
~F
II
#2 ) Symmetrical diminished, \whole-half-whole-half):
b l D- ':° _ _ _ ·- _ _ _ _ _ .a. -19-
'
~
#3 ) Minor thirds;
~ I
07 - - - - - - - - - - - - - - - - ·- -
i~iI
B- 7___ _ _ _ _ __ a ...a.. 1T
~;
:;~
•
, p...
·/[
t±I:
:j
it
9~e
'I
I
II
• t
E7_ _ _ __ _ _ __ I
I
if"'9-
l'''f 172
~
'Amaj7
i
The major scaie modes also have some aitered dominant possibilities that can be examined. There are four major scales; E b, Ab, D~ , and Gb, which produce altered dominant tensions on a G7 chord. The following will. ennarmonically realize the notes of each major scale in relation to the G7 chord. A~
Eb major scale (G phrygian) .. G G7 chord ................. ................ l
Bb
~9
it9 "
A~
Bb
A b major scale (G locrian) .....G G7 chord ................................. l
j,o
Db m~jor scale ........................ Gb G7 chord ................................. 7
Ab b9
Gb major scale ......... ., .............G ~ G7 chord ....................... .......... 7
b9
A~
c
D
Eb
F
4
.:::. _,
b13 Eb
b7
"'
B~
c
#9
B~
#9
D~
C'
#9
Ip ,)-
A
Db
~5
E~
4
~5
4it)
Cb ....
Db bS
#5
.)
E~
F .',., 'V I
F ~7 F
I
I> 7
Note the porentiai probiems wi th A l7 and D~ maj or :-;ca1es. The lith and b5tb in the same voicing strongly suggest a min7 ~ 5 chord. and the l lth and natural 7rh produce dominant guide-tones a half-step above the original gujde- tones. 1 he fo liowing lists those fourth voicings rhar are in common wiih more than one of tbe above major scales. Of speci al note is the B D-7sus4 or F-7( 11 ) voicing which is in common with all four scales. Db and G~ major scales share the voicing: Ab7sus4 [Eb, Ab, D~, G~] Eb and Ab major scales share the voicing: C7sus4 [G, C,F, B~] A~, D~, and G~ major scales share the voicing; Eb 7sus4 [B~, E~ , Ak D~] Eb , Ab. and Db major scales share the voicing; F7sus4 [C, F. Bb, Eb ] Eb , Ab , Db , and G~ major scales share the voicing; B b7sus4 [F. Bb , E b. Ab ]
The following II V I examples \Vill examine all four aitered dominant sounds presented. i l E:J major (G phrygian j:
(N ore the following D-7 voicinf!s are the same as those VClicing.:: under G'7 rransposed un a minor third' G7CS ~ n:a::or sea~~. _ _ _____ _
D- 7 __ _ ·
G7(~ 13/17 Si
G7sus 4 G7(b l 3/ a lt9 1
I~
j
~ : V~·!~~-$'---~~·~-.--Ja ~ ·- -~---~ ~~~~~~~--,-
~~~-====7-.===========~~======-:::~~------~-------~~'.-.:.:;~::.===========~€-.~---_-_-_-_-~:,~~~:-;__.-::.::.::.::.::.::.~1::.·~::.===-=--=--=--=--=-=====~ ~ ·---~~--~~-,--~-~ l 'r'l-V~----~~ .....
....
2 ) Ai}
m ajor (G Jocrian~ : D- 7 ___ _ _ _ ______ _
~ ~
--~~-----.<..,;:._
_ __
_L.._ _ _
~~r-----~-~I -:;
G7(A, maior scale. ___ _____ Cmaj'; G+7talt9 · G7(i:i 9/alt5 J Chrom A pp. >
~
_ _...,.... , ...,.,....-·_ __ _ _
..J...~~----E'-1- - - , -,...,---
~""~t+--!.L. -<~'>'------~~-----~=""-·===~::!"1~11-0~~~,~·====-=-=-=-=-~~or~~~:~-~=-=-=-=~--=~-J:-~ ~1;,.~·.~~~~~=-~l-l;:,-·i7,~:~~~~~=-~=-~=--~==-=~=-n31;1 tn:
.....
~
I
173
' -tr
3) D~ major;
D-7 __ __ __ _ _ _ ___ _
G7
major scale) _ _ ______ _ Cmaj7
(D~
Note the chrol.latic motion of each voice in lhe above approach chord: three voices descend while the 4th-string voice ascends in upproaching Cmaj7.
-+ J Go major;
G?< G~
D- 7 _ _ _ __ __ __ _ __ _
m ajor scale.) _ _ _ _ _ _ _ _ _ _
G+7talt9 ) G7~ 5 (maj 7) G7(b9/alt5/ maj7 J. G+7rn9>
c
~~~~--~~~~1b~~=~-1r~; ~"--~~~J~~~1~a~I
II
I
Although the major scale offers the most diverse uses of fourth voicings in a modal or diatonic situation , other scales can be examined for their potential use in quartal harmony. T he remaining seven-tone diatonic scales, (without consecutive half-steps). are the melodic minor, harmonic minor, and harmonic major. Primary interest will be placed on the examination of the me lodic mino r and its modes. as well as the th ird mode of the harmonic major. The harmonic minor will be omitted due to its limited modal uses and problematic «avoid notes." The usefuif{flh mode of the harmonic minor(Mixolydian ~ 9/b 13) can besubstiwted by the thirdmodeofthe harmonic majorwhic:h. unlike the harmonic minor, has no avoid notes. Both modes are dominant modes and commonly func tion on a V7 of a minor chord. The following modes are related to a G7 chord: C Harmo!1ic mm or t rrom its fi !'th moac : G7 chord ........... .......................................
G
Eb Harmonic IlliUQI (from it:; third mode l: G7 chord .............. ................................... "
G
.AL ~~
A~
bl
B _,
B~ ~Q I
~
"-4
cb .... _1
D 5
D 5
E~ I
1-
p • _1
Eb
~ J3
b: r
,_,--..
F
G
~7
Students are encouraged to examine and experiment with tne additional harmonic major and minor modes.
l 1nlike rhe ma.io1 scale. the melodic minor and han:ionic major cannot maimain fourth intervals on each degree of tne1r sca1e::i. When atten7pring LO construct fou:tn voicings on each degree, a mnj orthird inte rval is produced on those voicings containing the~ 3rd and nmural 7th in the melodic minor, and the ma.ior 3rd and~ 6th in the harmonic majo:.-. In addition. both of these scales contain two trit0nes each while. by com!Jarison. the major scale contains only one. Altho ugh admi ttedly wc:aKer than the ma_1or scale:. there is some quarrnl value to these scales since the m~jority of their voici ngs will contain fourth intervals. In their fa vor is the Jack of avoid nores . mai<mg mor~ voicings avai lable to their differem modal anci dimonjc runcuon::i.
174
MELODIC MINOR SCALE Examination of this scale and its modes will include the same intervals ascending and descending, commonly referred to as the "jazz" or "real" melodic minor scale. With the exception of the fifth mode, there are no avoid notes in the melodic minor modes, allowing use of any one of the fourth voicings produced. The 4th degree of the fifth mode is the only avoid note. Diatonic use of the second mode will be omitted due to its "unstable" nature. This mode has limited harmonic use with the possible exception of a modal II-7 chord in an established melodic minor key, or as a modal I minor chord ; ( Dorian~ 9). This mode does contain a valuable "melodic" relation to its parallel dominant chord; D dorian b 9 .... ............ .
D
D7 chord .................... .
E~
G
A
B
c
D
~9
4
5
13
b7
8
Unfortunately, the dorian b9th mode appears rather unstable "harmonically" in supporting irs parallel dominant sound. C Melodic minor scale harmonized in fourths;
@Ii~-e-
i
9§
..a.
bf
§
-&
~
.0. 1-&
11~
*Note the major third interval in the above voicings containing E~ and B. The following will examine each above fourth voicing, from left to right, in relation to the available modes. First mode (C melodic minor); C-maj7(1 I) C-(11/9) C-6(9) C-maj7(1 l/6) C-maj7( 11) C-6(9) C-rnaj7(9/6) * Note the 9th is in the bass, (L.l.L. violation), on the second voicing. Third mode (E~ Lydian augmented); E b +(9/6) Eb maj7(9/6) Eb maj7 ~ 5 E~ +C# 11/9) E~ +(9/6) Eb maj7~ 5(6) E~ maj7(alt5)
Fourth mode (F Lvdian b7): F7(ffll ) F6(9) ~7(13i9; Fib.:' F(~ll/9) F6(9) F7~5(1 3) Fifth mode (G Mixolydian ~ 13); G7(b 13iadd4) G7sus4 G9(b 13) G9(b 13) G7(add4) G9sus4 G9(b 13) Sixth mode (A Locrian-namral 9 ); A-7b 5(b 13/9) A-7~5(11! A-7~5(1 1 ) A-7ii5(bl3/9) A-7#5(9) A-7(111 A-7 ~ 5( 11/9} * Note the 9th is in the bass, (L.I.L. violation ), on the last voicing. Seventh mode (B altered); B7b5(b9) B7(alt9/alt5 1 B7#SC#9) B7 ~ 5 B7( b9/alt5) B7(alt91#5) *Note the #9th is in the bass, (l.I.L. violation) , on the second voicing.
175
B7(#9)
II
The fourth and seventh modes offer the best and most common use of these voicings in a diatonic situation; Lydian~ 7 is common on dominant Sub V chords. Altered is common on dominant V7 chords. Thefirsr and sixth modes also offer some common diatonic uses; Melodic minor is common on I and IV minor chords. Locrian-natural 9 is common on min 7~ 5 chords.
The third and fifth modes are not quite as common as the above modes, but offer some interesting uses nonetheless; Lydian augmented is useful on a Imaj7# 5 chord. Mixolydian ~ 13 is useful on a V7 chord, (commonly V7 of II-7). The following examples will examine the four most common melodic minor modes in their related diatonic functions. ~ 1)
,,
C-maj7 (C mel min) ___ _ _ _ ___ _ _
D- 7P 5 (F melodic minor) G7(alt) (Ab mel min )
;,i
*'
#2)
~
~:
I
F7 (C mel min)_ _ _ _ _ _ _
' C>*
1q
Ii~
t -&
~§ bf I~ f'
I
'
..0..
1>
.£!.
~
I i'~
I
J I I
E7 CF mel minL _ _ _ _ _ _ _ _ _
A-maj7 (Amel
min)
&r==== ===~==1br=====~===-'==-~@-==--=:::::-1~ :_.-_---nll 1
::=::'
1.= = -
~3 )
C6(9) (C major) _ __ Bb7(F mel min) _ _ Ab7(Eb mel min) _ _ G7(a1t)(Ab mel minL C(lydian)
,._ •
~
. I ~
ba.
,~
t5 d
:
~ -r~;---~~F-1[~ ,~ ----;~ ~ F ~1&~~~~5b~=~1~~·s~iits~ 1 ~!~~ #4)
C6(9) (C major) ___ Gb7(D, mel min L _ F7 (C mel rninJ_ _ .a.. .L .Jll.
~ ~ eJ
...
5== 1~·~
&; ~~
~IJ.L
I ~
:
I!~
5 bf I:,;
I
i76
Bb7(F mel min , __ C6(9 l
I
I
~
~
~: I
1§
HARMONIC MAJOR SCALE
C Harmonic major scale harmonized in fourths;
*
:,:§
~
:0:
~
~
~
-e-
..0.
g
lz~
II
*Note the major third int~rval in those voicings containing E and Ab. Only the rhird mode will be examined in this chapter. The following will relate each above voicing, from left to right, w this dominant mode:
E7(b 13/b9)
E(b9)
E7(b 13/alt9)
E7(b 13/alt9)
E7(b 131#9)
E7
The most common function of this mode is on t.l-ie V7 chord of a minor chord, although it could aiso resolve to a major chord. Both resolutions are displayed in tl1e following example.
F#-7b5 (F# locrian)
'#~ t.i
~ I
ef~
-6-
A-7
B7(G h a rmonic major) __ Em(E dorian) ____ _
.,,.
1 .~. ~I ttfI g "
E7 (C harmonic major)
j,; ~ & I 5 "i f ~
~a.
1~ ~
I
I
II
D7 (Bo harmonic major)_ _ _ _
I
Gmaj7
The following summarizes the modes and related fourth voicings available to a single dominant chord:
G7 Chord; Major scale dominant modes; G Mixolydian (C major): G Phrygian (Eb major): G Locrian (Ab major); G furered/natural7 (D~ majorj, G Aliered/natural7 (Gb major);
9
3
b0 f 9 1
b9
'°!
I
~9
7
b9
Melodic mmor dominant modes; G lv'lixolvdian b13 (C meiodic minor); G Lydillii. b7 (D melodic rninor); G Aite.red (Ab melodic minor);
·~9 .!lo ~ -"'
'#9
5
11
11 11 1'.l 3
13
b13
5
bs
1i;-
~5 ~5
:i
177
b~
*9 ff
b7 b7 b7
b7 -·' bl3 13 b7 bs #S b7
9 3 11 9 <_, #11 b9 #9 .J....
Harmonic major dominant mode; G Mixolydian b13/a1t9 (Eb harmonic m~jor);
b7 b7
5
3
5
bl3
~7
Out of the five different fourth type voicings originally introduced, only one: D1 3(#9)/Ab 13(#9), has not appeared in the scales presented. This voicing will be included in the followin g exa~ple of a "standard" tune harmonized with fo urth voicings. Both of its dominant functions will be used; Dl3(#9)/A~ 13(#9) and B7(# 1llb9)1F7(#1 llb9). Originally presented in the Constant Structure Harmonic Motion chapter, note the multiple functions of the F7sus4 and Cmaj7b 5 fourrh voicings presented in the beginning of this chaprer. and their subsequent varied use in the following standard rune. Given their many functions, it would be possible to harmonize an entire song with these two voicings. Voice-leading and variety could be enhanced by introducing additionai inversions of each voicing, even though the quartal sound might be compromised some. In the following "standard" tune. all different approach chords, chord patterns, and modal sections will be labeled. Be sure to realize, with the exception of certain approach chords what chord tones and tensions each fourth voicing produces on the ori!!inal chords. Also note the "B"' section has single chords sustaining for two measures. allowing them to be approached as temporary modal modulations with a specific scale for each chord voiced in fourths.
E -7b5
~
(Dia. App .)
I~ DV-
'
~g
j q~
~
~fr
F-7
b~ I
B~ maj7
~
•"~
~
Fmaj7 (Dia. App. ) Lydian __ __ _ _
i
~
'
I
~I
E~maj7
1.~
:.a.
1 ~%f
i:>i9-
[1&% !
•~
h!S l
, fr
i~ l
Ab7
~
If
A7
I
042.
f
I''' B~ -7
D-7
I
1\f
II
E b7
Constant Structures _ _ _ _ (Dia./ Chrom App.) I
~~
Ii
A7
A-7b5
~~
~
o~
E -7 b5
_
_
_ _ _ ·-
._
' -6-
~ l~ I
19;
;'.'g
I~, ~
I
~
1
D7
I
&~
(Chrom App. ) fr
~~~I
~
C-7 C dorian _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
1
It~
·l~~
(Dia. App. )
1 .~
I
-· _
1
I
;r;~
Ip
~
I~
I
~:ta.
').t:;_
_ __ __ 1 _ _ 1e1o di.c mmor A>v. J\f · 1
·b
(Chrom App. )
(Chrom App.} Whole-tone pattern _ _ __ _____ _ _ _ _ __
G7(alt) I
'
fr
i~
~
-6--
'
E -7 b5 (Dia. App. )
I
!~~g
jZ~
F7
(Dia. App. )
C -7 I
]!• -6'-
Bb7
~'1
-
I
(Dia./ChromApp. J I
@]
I
I
II
(Chrom App.)
A7
~
ba
•V
,:g
1
e
,~ ~i; ~
D-6-
Ab7(13'# 1119) Eli Melodic minor _ _ __ __ ____ __ _ _ _
B"maj7 B~
I 5
I~ 178
lydian _ _ _ __ __ ___ __ _ _ _ ___ _
~ I ..
-:$--
i ~~ I
o.a
~
II
A7(alt) D-7b5 B~ Melodic minor ___ (Dia. App.)
E -7b5
~
fr 1"'J
r
~
.(2.. -\9-
~~
ff
'
ilz&r
.G7 (Chrom App.)
I
I D-!9-
11~f
"b~
I
I
I
pi ~~
I
Fine
PENTATONIC SCALE Although seven-tone scales probably offer the most useful applications of four-note quartal voicings, the traditional pentatonic scale; ( 1 2 3 5 6). has some quartal qualities worth examining. Unlike seven-tone scales, this pentatonic scale contains no half-steps. Since the half-step is often the source of "avoid" or weak notes in diatonic harmonies, the pentatonic scaie might offer some voicing alternatives to seven-tone. scale voicings. While fourth voicings are constructed by skipping every two notes in a seven-tone scale; (1)-2-3-(4)-5-6-(7)-8-9-(10)-11- 12-(13). etc., pentatonic fourth voicings are produced by skipping every other note; (1)-2-(3)-5-(6)-8-(9)-10-(12)-13-(15), etc. The following voicings are constructed off each degree of the pentatonic scale. Notice that two of these structures are complete fourth voicings while the remaining three structures contain two fourth intervals and one major third. C Pentatonic fourth voicings; C6(9) C(add9) C6(9)
4i
g
C6 -a-
~
~
C6(9) -a-
~
II
Al though the major third interval does compromise the quartal sound to some degree. the majority of fourth intervals produce an overall satisfactory quartal sound. What is equally, if not more important to their quartal value is the strong and descriptive "pentatonic sound" these structures contain when at least two, and preferably more, are used as chordal substitutions. Further more, this pentatonic scale can often reflect the different music styles it is commonly used in such as "country," "rock," and "blues." These styles can be "heard" or imnlied by using several of the voicings produced by the pentatonic scale as substitute voicings. The following relates D~ major pentatonic to B~ minor, (Db ' s "relative" minor), and G Altered; D~ Pentatonic ......... B~ minor. ................
G Altered...... ..........
D~
b3
bs
r ·I
c~
F
'"t
5
,
#S
b7
DI
B~ (possible D~ '·country" sound) (possible B ~ "rock" or "blues,. sound)
b9
#9
A~
! -
I
When two or more of the five possible Db pentatonic voicings are used as G7(alt) voicings, a "duality" of sound is produced. DI> major or B bminor are clearly "heard" while G altered is also "heard." lt might also be possible to "hear" two styles at the same time; Db "country" or Bb "rock,. against the dark "jazzy" G altered. The following will list the possible pentatonic scales, (and subsequent voicings), that can be used as substitutes for the four "basic" chord groups.
179
Major7tb or l\.1ajor6th; ]) C pentaronic ............ Cmaj7/C6 ...............
c l
,,.,
D 2
E 3
A
G 5
6
2) G pentatonic ............ Cmaj7/C6 ...............
\J
A
B
6
7
D 9
E
5
3) D pentatonic ........... Cmaj7/C6 ..............
D 9
E
Fi!r. li 11
A
B
6
7
Eb
F lJ
G
~
'
(I pentatonic of C)
(V pentatonic of C )
3 (II pentatonic of C)
Minor7th; l)
2)
Ebpentatonic .........
Bb
c
b7
1
D 9
F
G 5
(b VII pentatonic of C minor)
G 5
A 13
\.._,
D 9
(IV pentatonic of C minor)
5
6
c
C-7 ..... ...................
b3
Bb pentat0nic .........
B~ b7
c 1
F
C-7 ........ ................. 3) F pentaronic ............ C-7 ......................... (C-6 or C-maj7) .... ....
l! 11
s
11 ,..
(bTII pentatonic of C minor)
9
l\linor7~ 5; l) 2)
Ab pentatonic .........
Ab
Bb
C-7b5 ....................
b13
b7
Db pentatonic ........
Db b9 Gb b5
Eb b3 Ab
C-7b5 .................... 3)
Gb pentatonic ......... C -7b5 ........ ............
b13
F 11
(bVi pemaronic of C-7 b5)
F
Eb b3 Ab
Bb
(bii° pentatonic of C-7b5)
11
bl 3
b7
Bb b7
Db b9
Eb b3
(b V pentatonic of C-7b 5)
1\ote that tension b9 is traditionally considered an '·avoid" note on a min7~ 5 chord, yet it is not uncommon to appear as an available tension in today's mus.ic. Keep in mind. placement of a voicing that contains this tension on the weak harmonic rhythm of a measure or phrase \\'Ouid produce the least dissonance. The most "characteristic"~ Sth wne is contained in only one pentatonic which also incluaes the b9th.
Dominant 7th: The following pentatonics will be organized into three groups depicung their differences and possible ar
Group I; '-
2l Gb pentatonic ....
G~
.,.-
[,
~
1) C pentaronic ..... C7 ....... ..................
c 3
9 I
,.... 1
G 5
r.
t L pentatonic of C7 J
1"-~
D •>
~5
D~
f'.'
b9
#9
(b V pentatonic of C7)
b7
F
G
f\
c
D
(IV pentat0nic of C7 sus4)
~
5
13
I
l)
r\....,
D
F
G
C7sus4 ... ....... ........... b7
i
9
4
5
3) D~ pentatonic ...... D ~ C7sus4 ................ ..... b9
Eb
C7 ..................... .....
~.:; v.
A ">
Group II: l) F pentatonic .... ... C7sus4 ....................
2)
Bb penta tonic ...... Bb
#9
h
i
4
Ar
B~
b 13
b7
180
(b VII pentatonic of C7sus4)
:.:ations.
Group III; 1) E pentatonic ..... C7 ........................
bs
G# #5
B
C#
D I\r.
.Ftt
F~
E
,,
.)
2) B pentatonic ........... B 7 C 7 ........................
b9
#9
C#
..., I
b5
b9 G#
(Ill pentatonic of C7) (VII pentatonic of C7)
#5
The first group includes the two most commonly used pe ntat0nics in a dominant capacity; C pentat0nic - '·natural'' tensions. and Gb pentatonic - "altered" tensions. The second grour includes those pentatonics most commonly used on dom7sus4 chords; B~ pentatonic - C9sus4, F pentawnic - C9sus4(1 3). and Dbpentatonic - C7sus4(b l 3/alt9). In an appropriate s ituation and with care, it might be possible to use these pentatonics against a dom7 chord without the suspended 4th. The Db pentatonic, wh ich contains altered tensions. is probably the best c hoice for this application. The third group includes two different pentatonics that contain altered tensions and a major 7th. The B pematonic appears most characteristically altered of the two, supporting the major 7th with all the altered tensions; (b5, b9, #9). Again, this is a "progressive" sound that should be used in an appropriate context.
#5,
Note those pentatonics that contain dua1 functions; (C .Pent. - Cmaj7 or C7), (B b pent. - <;:7sus4 or C-7). (F pent. - C7sus4 or C-6), (D~ pent. - C 7sus4 or C-7b5). and (G~ pent. - C7 or C-7b5). The followmg examples wiil present the pentatonic voicings discovered in various Tonic, Sub-dominant, and Dominant capacities. Be sure to realize the tensions imposed on the basic 7th chords by these pentatonic voicings. In more musical applications, these voicings would most likely appear within isolated phrases over an entire song form. These first two examples present pentatonic voicings over major and minor II V I cadences. Note in both examples the dominant chords use the typical "altered" sound by selecting pentaionic voicings a tritone away. I ) Minor II-V-1 cadence;
B-7b5 _ _ _ _ _ _ _ _ _ _ _ CF pent) (G pent)
1
E7 _ _ _ _ _ _ _ _ _ _ _ _ CB~ pent) _ _ _ _ _ _ _ _ _
A -7 _ _ _ ___ __ _ __ (C pent) (G pent)
1
__..~L---t___=-n__. = !. . .-,.~ _ -=:_-:=_-f-:_ _,_,~ . I._ -:~.=_ - =;~.J~-_.__t: -._ ;. .c_~-:_-=-_ii- ':~ _-:=_-:=_-:._ .1 .; . ._f-
¥-"'-¥--'
_ __ __
2) Major II-V-1 cadence:
B -7 ___ __ - - - - - CD pent) (A pent 1
E7 ______ _ ___ _ ..
___.. ¥ "',, -
--
?:~===f===d
-+--ri
Amaj7 __ ____ ____ _ _ (E pent) ____ __ ____ _
The next examp1es present .t he.four different pentatonics that produce altered tensions on dominant chords: C7(alt): G\1 pent. (b V). Db pent. (bU), B pent.(VII), and E pent. (III) Note the chromatically ascending pentatonics over these first four I1 VI examples. The first two examples use the
bVth pentatonic o n the dominant chords while the last two use the Vllth. 181
I ) D-7 (C pent) G7 (C# pent) Cmaj7(D pent)
-~" " 1- -~+c--+F11~~ ;:~:F 3) D -7(F pent )
:f
2)
F-7 (Eb pent) Bb 7(E pent) E bmaj7(F pent)
I
I
"I
4*"i
II
G7(F# pent) Cmaj7(G pent)
4)
~~
1f
"I
I
'
Wa I
B -7 (D pent) E7 (Eb pent) Amaj7(E pent)
I
I
I
This next example uses the bII pentatonic on the dominant chord. G7(Ab pent)
D-7(F pent)
I
~
' ,,
1
~
Cmaj7 (D pent) i>.a.
D-6-
?'-
-~
I!~
ll~
I i~I· ~
:!
I
This next example uses the ill pentatonic on the dominant chord.
F6(9) (F pent)
C7(E pent)
G-7(Bb pent)
bi
11~
~~;
1§
I!
•1
This next ~xample uses the bV pencatonic on both the II chord and the V chord.
F#-7b5(C pent )
*~
B7 (F pent,
~
E -7(111
f
If
1!
i
This next example mixes pentatonic voicings with other voicings over a domi nant chord. Note the natural tensions on the first three voicings and the altered tensions on the next three voic ing~. This natural to alcered progression o~ tensions on a dominant chord is quire common.
F6(9 )
!I
182
This next example will notate the lead voice orJy. The complete voicings can be derived from the pentatonics listed. G maj7 __ _ ____ ___ _ D pent _ ___ ___ _ __ _
C7 __ _ _ G11 pent
G-7 - - - B~ pent I
o.a.
r
I!
Fmaj7 __ - - - - - - - - C pent ____ __ _ _
I '
r
1 ·
F -7 ____ _ _ Ab pent
i
1:
A-7b5 _ _ _ _ _ D7 ___ - - E b pent Gb pent 0
Gmaj7 _ _____ _____ _ __ _ _ D~nt _ __ ____ _ _ ____ __ _
p
1r
1 ·
F7 _ __ ___ _ F pent
C-7 ______ _ Eb pent
Gmaj7
This last example mixes pentatonic YOicings and fourth voicings in a "II-V Blues" form. Since the ''effect" of pentaronics requires two or more voicings from one pemarcnic sc-ale. it will be lost in many of these II--v pane ms. although the voicings used are in common with pentaronic voicings. Note the ascending whole-srep founh ,·oicing pattern produced in measures eight and nine, while the same pattern descends in measures eleven and tweive.
~f
i
,
A-7
D7
A~ -7
Fmaj7 _ __ C pent ___
~
I
~
#~
E-7b5 A7
G7
D-7
C -7
-9
I ~ Ii~
bi D b7 I
!
1 1(~ h~
I
G-7____
.C7 ____ I
I
, b'~ f~ .., ~
Li ~ "J.a..
111 ~"' .
B b-7
Eb7
i~f
l9;
I
I
B b7 __ _
F7
Bb pent ___
..
v
D7
.L'
-fr
It
I
[}.Q.
G7
C7
Fmaj 7
I~
I
Measures eleven and twelve would maintain the descending whole-step fourth voicing pattern on the rop three strings if ·'guide-t0nes·· piaced in the JO\'.·er voice were desired to ciarify me harmony;
=4-~
w ~
r
~bf
l;
I
I O& IDft:= : -~j9--··
• b-2
b~e. ~I
,;
"I
183
"'.~ II~ .
~
Chapter Twenty-Six. Chromatic Guide-Lines Sustaining voices, (common tones), and chromatic motion are the two strongest techniques used in voice-leading. While common tones are most effective over chord changes. chromatic guide-lines can enhance a single chord as well as a series of chord changes. Up to now, emphasis has been placed on voice-leading the top note or 2nd string of every chord voicing. This chaprer will examine the chromatic voice-leading or chromatic guide-line possibilities of every voice or string in a given chord or series of chords. One, two, three. and four chromatic guide-lines over chord changes will be presented while just one and rwo chromatic lines over a single chord will be examined. All possibie voice or string combinations of two, three, and four chromatic guide-lines ascending and descending, (including parallel and contrary motion), will be explored.
As more chromatic voices are added, they become more difficult to continue over a series of different voicings. Contrary motion only complicates this situation while parallel motion and an obliging chord progression might continue further. For this reason, the three and four conirary chromatic guide-lines presented later in this chapter will be limited to two adjacent voicings. Some isolated examples will explore three and four contrary chromatic lines over three adjacent chords. The following string combinations will be used for the various chromatic lines; (strings will be notated as hold numbers in parenthesis).
One chromatic voice: (four combinations); ((2)] [(3)J [(4)] [(5)] Two chromatic voices: (six combinations); [(2)(3)]
[(2)(4)]
[(2)(5))
[(3)(4)]
[(3)(5)]
[(4)(5)]
Three chromatic voices: (four combinations); [(2)(1)(4)]
[(3)(4)(5))
[(2)(3)(5)]
Four chromatic voices: (one combination);
[(2)(4)(5))
[(2)(3)(4)(5)]
All possible voice or string combinations of ascending and descending chromatic iines, (including contrary and parallel motion), will be examined. The follow ing model will be used to portray the chromatic motion of each string or voice; (a) will refer to an ascending chromatic voice while (d) refers to a descending chromanc voice. No reference will imply no motion or "common tones." Strings will again be depicted as bold numbers in paremhesi:.-i. Example:
(2a)(3d)(4d)(5a). would depict the 2nd and 5th strings ascending chromatically while the 3rd and 4th strings de5.cend chromatically.
The following i:nodel dicrar.es the chromatic motion over the three di fl;;rem voicings in the accompanying musicai example; (2d) (3a) (4a) (5)
The following wil1 examine all possibJc combinations of chromatic motion in a four-note structure:
1) One chromatic voice; Two different directions: ascending and descending. for each scring gives eiQht different possible chromatic iines.
184
2) Two chromatjc voices; Four different direction combinations for each of the six two-string combinations gives a total of twentv-four different possible chromatic lines. Parallel;
[(2a)(3a)] [(2d)(3d)J
[(2a)(4a)] [(2d)(4d)]
[(2a)(Sa)] [(2d)(5d)J
[(3a)(4a)] [(3d)(4d)]
[(3a)(5a)] [(3d)(Sd)]
[(4a)(5a)] [(4d)(Sd)]
[(2a)(4d)] L(2d)(4a)J
[(2a)(5d)J [(2d)(5a)j
[(3a)(4d)] [(3d)(4a)l
[(3a)(5d)] [(3d)(Sa)]
[(4a)(Sd)] [(4d)(Sa)]
Comrary;
[(2a)(3d)] [(2d)(3a)]
3) Three chromatic voices; Ei£ht different direction combinations for each of the four three-string combinations gives a total of thirtv-two different possible chromatic lines. Parallel;
[(2a)(3a)(4a)] [(3a)(4a)(5a)] [(2a)(3a)(5a)] [(2a)(4a)(5a)] [(2d)(3d)(4d)] ((3d)(4d)C5d)] [(2d){3d)(5d)] [(2d)(4d) (Sd)] Contrary, (Two parallel/one contrary);
[(2a)(3d)(4d)] [(3a)(4d)(Sd)] [(2a)(3d)(5d)] [(2a)(4d)(Sd)] [(2d)(3a)(4a)] [(3d)(4a)(5a)] [(2d)(3a)(Sa)] [(2d)(4a)(Sa)] [(2d)(3d)(4a)] [(3d)(4d)(5a)] [(2d)(3d)(5a)] [(2d)(4d)(5a)} [(2a)(3a)(4d)] [(3a)(4a)(5d)] [(2a)(3a)(Sd)] [(2a)(4a)(5d)] [(2d)(3a)(4d)] [(3d)(4a)(5d)] [(2d)(3a)(5d)] [(2d)(4a)(5d)] [(2a)(3d)(4a)] [(3a)(4~)(5a)] [(2a)(3d)(5a)] [(2a)(4d)(5a)]
4) Four cnromanc
voice~ :
A total of sixteen different direction combinations and chromatic lines are possible. Parallel:
[(2a)(3a)(4a)(5a)]
r(2d)(3d)(4d)(Sd) ~
Contrary, (Three parallel/one comrary):
[(2a)(3d)(4d)(5d)] [(2d)(3a)(4a)(5a)]
[(2d)(3a)(4d)(5d )) [(2a)(3d)(4a)(Sa)]
[(2d)(3d )(4a)(5d)] [(2a)(3a)(4d)(5a)]
[<2d)(3d)(4d)(Sa)] [f2a)(3a)(4a)(Sd)]
Conrrary. (Two paraliei ascending/two parallel descending);
[(2d)(3d)(4a)(5a)] [(2a)(3a)(4d)(Sd)J
[(2d)(3a)(4a)(5d)] ( (2a )(3d)(4d )(Sa) J
lf2d)(3a )(4d)(5a)] [(2a)(3d)( 4a)(Sd)]
*Remember the 5t.h string has the additional problem of L.l.L.. omitLing some of the line possibilities available to the other strings. 185
While observing the chromatic guide-line possibilities on or through different chord types, it becomes obvious that dominant chords contain the most chromatic possibilities. This will be most evident in the examples showing chromatic lines over a sin!!le chord. A chord progression containing many dominant chords will also yield more chromatic line possibilities than one with less dominant chord types.
In the following examples, before preparing an entire exercise. begin first by isolating and playingh!fil the chromatic voices. This will allow you to better "hear" the quahry and motion the lines have to offer. It might also be beneficial to record the chromatic guide-lines and play them back while performing the entire exercise. This chapter will begin with the examination of one and two chromatic voices on a~ chord voicing. But for a few isolated examples, (some of which will be presented at the end of these single chord examples), three and fou r chromatic guide-lines over a Single chord will not be included. This many chromatic voices on a single four-ncce chord can begin to lose or compromise the function of that chud.
In the following examples, an occasional non-functional voicing might appear. \Vben this occurs. it can simply be considered a "chromatic approach" to the next functional voicing. The following example will demonstrate; (E7) _ __ _ _ _ __ _ __ __ _ _ _ E7f.5C#9> M7 E7 ~5(b9 ) (Chrom App.)
o~~
:&:ii ~l
(A) A6(9 )
!i
II
One chromatic guide-line on a sin&le chord
The following rhythms are arbitrary and it might be most effective to attack the full voicing with each chromatic note. "Chromatic approach" voicings are put in parenthesis.
Bb9(f,5 ) Bb9 Bb7~5(#9)BH3(# 9 ) Ebmaj7(9 )
1) 2nd string ascending;
I
I
~ i.~
•
Ji
I
~..-~
J
l~I
ii
i 2) 2od string descending;
a) Gl3(~9 ) Gl3(9) G7~5( :>9 ) G7 ~5
~
I
b) D-7ii 5(ll)(D7,5) D-7ii5 D-7 , 5(f'
Cmaj7(U1/ 9)
I Gn5
G7~5(1 3)
G7(alt 5) G7(Hl 1
--~-+---Ii~_b.!___,.....,h~..,..---· ---+-j&i_ i~·__.~.. . . . ._~-
186
C-6
:l-*-r---1~:i-----"-[!
3) 3rd string descending;
___
Bb13Bb?(b13) Bb7
Bb7b5
Ebmaj7
~~.-.-'9-,_bJ~t~~;- J. : : : : : -: =r-1~:~ ,'--_--------ttlj 4) 3rd string ascending;
a)
Bb7b5(9) Bb7tt5 Bb7tt5(b9) Bb7b5(#9) E bmaj9
br
t ; j ij
l&~--11
nJ
(D-maj7(11)) G7(b 9)G7tt5(b 9) Cmaj7(6)
b) D-7(11)
~-#}.,----!.Jl~~1~JOL.--'-1'7-__ 1J _.._,i·- -111 5) 4th string ascending;
b) C-7(11)(C-7b5)
a)
B7
B7(b9) B9(alt5)B7(#9/alt5) Emaj7(9/6)
ff~J~1t·~~~~j~-~l#f_·~~--11 C-7
6) 4th string descending;
C-7#5
F7tt5
E9(13) E9(b 13) E9
~#~! qF 7) 4th string ascending and descending; C-(11/ 9/b 6) C-(11/9) C-7(11/9) C-6(11/9)
8) Stb string ascending;
(Eb9)
F7(alt5) F7(b13)
E9(b5)
F bf
Amaj?
1#-i
F7#5(b9) F7#5(9) F7#5(#9) F7#5
A13(9) Al3(b 5) Al3 ~~ Al3sus4(9) , ~
Bb (add9)
~
Bb (add9)
Dmaj9
~~4r~=~~r~~l~~r~~r~~~~·~~~--~_-_-~1 187
9) 5th string descending; A-(add9)
i
A-maj7(9)
A-7(9)
A-6(9)
G(add9) -e-
.0..
~
#f
I~
~r
§f
Gmaj7(9)
G7(9)
#r
G6(9)
qr
r
11
The following example will demonstrate ascending and descending on one string and one chord; D-7
vE
(9)
(D7)
j ~j
J
G7
(b 13)
I~
1iJ
J
(b5)
Cmaj9
~J
I~
~
~
(C9)
C6(9)
~~
I~
I
The following examples w ill demonstrate different string or voice combinations of one chromatic guide-line; a)
C9(ttll)
~~
C9
~
C7 tt5(b 9) C7 #5(9) C7tt5Ctt9)
(7)
&'
§~
§J
'
188
C7 ~5(tt9)
'~
Frnaj9
18
II
Two chromatic guide-lines on a
sin~le
chord
After playing each of the following twelve examples, prepare their chromatic guide-lines in the reverse direction ror ali twentv-four possible line combinations for two chromatic voices in a four-note structure. A new target or ending ch.o rd might be needed when lines are reversed. Before examining rhe following twelve examples, two examples of reversed guide-lines and new target chords are given; Parallel chromatic motion, [(2a)(3a)];
-c
0 l c~· to·t:J '1v
I
,~~i
cn5
C9
-e-
~e
~~; --e
~J
Fmaj7 ~5 I p
Ii
I9~ -
II
The above example in reverse direction, [(2d)(3d)] . with new ending chord: C7#5(#9 ) C9 cn5(b9) F6(9)
#~s:
b~ 1 ~··Q_~:-:---~~be ~ -~-~+-tll, ~i,_.:::=-= ---Tl~11 I
Contrary chrom:uic motion, [(2d)(3a)J ; C7 ~5
C7 ( ~9 )
F6(9 )
The above example in reverse direction, [(2a)(3d)] , with new ending chord; C9(~11 J C7(b9) F(add9)
cn5
J&; ~~!
&~i
I ~§
&!:
I!
~
Tne fo llowing twe1ve examples display 1wo ch:omacic guide-iin::'.s on a single chord ; I) Parallel. [(2d)(3d)]:
2) Contrary, [(2a)(3d)J:
EIJrn9 ! E9(b 13\ E7('.,9
r; . ;-
E ' -'-'
El.:
E7(v13/ t>9 ~ E S
0
3) Parallel , [(3d)(4d)]; E7o5 (.~ 9) A(~ll/9 )
r.
E7C13/9 ) E7
_J1__.~1}
•
.
-.
5) Parallel, [(4d)(5d)]:
e ~!
!U
~1 ~
(Ee) ...LO_
~D~
:!1-t-
0
4) Conrrary. [(3d)(4a)];
,., El3 E7(b13/~9 ) E9
G7b5
A(a.dd9
(,
•_'._
-, G
6) Conrrary,
G9(alt5 } G7
~=
. I~ '.)
! 1!L f:' f',
crn111 ....
I =t~ I
G9(b5 )
I]
8====:JJ
189
' ~
~;
cg -..i
U c __
I :
a
I~
~
Ala
-.:::--
~
f< -
. ~-e-
H .
((4a)(5d)]: (E<>)
~~;
G7(alt5 \
ff
C(add9 ' i
'.e
_j
8) Contrary, [(2a)(4d)];
7) Parallel, [(2d)(4d)J ;
F7(~ 13/#9)
F7(13/ 9 )
A 7b5(#9 ) A 71'5(13/9 )A7b5(b 13/b 9) Dmaj7
+~?i
1 1~
~~a
§~
f1
II
E7~5
(E6)
~i~~ u ...
~!
I ~®
::§
(1~
I 'ii
E7(13/9)
~~i @~i ~I
II
~ -&
II
A6(9)
~tg i '-&
II
12) Contrary, [(2a)(Sd)] ; E7~5(1' 9 )
(Ab7)
~v ~~
Ii~
E (add9) (Af7)
Amaj9
11 ) Parallel , [(2d)(Sd)] ; E7~ 5(tt 9 )
-a-
10) Contrary, [ (3a)(5d)] ;
9) Parallel, [(3a)(5a)] ;
E 7(alt5)
Bbmaj9
F7
r,.._
ii
eli
C7(b 13/b 9) (E-6)
A6(9 )
I
'~
b.L
~~i~
II
~··-e-
~
~~
~
C7b5(b9)
Fmaj7(#11)
-0-
..0..
~
I~~
II
The following example uses different combinmions of strings or voices and parallel or contrary motion "vith two chromatic guide-lines;
...
D -7(1 119) (F-7 )
'
~
i,;~
A7#5
A13
· ~ =;S v
~
~~
D-7
G7# 5 (~ 9 )
....G9
I,.
D-9
A7(alt5)
f~E
18
!
#~
I~
•ij
D-7b5 (D7a dd4)
b~
C6(9)
Gl3
~
a
1$ G7b5(b9)
I~,~
(C9#5 )
...
Cmaj7(9/ 6)
ii
=
G7sus4(b9) G7(h 9/alt5) C6(f
~~ 11~
Iqf_ _A
The following example combines ascending and descending chromatic motion on any one of two strings over singie chord ; G13rnll ) G13(# 11) G7rn9/ alt5l C6(9 ) C(U l / 9) (D6(9)) (Dli 6(9)) (F-6) (F-6)
~
C 6~9)
The following presents three and four paraiiel chromatic guide-lines on a sinirie chord. Contrary motion w many chromatic voices is much more difficuJt to extend over three or more different voicings on a single eh(, The following example presents four parallel chromatic voices on a single chord, and requires a chord that when transposed up or down a whole-step. \'\'ill still function on the originai chord. The chords in between fu nction as chromatic approach chords. (E ~ 7-5 )
E7b5 C E7~ 5 )
&ii
__ _
(E b7b5 ) _ _ _
9~~ 110
(Db7b5) E9(~5 ' E9
I~ ~
~i 190
~~~ ~
A6(9 )
i#i+-e,. ~
II
The following is an example of three parallel chromatic voices; E9<#5)
':;
(Db7)
E7(alt5)
,~!
~9;
Amaj7(Ul/9)
..
Ii~
II
~
CHROMATIC ';UIDE-LINES OVER CHORD CHANGES ln this half of the chapter chromatic voices will be examined over chord changes, beginning with II V I chord cadences and followed by more extended musical examples. Three and four chromatic voices present some unique problems. Contrary motion with this many voices is difficult to extend over three or more chord voicings . For this reason, the contrary motion examples for three and four chromatic voices wi!J be combined into a single II VI example; II( three voices) - V(four voices) - I. Some isolated examples of three or four contrary chromatic voices over the entire II VI cadence will appear later in thjs chapter. Parallel motion for three or four chromatic voices will be attempted over a complete II V 1 cadence. Three and four chromatic guide-lines will share some voicing cadences with a few of those previousiy introduced in the Chromatic Approach Voicings chapter. The primary difference between "chromatic guide-hoes .. ancl '·chromatic approach voicings·· over chord changes is the guide-line must be aware of chord functjon while the approach voicings need not. If a functional chord with three or four chromatic guide-lines cannot be found , a chromatic approach chord with no function could be used to continue a desired chromatic motion.
One chromatic guide-line in a chord progression The followi ng II VI examples present the same chromatic line on each string or voice; Descending chromatic line; I)
C-9
~l!
F7(b9)
~8
~o
3) C-7
F7(b9)
li.n: ~ .--IiLO_ _J -~ ·-- I
·-
r rel="nofollow">-4'u
IV
-0-
-e-
2)
B'::>maj9
8 0
II
ff,maj7
F7(',9)
-e-
1-0-
E!-ff=
h~
4\
F7(b9)
C-7 0.0.
~~-~-
- - e -===tj ' g-
C-7
...,
>I
t:rcr
1-e-
i'B ~
B bmaj9 -0-
~
II
B ~ maj7
-e-
b!
ii
Ascending chromatic line; 11
~
...,
C-7<1 11
9~
F7i,9 ·
-&
9i
C-7( 11J
F7(:i9;
- J
Bnnaj7(9/6 '
~
f&~ ~IB$ .-e-
-~
;:;, -e-
4 > C-7(11 )
B~6
--?~
F7(b 9 i 1-0-
bll!!
B~maj7( 9/6 ·
. -e-
~
tJ
":> )
l;!
C-7Cl l >
~<> ~· ~
:~
..i
19J
F7(b9) I
-&
1111 ~
!I
Bb6(9)
b.o.
~~
II
The following example presents an extended descending chromatic guide-line on the 4th string; C6(9) -a-
'
~
A13(b9) D-7(11/9) G7(bl3/ b9) E -7b5(11)
b.a.
~=..
~a
~
lz~~
-
A7#5
~s
D-%5
G7(alt5) Cmaj7(#11)
~te
f,9!
j±~
II
" -&
Using the same chromatic line in the above example on various strings or voices establishes an interesting way to "pull-together" chords that are not voice-leading to each other. This chromatic guide-line acts like a thread holding these leaping voicings together : Cmaj9
'
i
A7(alt5)
wl
D-9
qq~
G7(b 13/ C. 9) E-n5(11 ) A7(#9)
,* I~
~
~~! 1
D-7b5(11) G7(b9) Cmaj7(13/#11) I
'
l
i,q~
~
II
The following is an example of octavely displacing every other note of the above chromatic guide-line. Note the interesting line pattern produced on the iop voice. Cmaj9
'
.._
A9(13)
!!
~i
.a.
D-7(11)
~l
G9(#5) -a-
'!
E-7b5
b.... ~~
A7
#~
D-7b5
G7#5
~ qc~
#!
C(#ll)
#i
II
The following examples present a chromatic guide-line that ascends and descends.on one string or voice, and finally on three strings or voices; 1) 4th string chromatic guide-line; Bbmaj9 G7jt5(b9J ~
=' @.!
~
J~ !l
~
C-7
,~.a. ! !~
F7#5
!~
D-71;5 ~
G7#5(P9) I ~
llj~
b~
C-9
I
b.a.
!~
F7(P 13/P9) Bbmaj9
'ltf! ~i
~
~~
II
2) 3rd string chromatic guide-line; Bb6(9)
~i
G7(b9) e :1~
Cm(ll) e
~8
F7;5(b9) D-7b5(11) G7(b 13/ b9) ,~ ~e
~\~
1
it ~
1:·!18
C-9
ti
F7(b 13)
e, t~
Bb ( ~ ll/9 ) I
!:!
II
3) Single chromatic guide-line continued through the 2nd, 3rd, and 4th strings; Bbmaj9
Wi
G7 ~ 5(b9 )
I~ 1! ~
Cm(ll )
~1
F7#5Cb9) D-7b5(11 ; G7(alt5)
~
I
:a
bb5
192
C-9
~§§ -&
F7(alt5) I
~9a
Bbmaj9
n
b-u
II
Two chromatic guide-lines in a chord progression The following examples will present all twentv-four possible combinations of two chromatic guide-lines over a TI V I chord cadence. Many of these examples will also contain additional chromatic voices, some of which might reappear in the sections containing three orfour chromatic voices. Some exercises might also contain more than one example of two chromatic voices. The foliowing example will display three different two-chromatic guide-line combinations, [(4a)(5d)] [(2d)(4a)] [(2d)(Sd)];
G9sus4
C7(~9/alt5 )
Fmaj7(9/6)
l>e~~~
~!
~e
j
1n two of the following contrary motion examples, [(3a)(4d)) and [(2d)(4a)), a progressive new approach to dominant resolution is introduced . In these examples. the chords that are substituting the original V7 chords, (Fmaj7# 5 for F7 and Emaj7 for C7), contain the major 7th of those original V7 chords. The Emaj7 chord could be considered a "chromatic approach voicing" or an altered C7 chord with natural 7; (3 #5 7 #9) , while the Fmaj7# 5 chord is a direct parallel substitute for F7; (YmaJ7#5). The ..reason" naiUral 7 appears to function in a V7 capacity is its chromatic resolution tendency to the natural 5th of the I chord: The natural 7, (B). of C7 resolves to the natural 5tb, (C), of F. This chromaticresolmion is characteristic of "altered" V7 chords, and is probably why the natural 7 functions best with alrered tensions; (b9 #9 b5 #5), if tensions are desired.
Notice how above and below chromatic approach notes to a major triad include the guide-tones, altered tensions, and major7th of that triads V7 chord; (E, Gb ) (G#, Bb ) (B , D~) are half-steps above and below an F major rriad (F) (A) (C).Realize these notes on a C7 chord, (Fs V7 chord);
C7 .................. 3(E) ....... .
bS(G b) ..... .
#S(G#) .. ....
b7(B b) ..... .
7(B ) ...... .
b9(D~)
*Natural 7 on dominant chords should be used in an appropriate context where this contemporary sound is desired.
Two chromatic voices ascending in parallel mOLion: l)
C-7(11)
ti ~
3)
[}
C-7(11) !l :
t.
5)
~~§ F7#5(!>9)
Bbmaj7(6)
~8 I
Cm(llj
1-B-
;!;;:
~=
~
u
B?maj7(6J
F7Calt9 ;
~
C-7(11)
2)
~
4)
I
~ · '"
-:/ .
F7#5(b9)
l'I
-e-
~~r
C-7
F7(alt5)
I
. 0.£!.
~ !' ~!'
=fl
~
~
IJ
BPmaj7(9/6J
e
6) C-7(11)
j 193
F7b5(b9)
::Le. ,.e
~~ =t I
F7Cb9/alt5)
B b(l3/#ll/ 9)
ij!
::
B~6(9 )
b~
TI
~~
B ~(~ll/ 9 }
=!ijj
Two chromatic voices descending in parallel motion; I)
C-9
'd
,
Bb6(9)
F7(bl3/b 9)
2)
I
\§
~i
q I
II
Cm(ll/9)
F7(bl3/ b9)
~:
&t:
Bb(#llf 9 )
q:
II
3)
C-7
~~----1~i------""'l-"<-t!--i--- - H1
4 -ll'k---'-'"-11~---_------IL-'11~~Ce---=--~~·~~ E-(, -====II rr-
5)
C-9
6)
~ij
F7b5(b9)
F7(alt5)
&!i
Bbmaj7
4)
Bi'maj9
~=
Cm(ll )
I
C-9
'PJ1'$
i%1
F7(b9/alt5 )
F7#5(alt9) ~
q~~
Bb (add9)
Bb6(9)
&~
II
Two chromatic voices in comrary motion, (upper voice ascends/lower voice descends): 1) C-7(11/9)
'u 3) G-7(11/9)
' ' ~
5)
F7(bl3/b9)
~~~ f)O
C7(b9/alt5)
D-e~
~
l ·~
G-9
C7!)5(b 9)
~
li+
::· ~ ~
C-9
2)
~
[
~o
~~
_....
4)
,,
Ii
F maj7(~ 11 > ~
~~
' -e-
!).D.
II
'O
JI :: j:ll•
tl
B~6(9 )
a:
II :I
tJ
Fmaj7(916:
~~
Fmaj7#5
b G !i.~
B!)maj7(9/6)
Cm(ll l
.
6) Emladd9,
A7(U9/ alt5,
t)
194
i± Q
~ . , ~15
~ z;
~
F7( ~9/alt5 ; I
iJ~ ' ~o
9g
B:ima_i7t>5
•
-~
~
-11
Dmaj9
µ;~
r ...
II
Two chromatic voices in contrary mmion, (upper voice descends/lower voice ascends); G-9
1 I
I J
C7(~13/#9J
Fmaj9
.~
•
&§
#bg
*
9;,
II
'
it:
&i G-9
G7 #5(~9 )
D-7(11)
~ '
'
~: ~
!
Cmaj7(#11)
..
"!:o
ff
3/ ~9 ) 5 ) G-7b5(b13/9) C7011 I
fbt!...
~
4)
,..
=°
-~
-
4u
r-
,~~
' 5~ ~
.
q
i:i <S! b
e
..
I!
~l
!i
' r-G.
.+
r
§~~
~
ll
e
F'~~ ll/ 9 )
C7Calt5;
-y-:-! 1'. 9.
II ==-±i
Fmaj9
~ ~~
.~
6) G-7b5 ( ~ 131 ~c
,
9!
Cmaj7#5rn9) CEmaj7)
~l
F6(9!
,1)-t?
B~maj9
F7(~13/ # 9)
2) Cm(ll/9)
~
.
if
;1
Applying two chromatic guide-lines over an extended chord progression introduces problems the single chromatic line did not offer. This is especially true of rwo contrary chromatic lines over an exrended progression. The following example uses two parallel chromatic guide-lines over an extended progression; Cmaj7 f..
=l, ~~ ~I
v
A7b5(b9)
.II..
b.11..
fj
litt" "e
e
G7b5(b9) Cmaj7
D-7
....
.~ 55 t;
b. ;e
A9(13) D-7P5(P 13) G9(13)
z:;
;
,\i•
p
G7(~ 13/ ,llt! ·
P9) C(add9) I
::o
I"
The follow mg two examp1es use c:0ntrury mouon berween twc cnromauc voices OYer an exreuaea progression. T r: lI nes must change strings or voices to continue tneir ci1rommic motion. Before displaying tnese examples, It should be noted that there are only two possible contrtlfy chromatic lines over exrended chord progressions;
1 J Ascend ................ . £, Descend .. ............. B Inrerval ................. . 1
B~
c
c:
B
B;. ~3
2 ) .'\scend .............. Descend .... .... ..... ImervaL ... .......
b2
;.
c~
r
D:'
A' .) "
b.:
~.)
r, L•
D~
..::
r\
/ -\ I)
4
5
G 6
A~
G ~t -
,.
J
,_
Fl'
,-.
G~
F F
' 1= ,_
E~
•p.
8
;, "
10
F Gr 7
F ~,,
'")
r-
b9
~
•--~ ._; L
-
~ 10
~.J
o; D ~l
3~
.t:.p
11
Note the doubling or octave (8) in the first example and the b9th imerval in the second example. I~ either lm:: is K continue chromatically. it must include tb.e$e in~ervai ~.. T he following example containmg ihe b9rn mrervai i:; supported by a hybrid chord.
19S
l) (Asterisk denotes octave doubling)
Gmaj9
$? ~
E7#5(b9)
A13(b5)
w~i
~E
D7Calt5) I
ire-
~§
B7Calt5) 0
~ew
*E7
=-~r
A7(alt5)
D7(#11)
§#i
~:i
G(#ll/9)
~~
II
2) (Asterisk denotes ~9th interval) Cmaj7
~q
A7(b9J
Dm(ll )
g
~ ~a
G7#5(~9 )
!~~
Cmaj7
A7(b9)
.a.
0.0..
~
~~
FIG~
~s!
*BIF
C(add9)
~~!
§,:
I
II
The following exnmple uses both parallel and contrary motion while also ascending and descending in one chromatic voice: f
G(add9 ) -e-
~ i et..'
F~9( 13 )
~
Fmaj9
~~
Bb9
E-9
E7(#9J
~2
~!
ir-~
A6(b5 J
Dn5(~9 ) ~
G6
fS??l
~#§
Three and four chromatic guide-lines in a chord progression Three and four chromatic guide-lines have a total of fortv-ei£ht different string and motion combinations . Three chromatic lines have ei£ht parallel and twenrv-fou r contrarv combinations while four chromatic lines ha\'e rwo parallel and fourteen contrarv combinations.
As mentioned earlier. applying only one of the thirty-e ight possible contrary combinations over more than cwo chords can be extremely difficult and in some cases impractical. For.this reason , a three and a four contrary chromatic line combination will be combined into one II V I chord cadence: II - (three chromatic lines 1 - V - (four chromatic ii nc:-. 1 - l. or 11- (four chromatic line:;' - V - t three chromatic lines) - I. Some examples ';viii contain four chromatic lines between all three cadence chord~.. Of course. e~ich four-chromatic line exa mple contains at ienst one tbret.:chro matic line t:xample within it. Applying a ' 'arier_\' of the thirty-e ight possible contrary chromatic com bina1iom \\'Ould be possih lc O\ er an extended \.'11orLi pro;:e<;s ion. and some exam91es v;ill be orcsentl.'.d Jarer rn thb section The e ighr oarallel examples for three chrom..ur voice<; will be exammcd ove.r me entire ~T V I cadence . Th~ descending paralkl example for four chromatic voices will be included in the contrarv motion example:-. The ascending parallel exam olc for.f'our chromatic ,·oicc:• will nor be incl uded. bm can easi!v be ex amin~d b~· fmd111 ~ one chord th:.it v;hcn mowd chrom::nicaily funcuo ns tor eac h chord of the TI VI cadence;
I1
') \
D7su:-...! [D-70 1))
£., 7su~~ E7su~-t [G7(alt9/alt:' )] [Cmaj7(9/6)]
TI
v
C6(9
D~6(9 l
[D-9)
[G7(#91alt5)] [Cm:ij7(# 1119))
D6(91
Some of these examples will produce physically mvbvard fingerings. an
196
Descending parallel chromatic motion in three voices on a four-note structure; 1)
B-9
't'
#~
.. -~
3)
~
Gm(9)
~-
E7(b 9/alt5)
b.£!_ ~: I
..
C7(b 9/alt5)
!I
~w§ -9
' '
4)
F(#ll/9)
b~
' t>*-
C7(b9/alt5)
~
1~;~
~
2 ) Gm(ll/9)
A6(9)
II
~
D-9
FCUl/9)
b'.9in
~~
G7(b9/alt5 )
Cmaj9
II
I
~u
;l~:a
II
~~
0
I
'"""
Ascending parallel chromatic motion in three voices on a four-note structure; 1)
D-7(11)
~ ~
3)
'
D-7(11)
~
G7b5(alt9)
~~i
2)
Cmaj7(9/6)
~
I
G7(b9/alt5)
~~
E-7(11) ~
-6-
!~
II
..!
4)
Cmaj7(9/6)
C-.7(11)
'~;
II
Dmaj9
A7(#9/alt5)
. -e-
-&
I~
~~
#::
..
Bb6(9)
F7(b9/alt5)
~r:
~
23
The following is an example of parallel "indirect" chromatic mmion using three voices. (Note the doubling);
D-7(11)
4!
(E-7(1.1))
s
G7~5(#9 )
G7Cb 9/alt5 1
4.
~'!
C6(9)
IS
i
Contrarv chromatic motion in three and four voices The following examples will include three and four chromatic guide-lines, but will be organized in accordance with three chromatic hnes. since they comain nvemy-four different combinations while four chromatic lines conrnin oni:·· fourteen combinations. Reference lO individual fouI-line con1oinations will oe organized and presented immediately following these exam.pies.
197
TWO CHROMATIC LINES DESCEND WHILE ONE ASCENDS, (TWELVE COMBINATIONS) 1) 2nd, 3rd, and 4th strings; a) II - (2d)(3d)(4a) - V - (2a)(3d)(4d)(5a) - I b) II - (2a)(3d)(4d) - V - (2d)(3d)(4a)(Sa) - I D-9 G7(b 9/alt5 ) C(13/Ul/9) D-9 G7(#9/~5 ) C(13/ #1119)
'TI
*~
·~
G7(b 9/#5)
Cladd9J
1
~
j±.e-
Ii*
II
;;
II
c) II - (2d)(3a)(4d) - V - (2d)(3d)(4a)(5d) - I
D-7
I
1P-&
II 2) 3rd, 4th, and 5th strings; b) II - (2d)(3a)(4d)(5d) - v
a) II - (3d)(4d)(5a) - V - (2d)(3a)(4d)(5a) - I
E-7
& ._, i
A7#5(b9)
&#o:!
c) II - (2a)(3d)(4a)(5d) -
D9sus4
Db7
D-9
D(#ll)
IR ..
=w~ 9!!~
II
~~
b.o.
~,;3
Cmaj7rn11)
1-"-
2
v - (3d)( 4a)(5d) - I C7(13/9)
3) 2nd, 3rd, and 5th strings; a) II - (2d)(3d)(5a) - V - (2d)(3a)(4a)(5d) - I G-9 C7(b9/alt5) F (13/Ul/9)
'~i
- (3a)(4d)(5d) - I
Db7
i~§
b) II - (2a)(3d)(Sd) - V - (2d)(3d)(4d)(5a) - I G-7 C7(b13/b9) F(add9)
Ii
c) TI - (2d)(3a)(5d) - V - (2a)(3d)(4d)(5a) - I G-7 C7b5(#9) F6(9)
&~1
:1~!
lg
::
4) 2nd, 4th, and Sth strings;
a) II - (2d)(4d)(5a) - V - (3d)(4d)(5d) - I C-7(11) F7b5(b9) Btimaj7
b..a..
@Ii!!
1-e-
b) H - (2a)( 4d)(Sd) - V - (2a)( 4a)(5a) - I
C-7( 11/91 A
l Q)
c) II-((2d)(4a)(5d)J(3d) - V - (2a)(3d)(4a)(52) - I G-9 C7b5(b 9J F (!: ll/91
~
~~!
.:~"-..---;·-=--==11
198
b..a..
F7(b9/alt5 l ~
Bb6(9 J
be-
II
TWO CHROMATIC LINES ASCEND \VHILE ONE DESCENDS, (T\VELVE COMBINATIONS) 1) 2nd, 3rd, and 4th strings; a) II - (2a)(3d)(4a) - V - (2a)(3d)(4d)(5d) - i D-7(11/9) G7(~9/alt5 ) C6(9)
b) H - (2d)(3a)(4a) - V - (2d)(3d)(4d)(5d) - I
D-?
-r;,,,;-&~Q-~ii#~ .'Q-____....._.·=a----i-~ ~
c)
~ ~
: ·:;
tttJ
G7 (b9/alt5! 1
·'tt::~
C(add9)
.z
II
--£i~tiO.-----~
!I - (2a)(3a)(4d) - V - (2a)(3d"li4a)(5d) - I D-9
Cmaj 7(~11 !
G7(#9) ~
.n
~£-"-'-TI_ _ s -~tt!·-'~ -~ (..'
3rd. 4th. and 5th strings;
'.:?.'!
a)
II - [(3a)(4a)(5d)](2dJ - V - (2~)(3a)C4d)(5a} - I
G-9
C7b5(~9 )
b) IT - [(3d)(4a)(5a)](2a) - V - (2a)(3a)(4d)(5a·i - I
D-7(11/9 \
F maj9
c
- t,J
e,.
c) If - [(3a)(4d)(5a))(2a \ -
D-9
&~
\! -
G7(b9/alt5J
1t!
G7#5(!:> 9) f
0
(2a)(3d)C4d)(5al - ! C(U1J
~
I
3) 2nd, 3rd, and 5th strings; a) II - (2a)(3a)(Sd) - V - (2d)(3a)(4a)(5a) - ! n
,.,
\.::- ;
C7~5rn 9 ·
b) II - (2d)(3a)(5a) - V - (2a)(3a)(4a)(5d) - I C7(;f9/alt5; Fmaj7(:;1:;. , G-!?
Fm a_i7(:'.!1 1/9i
i-4!~~--~~~-·1~~~__;_,~8~~~--+l!i c)
kJt~:i-=--=--=---. : -.+-/- + <~t-+=-§,. .-__ -_-_ - G+'1~§f:: :~==---=Ji
U - lC2a)(::id)t.5 a)](~li ! .. v - \ ka j(3~J\ 'tah5~ , -1 G-9 C7(b9/alt5) F<::ll )
::;c::.i~ fi-==--:=:...~9b:~ · iq.__-==-~ -97::::::_ · -==-~:r @)
4 ) 2nd , 4th. and 5th SLrings;
a) U - [(2a)(4a)(5rl)](3a) - \! - Cd)(3d)(4d) - 1 G-9 C7(~ 13/~9 ) Fmaj7(9/6;
b) H - (2d)(4a)(5a) - v - (3d)(4d)(5d}- I
C-7(1l l
i
.!/£..
f&, ~ !
t
~
~
i1
c)
II - (2a)(4d)(5a) - v - (1.a)(3a)(4d)(5d) - : C-7(11 ) F7(altJ BPmaj7
c)
199
F7(b l3/b9 j B t>(13/nl/9 l
t!
~~
1:
The following wilJ organize the four chromatic guide-line examples already presented for easy individual reference. Each of the fourteen four-line combinations will be listed along with the three-line combination it can be found under. 1) Four descending chromatic lines; (2d)(3d)(4d)(Sd) refer to (2d)(3a)(4a) 2) Contrarv; three descending chromatic lines while one ascends;
(2a)(3d)(4d)(5d) refer to (2d)(3a)(4d)(5d) refer to (2d)(3d)(4a)(Sd) refer to (2d)(3d)(4d)(5a) refer to
(2a)(3d)(4a) (3a)(4d)(5d) (2d)(3a)(4d) (2a)(3d)(5d)
3) Contrarv; three ascending chromatic lines while one descends; (2d)(3a)(4a)(Sa) refer ro (2a)(3a)(5d; (2a)(3d)(4a)(5a) refer to (2d)(4a)(Sd) (2a)(3a)(4d)(5a) refer to (3a)(4a)(5d) (2a)(3a)( 4a)(5d) refer to (2d)(3a)(5a) 4) Contrary; two ascending and two descending chromatic lines;
(2d)(3d)(4a)(5a) refer to (2a)(3d)(4d) (2a)(3a)(4d)(Sd) refer to (2a)(4d)(Sa) (2d)(3a)(4a)(5d) refer to (2d)(3d)(5a) (2a)(3d)(4d)(5a) refer to (3a)(4d)(5a) (2d)(3a)(4d)(5a) refer to (3d)(4d)(5a) (2a)(3d)(4a)(5d) refer to (2a)(3a)(4d)
The following three and four contrary chromatic line combinations extend over the entire II VI cadence. Additional string and motion combinations are possible, but in many cases require "doublings" or seventh-width sized voicings. Some of the following examples will include such voicings. 1) (2a)(3d)(4a);
2) (2a)(3d)( 4d);
F7#5(alt9) Cm(ll/9) B~maj7(9/ 6 )
4
3) (2d)(3a)(4d); D7(~9/alt5)
'"If~"'- +I-:~ ~~ ~II ' "fi 1{~ ~;
,1:-H-
...
4) (3a)(4d)(5a);
G6(9)
I
~ i &
j
t.
5)(3a)(4d)(5d);
C(Ul/9) D-7(11) G7(bft/alt5;
.
6) (2d)(3a)(5d);
E-9 A7(~S/alt5J Dma_j9
~) (2a)\4d)(5dJ;
7) (2a)(4d)(5a);
E-9
A-7(11/9)
Dm(add9) G7(h9ialt5)C(#ll)
An5Cb9)Dmaj7(#11 )
C-9 h
'
l
Ii~ ~~~g
. -6-
~~
~
11)(2d)(3a)(4a)(5d);
D-9 G7(b9/alt5) C(#ll )
D-9
F7~5 (alt9 )
~
10) (2a)(3d)(4d)(5a);
9) (2a)(3a)(4d" :·a);
B.,maj7(#11/9}
Gm(11/ 9) C7(altJ Fmaj7(9/ 6 )
II
II
200
i
~
g
G7(~9/aL5)
. ~e
!z:+ ~~ f
C(Ul/9)
""'
~~
I!
The following example uses three chromatic guide-lines with a single common tone over an extended chord progression; Fmaj9
'
D7b5(b9) Gm(ll/ 9) C7#5rn9) Fmaj7(#11) D7(b9/alt5) Gm(ll/9) C7(b9/alt5) F6(9)
8 11~
I
-&
b.o.
Ii~
~
~ l
I
b.o.
I ~
~
l1h8
~
:i,
~!
~~
II
The following example uses three and four chromatic guide-lines over an extended progression; B~maj9
~
F7#5(~9 )
G7b5(b9) C7(b9)
b.a.
~
-&
~hg
§
D7b5 I
~rz
~~%:
{)--0-
$.g'Q
G7 ~5
'~i
C7(alt5)
F7b5
Iii
f'~ 09~
Bb(add9)
b.o.
~°it
II
The remaining examples are II V I cadences that contain a variety of chromatic guide-line combinations. 2) II - (2d)(3d)( 4d) - V - (2d)(3a)( 4a)(5a) - I ;
1) Top two voices descend chromatically while bottom two voices ha';e indirect chromatic motion; D-7 G7(alt) Cmaj7
D-7 G7(b9/alt5) C(add9)
~:i ;~ q.!
I
o-&
II
4) II - (3d)(4a) - V - (3d)(4a)(Sd) - I;
3) II - (3a)(4d) - V - (3a)(4a)(Sd) - I;
D-7(11)
G7b5(b9)
C6(9)
Dm(11/9)
4~
II 5) II - (2d)(3d)(4d) - V ; D-7 Gl3(b9)
II
G7#5(#9)
~"!
Cmaj9
§i
6) II - (2a)(3a)(4a) - V - (2a)(3a)(4d)(5a) - I; G-7(1119) C7b5(b9) F6(9) CD-7) (Gb7)
Cmaj9
(E7)
jj~I C7(b9/alt5)
F9(13)
G-7
b.o.
I
[I.e.
j
' !
9) V - (3a)(4a)(5a) - I ; D-7#5(11) Bb6(9)
&·~
I
8) II - (3d)(5d) - V - (2a)(Sd) - I ;
7) (2d)(3d)(4a)(Sd);
G9sus4
G7(#11/b9)
1,#~
II
C-6(9)
~~1 201
C9(alt5)
Fmaj7(6)
Although the following exercise contains some three and four chromatic guide-line examples, the most interesting element is the contrary motion produced by the top voice and the chord roots. Since some of the drop 2 type voicings contain no root, sing or record-and-playback the roots while playing the exercise.
E -7 0
Eb7sus4
#o
D-9 -e.
Db9(13)
ie-
Cmaj7 .n.
II
'
202
Chapter Twenty-Seven. Triad over Bass \loicings This chapter will explore all inversions of major and minor triads on the 2nd, 3rd. and 4th strings while non-triadic notes are placed on the 5th string. Omitting the three notes of the triad being used leaves nine possible bass notes underneath the rriad. The followin g will organize these bass notes intervallically in relation to one major or minor triad; b2
b3 or 3
2
4
#4
6
b6
b7
7
Above in relation to C major and C mino- triads; CID~
CID
C/Eb Cm/E
Cm/Db Cm/D
c·i;:
CIF~
CIA~
CIA
C/Bb
C/B
Cm/F
Cm/F~
Cm/Ab
Cm/A
Cm!Bb
Cm/B
Tne following will organize major and minor triads imervallicaliy in relation 10 one bass note; I 'J
D-
b:
2
Above in relation
to
3
a C bass
DblC
DIC D~m/C Dm!C
~ .:1
b6 or 6
5
b7
7
norc~
r ·i::f..._
EblC
E.' ~
c~ l.
E brn!C
Ern/C
FP.mlC
1
GIC Gm/C
/VC A11n1/C
B blC
B!C
Bbm!C
BmiC
The above chords consist of both hybrid chords and 7th chord inversions. The five chords containing the bass notes; b2, 2, b3 QI 3, 4, and #4 of the given triad are hybrid chords while the remaining four chords containing the bass notes; b6, 6, b7, and 7 of the given triad are specific inversions, (root and third inversions), of 7th chords . The following lists the 7th chord inversions;
CIAb = A bmaj7 #5
CIA = A-7
C/Bb = C7
C/B = Cmaj7
Cm/A~ = A~maj7
Cm/A= A-7b5
Crn!B b = C-7
Cm/B = C-maj/
With the exception of those conraining b9th intervals. all of these structures, (hybrid chords and 7th chord inversions). ha'.'e t>een previously introduced as specific inversions of different chords. The foliowing \Vili show the fi:sc chord that introduced each hybrid structu1e, \minus those srructures comaining b9th inrervals):
C/Dl, = A7(~ 9) Cm/D;;
= .L\7b5(#9 '·
CIF = Gl3(sus4) Cm/F = E ~6(9)[i 3 6 9}
CID= E-7#5 Cm/E = F~7( l31fr,. I 1/~C1 1 ,,
in past cnapters, those voicings containing b9th intervais were avoided. Because of the unique sound of hybrid chords and upper-structure triads, the b9ch inrerval will be made available to them in this chapter. Sin~e these structures often imply two different sounds or chords within en~ voicing. the b9th interv:ll p::-oduces less dissonar;ce than it usualiy does on a ··singular" harmonic structure. The following hybrid chords and 7th chord inversions contain b9th intervals: C/E~ C/B Cm!D Cm/Ft C/F~ Cm!B I
lt t.s imere$ting m note that of cbc eigiueen ma_ior and minor structures presented: Six are 7th chord inversions. (minus ~9th intervals): CIA~ CIA CIB~ Crn!Ab
Cm/A
Crn!Bb
Six are hybrid chords, (minus b9th imervals); CID~ CID CIF
Cm/D~
Cm!E
Cm!F
Six are structures contain:n!? b9th imerva1::· C/E~ C!F f:CIR
Cm!D
Cm/F~
Cm!B
203
Again, because of the unique sound these structures contain, and the limit of available voicings within this text' s framework, the outside voicing width of a major 7th will be included. This might pose some voice-leading problems when integrated with drop 2 voicing widths, but the "sound" and "style" wiJl often circumvent a temporary lack of voice-leading. The width of a b7th will still be avoided. There are six different structures that contain a major 7th width on one of their inversions;
CIDb
CI F
Cl A7 (Abmaj7#5J
I
'~
l\!i
Cm! Ab (Abmaj7)
Cm!E
Cm/DP
1,U
~E
&~so
tl
lz~
II
*Cm!Db will be omitted due to the awkward fingering produced on the middle four strings of the guitar. This voicing is quite comfortabl e on the top four strings. The following views the remaining five sm1ctures containing a major 7th width from a common bass note;
EIF
~b~~ e.)
I
CIF
A/F(Fmaj7#5) C#m/ F
~u
tl ~I~
Am/F(Fmaj7)
qu
ib~
II
Four structures; CIA, Cm/A, Cm!Ab. and Cm!Bb, will be omitted from the eighteen major and minor structures presented due to their limited use in a hybrid or upper-structure environment. These structures lack the "dual" quality the remaining structures contain, and seem to demand their "singular" identity;
CIA= A-7
Cm/A ~ = Abma_i7
Cm/A = A-7b5
Cm!Bb = C-7 or Eb6
They may reappear as triad-over-bass structures when these specific in.versions are desired. Triad-over-bass notation may also be more appropriate when the surrounding chords are notated that way as well. The following is an example of the triad-over-bass notation being most appropriate :
E/F
C/F
G/E
F/D
(E-7)
(D-7)
EID
Em/C (Cmaj7)
We no,x.· have a total of iouneen structures that will be examined in this chapter, CID~
Cm/D b
CID Cm/D
C/Eb
Cm/E
C/F CmlF
CiF#
C/Ab
C/B
C/B b
cmJF;
Cm/B
The foll owing inversions for each structu re will be used;
CID
C/F:
CIF
C/B
I. g Cm/ Db
Cm/D
1.
Cm/E
Cm/F
204
Cm/ F~
8 g Cm!B
u
u
II
This section will begin by examining each structure as a root inversion chord. This will produce a few rather incomplete chords as well as some structures that are best used in a "modal" context.
C/Db = D b0 maj7 CID = D9(sus4) C/Eb = Ebl 3(b9) CfF =Fmaj7(9) or F-maj7(9) C/F~ =F#7 b5(~9) or F#-7b5(b9) C/A b = Abmaj7#5 C/Bp = B ~(1 31# 1119) C/B = Bsus4(bl3/b9) or B phrygian
Cm!Db =D bmaj7b5(9) Cm/F =F9 or F-9
Cm/D = D7sus4(b9) Cm!Fff = F#(l31# 11/~9)
Cm/E =E 0 maj7(bl3) or E-maj7(bl3) Cm/B = B(bl31b9)
Although considering the bass note as the root produces some interesting chords, the most useful chords are often found on different roots other than the bass note. This concept introduces the "dual" quality these structures offer and begins examination of true upper-srructure triads; triads over 7th chords. When a different root other than the bass note and triad is c hosen, a chord is implied underneath the triad and the bass note now becomes a chord tone or tension on this lower chord structure and is subject to that structures Low Interval Limits. Since the chosen root is nor part of the voicing, it should be recorded-and-pJayed-back or sung while playing the voicing in order to hear the function of the voicing in relation to the root. The following hybrid chord is examined for its upper-strncture possibilities: CfF ......................... . (Assumed root) D ........................ G ........................ Bb. ..................... E ........................
F I b3 b7 5 b9
A ........................
bl3
c I b7 4 9
~~
E I 9 13 # 11 1 5
G I 11 1 13
(S ingular-strucrure) D-7(11/9) G13sus4 B b(131# 1119) E7(alt9/l5) A 7( bl3/ 9)
~~
(Upper-structure) Cover D-7 Cover G7sus4 Cover Bbmaj7 or B b7 Cover E7(b9) Cover A7(b13)
Again, it is important to know what the bass note is in relation to each new root. The above structures range, (F located on the 5th string), will satisfy L.I.L. for all of the new roots listed. If this structure were placed lower, for example F/Bb, L.I.L. would allow only the new root that produced the 5th in the bass; E b(131# 1119), and of course the root inversion Bbmaj7(9). . The following will examine all the new root possibilities, (minus those structures containing b9th intervals), each structure will afford. Only the root inversion . which has already been presented. will be used on structures conrainir..~ a b9th interval. The following strnctures, minus the C/F structure already presented, will be examined; C/Ab
CID~
CID
C/B b
Cm!D~
Cm!E
CmE
The root inversions, which have also been examined. will be included in the following models as well.
C/Ab ........... .... .. (Assumed root) Ab...... ............ .. F ...................... D ......................
Ab I 1 b3 b5
c I 3 5 b7
E I
#5
E ......................
"'.!
~5
7 9 I
B b.................... G ...................... C .....................
1-
PI
9
~11
b9 bl3
4 1
13 3
"
\J
( ~ing ular-structu re) A~maj7#5
7 9 11 ~9 '
13 I 5
205
F-maj7(9) D-7b5(1119) E7(#91~5) BP7(131#11!9) G l 3sus4(b9J C7(b13)
(Upper-structure ) C over Ab C over F-maj7 Cover D-7b5 C overE7 C overBb7 Cover G7sus4(b9) C overb13
CID .................. (Assumed root) D ..................... E ...................... A ...................... C ....... ...............
0 ...................... B b....................
F ......................
Fli .................... At ....................
C/Db................
D I 1 9 11
9 5 3 6
~; Db I l 3
c
E
I
I
b7
9
~i
1 5 ,.,
1
4
9 5 b5 3
c
~
13
#
11 i J.
7 b7
#5 E I b3 5 b9 .) "
G I 4 b3 b7 5 1 13 9 7
(Singular-structure) D9sus4 E-7# 5 A-7(11 ) C(add9) G l 3sus4 or G-6( 11) Bb(l31# 1119) Fmaj7(9/6) F i7(b9/alt5) A maj7(alt5)
(Upper-structure) Cover Dsus4 Cover E-7b5 Cover A-11 Cover 9 Cover G7sus4 or Gm Cover Bbmaj7 or Bb7 C over F6 or F-6 Cover F~7b5 Cover A1'm:lj7b5
(Singular-structure) Db 0 (maj7) A7(#9) E bl3lb9) C7(b9) Gb7(# 1 l/b9)
(Upper-structure) Cover D b 0 Cover A7 Cover Eb7 Cover b9 C over Gb7
(Singular-structure) Bkl31# 11/9) A7(alt9) Abmaj7 #5(9)
(Upper-structure) Cover Bbmaj7 or B b7 Cover A 7(b9) C over Abmaj9 C over Gm Cover Gb7 Cover Fm~ 1) C over E-7 5 C overE 0 Cover E7b5 Cover Eb7 cover D-7 bscb 13) C over Dh 0 -:Cover b7
b9
(Assumed root) D ~ ........ ........... . A ..... .. ............... E b....................
b7
ob....................
b9 5
ti,, 11
b7
G I bs b7 3 5 b9
Bb
c
E
G
I
I 9
I # 11 5
I 13
c .....................
CfBb................ (Assumed root) Bb ................... A ..................... Ab ................... G ..................... o b...................
F ..................... £ ..................... E ...................... E ...................... Ep...................
1 b9 9
b3 3 11 bs
bs bs
5 bl 3 b~ 7(6 '
i
7
#9 13 1
#9 'l ...;
11 11 5 b13
#
#S 6
b7 7 1
b9
b7 7 1 I I
b3
-
9 '. r
3 1I r: _.;:,
b13 ~ t!) 13
1,..,
b9
9
b3
~9
G-6(11)
G b7(# 1 llb9) F-maj7( 11/9) E-7 b5C bl3) E 0 (bl3) E7(# 9/alt5)
Eb13(~9)
D .... ................ Db .... .............. C ....................
b7
l
3
Cm/D~ ........... . (AS.\! med root) D~ ....................
D~ I I
c
,... ' I
I
7 ~9
9
bs
( Singular-strucru.re) D~maj7b5C~n
b7
A,7~5 ( ;9)
.'.I
E ~J3
1
..;....... ................
'
Eo ................... B h................... G .......... ........... C .....................
b3 bs b9
F .....................
5 bl3
ob...................
bi
D;
c.-
'p~-
I;
11
9 Il
bn
... -
13
~ 11 .J
lt9
b7
D-7b5(b13/11/9) . ...... :, -ma.1 -: C7
T'\ ' •
r
'-'
,..,
6 J 5
~9 9
Bti-6(11/9) G-7 b5(b l3/1]) C7(alt9)
G b7Cl3/! l llh9) F9(b13J
206
( Upper-srrucrure) Cm over Dbmaj7 Cm over A7 Cm over E b7 Cm over Bbm Cm over G-7 b5 Cm over b9 Cm over G b7 Cm over F7(b 13)
Cm!F ............... (Assumed root) F ...................... E b....................
c ......................
Ab.................... Db.................... B b............. ,. ..... Bb....... ............. G ..................... . A ..................... A ..................... B ........... ..........
Crn/E ...............
(Assumed root) E ...................... E ....................... A .................. .... C ............. ...... ... Eb. ...................
F# ....................
F I 1
5 5 b7 bl3
c I 5 6 1 3 7 9 9 11 b:
~ff
~t
E I 1 l 5
c I
bl3
1
1
b9
1 ...,
9 11 6 ,.,
.)
b7
b13
~9 1 .)
#11
Eb I b7 1
b3 5 9 4
11 b13 b5 bs .., .)
Eb I 7 7 ff 11
i9
1 13
G I 0, /
3 5 7
#11 13 6 1 b7 b7
#9 G I
b3 b3
b7 5 3 b9
(Singular-structure) F9 orF-9 E b6(9) Cm(l 1) Abmaj7(6) Dbmaj7(# 1119) Bb7sus4(13/9) Bb-6(11/9) G-7bscb 13111) A-7bS(bB) A7 9/alt5)
(#
B7(~9/alt5)
(Singular-structure) E 0 maj7(b13) E-maj7(b 13) A7(li 111# 9)
c7(~9)
E~13(b9) F# 7( 131# 1 llb9)
(Upper-structure) Cm over F7 or F-7 Cm over Eb(add9) Cm over 11 Cm over Ab6 Cm over Dbmaj7 Cm over B b7sus4 Cm overBbm Cm over G-7b5 Cm over A-7#5 Cm over A7,# 5 CmoverB7~5
(Upper-structure) Cm over E 0 Cm over Em Cm over A7 Cm over Cmajor CmoverEb7 Cm overF#7
We have now completed isolating any one hybrid structure or 7th chord inversion and examining all the enharmonic chordal functions it contains. Another approach, (and perhaps more useful), would start with a basic 7th chord and determine all the upper-structure triads and consequent hybrid voicings and 7th chord inversions it would contain. After establishing a desired upper-structure triad over a basic 7th chord, construction of different hybrid chords and 7th cho.-d inversions is possible by using the chord tones and tensions of the basic 7th chord below the established upper-structure triad. The following wiil examine the different hybrid chords and 7th chord inversions produced from the most common upper-structure triads over the most basic 7th chords. II - V - I chord cadence examples will display each hybrid and 7th chord inversion discovered. All examples will use a conunon "C" root for the basic 7th chords. If this key produces L.I.L. problems, (tension 9 in the bass for example) . that exercise will be transposed to satisfy L.I.L. Although listed, the "obvious" 7th chord inversions will not receive II - V - I examples. Also listed will be all the structures that contain a b9th interval, while only their root inversions will receive a II - V - I example. Additional inversions containing the b9th interval will be examined under the dominant chord examples. Since dominant chords generally contain dissonance by their nature, the b9th interval is more readily accepted on these chords . The b9th interval rn.i.ght be easier to accept on tonic or sub-dominant functions if the surrounding chords contain similar triadover-bass voicings. *Some of the following examples will have already been presented in part or whole under previous chapters. The available upper-structure triads to any single 7th chord type will be notated in Roman Numerals. Immediately following the triads numeral, in parenthesis, will be the tensions or chord tones that upper-structure triad forms on the original 7th ch~)fd. For example; Vm (5 b7 9) ..... is a Gm upper-structure triad over a C7 chord and it contains the 5th(G), b7th(B ~ ), and 9th(D) of C7.
207
MAJOR 7th CHORD Available Uooer-Structure Triads;
VIIm (7 9 #11)
v (5 7 9)
II (9#11 13)
1) II over Imaj7; Dover Cmaj7
DIC (D7) Chord tones in bass; DIE DIG D/B (B-7) Tensions cannot appear in bass because they are aiready contained in upper-structure triad. D-9
a)
&[~
TI D-9(11)
c)
DIC C6(#1119)
G7(#91alt5)
CIF
~ ~
is
" -&
b) D-7(11)
C6(#1119)
~~
~h~
~
~
v
d) G-7(11)
v
Fmaj 7(131#11/ 9)
j~:u
~:!
-&
II
G/E
F#7
F#/E
II
9:~
i "~
&i
~
DIG C6(#11/9)
G+7(#9) EblF
DIE
G+7(b9)
i
II
2) V over lmaj7; Gover Cmaj 7
Chord tones in bass;
GiC
Tensions in bass;
GIA
D-9
a)
'
g
Gmaj7(alt5) BIDb
#~i
G/E (E-_7 or Cmaj9) GIF# (~9th imervaI) b) D-7(11)
GIC
FIG
Cmaj9
~§ -0-
II
I
'
GIA
G7(alt9)
a
Cmaj7(916)
~
II
I
* Note the maj7th on the above V7 chord. This will be further examined under the dom7 chords in this chapter. 3) V1Irn over Imaj7: Bm over Cma.i7
Chord tones in bass; Tensions in bass: a)
D-9
G7(#91alt5 )
Bm/C Bm/A (B-7\ Bm/C
Bm/G (Gmaj7)
Bm/E
b)
D-9
G+7
Cmaj9 (~il )
Bm!E Cmaj9(#11 )
-~ _ o~---,r~,~~~---....-t,o~· ~~~~~~:§.-~~~--,. n !1
D-9 G7sus4(b9) Bm/G(Cmaj9#11) Fmaj? __ __ __ _____ Gmaj7
'~
~
d) D-7(11 )
G7sus4(b9) -e-
8
#"
0
208
+te
Bm/A
Cmaj7(13/Hl/9; ...c.
'8
''
--ii ,.
. I
.,
MINOR 7th CHORD Available Upper-Struccure Triads;
IV (11 13 1) {dorian } Ilm (9 11 13) {dorian}
bVII (b 7 9 11)
Vm (5 b7 9)
1) IV over I-7; F over C-7 Chord tones in bass; F/Eb (F7) FIG Tension 9 in rhe bass will be avoided due to the potential b9th interval.
F/B b
This complete structure: F major triad over C-7, produces a specific modal dorian chord. When isoiating the three possible triad-over-bass voicings. oniy the one containing the b7th in the bass (FIB b) dictates a modal dorian voicing. <>. )
D -7(11)
G13(b9)
F/Eb
EID
C-6(11)
b) D-7b5
G13(b9) E/F
FIG C-6(11)
I I
t4 c) A-%5(b 13)
Cm/F
D7b5(b9) Ab/Gb I~
l
D-e-
II
CfF G-7(13/11)
II 2)
bVII overl-7; Bb over C-7 BblC Bb/G (G-7) Bb/E~ Bb/A {dorian} (concains b9th interval)
Chord tones in bass; Tensions in bass; a)
D -9
BblC
G+7(#9)
D -9(11)
b)
CID
C-9(11 )
G7(b91alt5)
Ann/Db
Bb!Eb C-9(11)
I
~§
ro, c)
G7(b9)
D -7b5
-e.-
-e-
1zb:M
' ~~
!OJ
I
II
Bb/GCC-9(11)) DD.
:!
tv~
@~
I!
~
l
3) Ilm over I-7; Dm overC-7 Dm/C (D-7) Chord tones in oass; Tensions are not available in bass. a)
Fj:-7b5(11)
Dm!Eb
.D• \
FP,m!E
B+7(b9)
I
Dm/G
D-7:i5(11)
G7(~ 11/ b9 '
Em.(13/ 11/9) I
'#l c)
D-7b5
~~ ~;;
qc
~ ~
#
G7(alt9) Bb7
b.a.
lz~
Jo;
f .e ~
§
I·
Dm/G Cm(13/11/9)
!
I! 209
-& <:'.)
t,~
!,;+~
d) A-7b5(b 13)
D+7(#9)
F9
Bb/G~
~
hs
"
~~
Dm/B ~ (B~maj7)
Dm!Eb Cm(13/11/9;
b9!
II
Am!F G-7(13/1119)
~p i
II
4) Vm over 1-7;
Gm over C-7 Gm/C Gm/F (G-7)
Chord tones in bass; Tensions in bass; a)
D-9(11)
CID
G7(alt5) Eb+7
Gm!Eb (Ebmaj7 or C-9) Gm/A {dorian} (contains b9th interval) b)
Gm!C
'
~ ~~ -e-
&!
G+7(b9)
C-9
I
M
D-9
'
Ii
~
I ~ I! lz ~ ~
-&
~:
Gm/F C-9(11)
~!
II
1\-fiNOR 7 b5 CHORD
Tension ~9 on a min7 b5 chord will be introduced for the first time. It must be used in an appropriate context. Tensions b9, natural 9, and 11 will be avoided in the bass . Tensions 9 and 11 produce potential b9th intervals when placed in the bass .
bVII (b 7 9
Available Upper-Structure Triads ;
bl! (b9
(contain b9th imerval);
1) bVIIoverI-7b 5;
F13(b9)
B b/C
DIC
C - 7~5(11/9)
B b/C B b/Ab (B b7)
-&
F+(b9) a :, -maj7
Bb/Gb
b.o..
'
. ~1
~~
II
!
~
!
2J
Ab over C-7b ~
F +7(b 9)
B,-9(11
I
#s[i
F+7(119) Bb/A'D C-7b5(b 1311119) O..J..
'
h~
l)
bVIIm(b7 b9 11 )
..
~
~ ·:-:;
'
[M
II
B?-9
~!1-0-
'ii
,,
!I
A b/B~
Eb!F
l:i)
C+7rn9)
F-maj9
G- 7~ 5( b1 3)
C -7~ 5(b 13 )
ii.J u
b13
BbfEb F7(b 9i alt5) Bb-6(1119) C-7b5(111 9) BID" Cm/D'
' ~!. d)
Chord tones in bass; Ab/G~ (Gb7l Tensions not available in bass
Ab/Gb
Nm(il
Bb/Gb (most characteristic)
b)
Bb-9(11) F-':' I ~
~
2) bVI over I-7 b5;
a)
Bbm(ll) Db 6(9)
#[H
#8
C -7.~5(11/9 )
bV(b5b7 b9 l
Bb!Eb
I
'j! c)
l l bBJ
1 b3)
Bb overC-7b5
Chord tones in bass; Tensions in bass; a)
bVI (b 13
11 )
~I~
' b.e. 1!
·~;
II
210
-G I hA :@f> g ._,
I I 0-S-
tt:
1n
/jj
II
Fm over C-7b5
3) IVm over l-7 b5;
a)
C-7b5(b13/11)
c)
B7
Fl3(b9) FrnlGb C-%5(b13/11) D/Eb
b)
F/Db
Cm/F C+7(f,9) G-7b 5(b 13/ 11) Ab /E
Fm!Bb
Fm/Gb
Fm!Eb (F- 7) Chord cones in bass; Tensions not available in bass Fm!Eb F7P5(b 9) Bb-maj9
~
"'
F-6
Bb -6(9)
&~i
it§
II
II 4)
D~ over C-7b5
bn overI-7 b5;
Chord tones in bass; a)
Bb7rn9) Gb/F F-7b5(b 13/ll/ii 9) B,m'D
4&ti
Db/C
Db!Eb
Eb-maj7
Db!Bb (B b-7)
F7b5(b9) Db!Eb C-7b5(j, 13/ 11/b 9) B(Ul)
b)
~s[!
~t!
Db/Gb
§:U
II
~'g
Bb -6(9)
§~i
II
·'
c)
F(b9) C-7b5(b 13/1 1/b9) F/ Gb
Db/Gb
,&[! 5) ~ V overI-7b5;
=
b..a.
~~~
Gb/C C-7b5(b9)
Gb/C Gb/Ab
F13(b 9~
-*&~i
B b-7(11)
B~m/C F7(a1t5) C-7b5(11/b9) C#+7
~
0
II
~tu
qfg
Bti-maj9 Ff Do
~e
~
"~ Bbm over C-7b5
Bbm/C
Chord tones in bass: Tensions in bass; a)
F7b 5
C-7D 5(b9)
J
6) bVllm over I-7b5:
Gb/E~
b)
Etirn(ll )
D/C
Gb/A ~ F7(b9) C-7b5(!i 13/ b9)
4~'1
~
Gb!Eb CEb-7)
~ c)
i~!
1& \i
II
E b-6
G b over C-7b5
Chord tones in bass; Tensions in bass; a)
d) Gb!Eb Bb+7(#9) F-7b5(b13/11/b9) Gb/D
Bb -6
B b m/A ~ (B b-7)
B~m/E~
Bb-7
b)
BbrnlGb CGbmaj7)
Bbm!Eb
F+7
C-7b 5( 11/ b9)
~t!
II 211
Bb-9(11) Ab/ D b
1. ;~
II
c)
F13(b9) B~m!Gb C-7b5(11/b9) D/ F
~~~
§·&i
B b-6
d)
~~!
I
l
II
I
D7(b 9/alt5) Gm/F A-7b5(b13/11/b9)
~!
&~!
G-6(9) -&
~~~
II
MINOR 6 and MINOR (maj7) CHORDS Available Upoer-Structure Triads; '~
Gove r C-6
Chord tones in bass; Tensions in bass;
D-7b5
G7(alt5) E b+7
GIC G/Eb (Eb maj7# 5) GIA G/F (G7) ..... As was done in the Tensions 9 & I 1 chapter, this structure will be avoided as a C-maj7( 1119) chord due to its "ambiguous" function.
-a-
B-7b5(11)
E+7(alt9) C/ F
E+7
J; "M
ill
G7(b9/ alt5 J A,mfDb
G/E~ C-maj9
I
f,h:g
~
®i
~
EJF# A-maj7(9/ 6)
la 2) TV over I-maj7:
b) D-7b5(9 j
GIC C-maj9
?!fr
c)
Ilm (9 11 13 {6})
Tension 9 in bass will be avoided.
1) V over 1-6;
a)
IV(l l 6 {13 } 1)
V (5 7 9)
II
F over C-maj7
Chord tones in bass: FIE~ and FIG exampies can be found under "MINOR 7th CHORD" in 1rm chapter. FIB contains a b9th interval and will not be examined for its C minor function. It is exammed for tts min7 b5 and dom 7 function s under tho~e chord heading:;.
3) Ilm over 1-maj7;
Dm over C-maj7
Chord tones in bass: Dnv'C. Dm/Et>. and iJm/h examples can be found under "lVIINOR 7th CHORD.. in this c hapter. Dm/B (B-7b 5 l will be presented. bm \Yill be transposed to Am/F¥. L ike the pre vious strncru;-e G/F. \\'hich was being useci as a C -maj7( 11/9 l chorJ. Am!Fff produces an am1guous func tion when u~ea as a G-maj70 3/ll/9) chord. forming G minor s complete V9 chord: (D9 ).
Am/Fli(G-maj7(13/ 11/9))
A-7b5
212
DOMINANT 7th CHORD
Available Maior Ug,Qer-Structure Triads~ II
*Ill
bIII
bv
b VI
VI
Vm
*bVIm
Vlm
*VII
Available Minor l.igger-Structure Triads: bu m
bvm
bIIIm
*These triads con tain the major 7th of the original dom 7 chord and will be supported by altered tensions. Tensions #9 and 13 will be avoided in the bass while tension 9 will appear in the bass. Tension 9 in the bass should be used cautiously. As me nrioned earlier, different inversions containing the b9th interval will be examined on dominant chords with a V7 funct ion. The follow ing is a list of those structures containing theb9th interval and functioning as a "CT' chord ;
Major: Eb/G~ Minor: D bm/C N o~e
E/Bb
E/G Dbm/G
Ab/G
F#IC Gm/F~
G bm/C
AIC
Abm/G
B/Bb Abm!Bb
that only three major and three minor srructures are used:
1) II over 17:
l) Major triad over b3rd: 2) Major triad over b5th; 3) Major triad over 7th;
EblGb E/Bb AblG
E/G
1) Minor triad over 7th; 2) Minor triad over b5th; 3) Minor triad over 9th;
Dbm/C D bm!G Abm!Bb
GmJF# Gbm/C
P.JC
F#IC B/Bb AbmJG
Dover C7 (Tensions not available in bass)
Chord tones in bass; · DIC (D7 )
DIE
DIG
Tensions 9, ~ 11 , and 13 appear most commonly on S11/J V chords in a dominant capacity. The fol.lowing examples will use these tensions on \"7 chores. producin? an interesting if not unexpected V7 souw:l a)
AID B-9(11)
'#~
., C)
DI G E-9( 11j
~
b) G-7(11)
BIE E7(131#11/9) Amaj7(13/ Hl/9 )
F#IE
#f§ B/E A7(131ttll/9j
$;;1
~~
. ~ Ff~+
==t
ND
d)
D-9
Dmaj~i
~~
- >
DIE C7( 131~ 11/9 ,
~!
A!F
C/F F maj9
ea#
J
C(add9)
G7C13/?,ll/9) -e.
~v ~:
II
213
-&
~~~
~(:
11
2) bIII over 17; Eb over C7 Eb/C (C-7) Eb!Db (Eb7)
Chord tones in bass; Tensions in bass;
Ab/F
a) C-9
Eb/E Eb/Ab
Bbmaj7
b)
F7(#9)
I~ tz : ~
~~~1
I
ij
'
II
Ab/Gb F7(alt9)
~I~
I
b.&
I!~~
e)
FIG G-9(11)
Eb/Gb
~l~~
~~
D-9(11)
:itJ C)
CIF D - 9(11)
~ ~ ~
e) G-9
BIG Gmaj7#5
~I B/F G+7(maj7)
E-9(11)
II
EIF#
C/F A7(~ 13/#9)
D(l31#11/9 )
;~
92
;:
!l EiC (Crnaj7# 5)
DIG
g
E!Ff.
C/F Fmaj9
1!i
b) G-9
~ ~1
!I
~
C1add£
&
~~
E!Bb
EIF#
CC13/Ul/9)
~~! I
E/G
E!Db (Db-7)
§1~
C7alt5(maj7 l
~~ ~~
~
I
E over C7
Chord tones in bass; Tensions in bass; a) C/F
~~1
CIF Fmaj9
CIF Fmaj9
3) III over 17;
~~
@~
II
c1rn111~9 >
!l
,..
be-
tJ
Eb/E C7(#9)
d: DIG
B~maj9
1;;
F/Bb G-9(11)
~
tJ
c) C-9
Eb/Gb (contains b9th interval)
d)
C- 9( 11)
t:~1
~
v
II
214
E/G C7(P 131maj7)
~~~
C/F Fmaj9
q~
i
AJF; FI G F -r7(,9/ maj7 ) Bti maj9(6) ~
$~?
~
=tl
4) bV over I7;
Gb over C7
Chord tones in bass; Tensions in bass; a) Bbl E b C-9(11)
B/F F7'15(1>9)
4~&!
GblG C7(#1llb9 )
~bi
'bn§
§
6VI over 17;
Q
i
FID G-9(11)
i.~§
c) CIF D-9(11)
Eb/F G+7(#9)
~ 2
~Ii~
~
e) FIG
G-9(11)
AblGb
C7(~91 alt5 ) I I ()-&
~!
!!~ ~
6) VI over 17;
~ ·i u
¥!
F6(9)
C7b5(1>9) ll.
#f u
. ~~ ::
f
II
FttlG# GIA C7(!i91alt5) F(l3/#1119)
~
~; ,,_
~
-
;
II
Ab/E (Emaj7 #5) Ab/Db
b)
C/F Fmaj9
B~/G
G-7 l>..O.
!
II
'
GIE Cmaj9
~gi
d)
~
II
Ab/Bb
AblG A b/Gb (A 67)
v
! CIF D-9(11)
I~
AblG C7(!> 131#9J
CI F Fmaj9
ll~ EblAb G+7(alt9 )
q2
r
II
DI G C(13/Ul/9 )
~~
i2g·~
II
C/F Fmaj9
~~a
i
A over C7
A/C Cl3(1>9)
~'
c) C/Ab E/F D-7b5(11/9) G13(b9)
~
d) FIG
II
AIC
Chord tones in bass; Tensions in bass: a) Bl>/C G-7(11 )
_, j!•
~
G-9(11)
~~
F~/E
Ab o ver C7
Ab/E C+7(#9)
~
F#IG
b) G-7(11 )
F6(9)
Chord tones in bass; Tensions in bass; a)
G b/E (Gb-7)
CIF B b(131#11/9)
g#~!
c) G-7(11)
5)
GblC F#IG#
~~
A!F'p cr:.11 1 1:; - ~I)
b) Bb/G
Fmaj91C
~~
~
G-7
i
Ii
b..o.
~
A/G Cl3(b9)
CiF Fmaj9
-e-
~~
#~
Q.;
d)
G/Eo C-maj9
I!
AIBb
AJG (A7 )
G-7(11)
A/F~
..
II
Fmaj9(6)
C7P5(13/b9) ()
~
!& ~
215
b..o. e
g
-e-
#II ~·o
cJl I
r:m I
II
II
VII over 17;
7)
B over C7 BIC BIC#
Chord tones in bass: Tensions in bass; a) BblC G-7(11)
'&l c)
GIE E-7
BIC Comaj7
~·= \~
'
b)
II
'
8)
\, Ilm over 17;
be-
~~
~I
h~8...
t)
D\,m/C D\,m!Gb
G#mlF D-7b5(b13/9) G+7(b9) I
~\11
i ~~... tJ
I~ t!
!?
. b-e.
ft1 ~ '.1l :~ :~
l'I
E bm!C C7b5(#9J
~~~....
d) FIG
G-9<11 )
I~
Ebm!C (C-7 h:1i
Eb m!D \,
(Eb -7)
...
D~m/G C7(b131b9)
~~ D\, m/G\, C7('v9/ alt5)
~~~
E~m/E E~rn/A~
~ ~~1
II
216
C/F Fmaj9
~n
2J]
Fmaj9(6)
•t2
=t1
Ebm/G
E bm!E b) E b7 G-7b5(b 13) C705C#9;
Fmaj9
~~I
D \, mJB\, (B\, -7\,5)
' I '
E\,m over C7
Chord tones in bass; Tensions in bass: G-7(11)
II
A\,/F A/ F~ Amaj7(#9/al t5) Dmaj9
I
B+ 7 C-maj7(6)
I
B~/ C
G/E E-7
b) Dm/G G-9
II
;j
~~~1
9) \,TIIm over 17;
a)
!
'
D\, m/G
Fmaj7(6) C6(9)
~=1
c) C+7 P.O.
~#~§
DbmoverC?
D\,m/C C+7(b9)
~ ~§...
GIE
F#IF
~I
i
I!
G7b5(#9i maj7) Cmaj9
et>
f)
F maj9
,· ~
e#!
~§
fl
II
#
Chord tones in bass; Tensions in bass; a) BblC G-7(11)
B/E Cmaj7(Ul/ #9)
d) D-7(11 )
D6(9) I
~R
G-9 -&
e) EblF FIG EIF# C-7(11) F7b 5(alt9/ maj7) Bbmaj9(6)
,,i.R
BIB\,
Fmaj9 i
~
i
CIF
b1~
A\,/E Amaj7CU 11 tt9)
BIG
B/E BIG# (G#-7)
~!~i I
E7(#9) F -maj9(6)
@li
II
c) F/ D D-7
e) Am/D D-9
10;
Bbm!D G7(::11/ #9)
Bbm!E~ G7rn9/ alt5 )
c)Dm/G G-9
'
F~m/E (F#, -7)
~
Gbm!Bb
b) G-7(1l'i
DrrJC
F6
,,
d) C/F
F!hn!G F(add9) " C7(13/#ll/ li9)
'·~
,k>
(Tensions nor available in bass)
Gbm/C
Fihn!C C?:, 5(13/~ 9 )
!
i
B~ maj 7
Bm/E
G ~ m over C7
~ Vm over I7:
Bb/C G-7(11 )
~
A~m/Gb F7b5(alt9)
Cmaj9 ( ~11 )
Chord tones in bass; a)
d) C-9
GiE Cmaj9
bi
!I
D-9(11)
Q
F#m!E F -6(9) C7(UV# ll/ li9 )
Dbm!F C(add9) G7(13/#11/li9)
.~3
~,:
ii
*Note the contrary chromatic motion in rhe above example "b ( ; (2a)(3a)(4d), and above example "c)"; (3a)( 4d ). J]
1
Vm over I7;
GmoverC7
Chord tones in bass: Tensions in bass;
a J B:;> I E:i C- 9(11)
x_._ m/r G-7
F9
~----!--?~ ~ ~--_,_8;...,._ , c)
G6(9)
Em\11 )
Gm/E iE-/ ~ 5 o: C<J Gm/Ab
GrrJC Gm/f'P,
Em/F A9
-1
E.'F~
D( 131::; 11/ 9;
-_-_--_-_-i->
~ ~~ ~ ~--g..._ . ====-=--=-..c_ ~- -=---=----~ -~ .,,__ ~I
217
Gm.!F.:. C90illi
FC13/ :: 11/ 9 i
12) b VIm over 17;
Abm over C7
Chord tones in bass; Tensions in bass; a) Gm/C
Abm/C
G-7(11)
Cmaj7#5(#9)
'~!
Abm!D~
e) Gm(l l/9)
Abm!Db
4~!:'
' i ' '
II
C+ 7(alt9/ maj7) Fmaj9(6)
Am/G (A-7 or C6) Am/Db
Chord tones in bass; Tensions in bass; a) G-7(11)
Am/G
'~fi§
b) Gm/Ab
Q
Dm/Q
C-7(11)
t~
t '.,
~
!!I~
II
d) G-7(11)
C/F
F13(b9,
BH 13/~ 11/9 )
,!re-
.be-
Ii''.-e ~.
9b!;
Em/F
11
tHl.
~
!I
&~!
AmlF#
C/ F Fmaj9
-e-
~
II
b~
lt~ ~
~-
Dm/Eb Cm( 13/ 11/9)
~2 C6(b5 )
I
11~~
II
A~m/G~ Am/F Cmaj7(#9/alt5) Fmaj7
D-7b5(P 13/11) G 13
-&
~
ii
Am/Bb Ami£# CF#-7b5)
C/F Fmaj9
C6
I~
C6(9) E~m/F G+ 7(!t9/ maj 7)
I
~§
!I
Am over C7
13) Vlm over 17:
~
'!l~~ h~
-e-
~~~
=~~
hi!~
t) Gm(add9)
CID
C/ F Fmaj9
,!,e.
d) D-7(11 )
~~~
'·"[~
Abm!E
~~
II
C/F Cmaj7(b13/ #9) Fmaj9
'~i
G-9 -e-
Abm!G
be.
A~ m/B b
A bm!G
Cmaj7#5(#9)
~
hlz~
c)
b)
Am/D Fmaj7(6)
q~M
1ilziZll
Gm(add9)
c)
Abm!E (Emaj7) Abm!Gb (A~ -7)
Abm/C
11
DOM 7sus4 CHORD Available Upper-Structure Triads ;
bII
(b9 11 bl3)
1)
bII over I7sus4 ;
I\' (11 13 l l
vn (~ 7
I>
9 11 J
I
D ~/G
D- 9
1 !7 7 !7 9
l J,
D v!G !contains b9th imer\'al 1
A~!F C(add9) G7sus4(o 13/ b9 ~ I ~
I~
d
II
CIF
C7sus4(b 13/ ~9 ) Fmaj9
~1
I
b) Am/F
Bb/C D b/C C6(9 ) G-7(11) C7sus4(b13/ ~9 ) Fmaj7(6)
Dm!G G-9
'
0 11/Bb CB1;1 -7l
II C)
bVlim
(Te nsions not available in bass)
Db over C7 sus-+
Chord tones in bass: a)
Um \9 l I 13 ·
~
*Nore parallel chromatic motion in above example ..b:· (2d)(3d).
II 218
2l
IV over 17sus4;
F over C7 sus4
Chord cones in bass: Tensions in bass: al BblG
it,_
G-7
Cm (ll)
'-
F/B~
FIG F/D (D-7)
FIG
CIF
C13sus4
Fmaj9
F/Db (Db maj7#5)
b) Am/D D-9
=& g BblG F9sus4( 13)
FIG B:ima.i9(6J
I
t az -&
Dfi ....
D-9(li)
~
tl
E'
~
n
-('.
b\."If O\'er 17sus.!l :
GIC A-9(11)
'
§
~
B b/(, Bb/A~ (B~7)
c)
DIG E-9(11;
~~ 4i
~
GIF
A/F~
Dmaj9 -e-
llm over 17sus4.
it~ ~
:
Dm ove r C7sus-i
Bb/G C9sus4 V.fi
-&@l
I!
-11..9sus4(~ 13 i
FIB~
G-9(11)
Gmaj9
:!
Q)
!
~
~
l
: ........ '
A/F Fmajn 5 -&
j±~
!
C/F Fmaj9
~n
!~
,.
!I CT ensions nm a\'ailable in bass 1 Dmf.tn tb:imaj ';
Cnoid cone::. m bass: a1
i'l~
DIG C(13l i;ll/9 l
BblG (0 -7 I b)
DIG
CID D9sus4
M
-&
C/Ab G 13sus4(b 9 l
B~ over C7~us-4
Chord tones in bass: Tensions in bass; a)
GIE Cmaj9
Q
CIF
d)
(.'!,;
3:
C!F
G13sus4
B,IC
Dm/C
C6rn 1
G- 7Cl1
C9s us4l 10 i
i: maj7(6'
hJ B:,6(9 1 G- 7(11 -a-
G"isus~
D- 70 1 -e-
CIF F ma: ·~
~ ,-·~ R-----~"ft":.t--~-~-~f-~~~~
~~:======~u=======::c:2======~1 C)
Dm!CT CSsus40 3
-'~ ~c;,~-=-i"======----l.:._-=--:..-:..-:..-:_-:_-::_---r,;-------
AwJI G9sus403)
G/E. Cmaj9
~ '----·~---'r'-------;· _ f; ; ! _ ~'------~ .__ ._ _ _ _ _~---
21G
5) bVIIrn over I7sus4;
B~m over C7sus4
Bbm/C Bbm/G (G-7b5) B bmfA b (Bb-7 or Db 6)
Chord tones in bass: Tensions in bass;
b) G-7(11)
a) DIE B- 7(11)
Dm/E
EiC#
E7sus4(b9 )
Amaj9
~m
~s
~ ~~~
tE
~
tJ
-e-
'
II
-e-
~
Gm/F C#7sus4 E-7(11) A7sus4(bl31 b9 ) Dmaj7(~ 111 6)
c) G(add9)
~!
1, i t.J
1~
Bbm/G C7sus4(b9)
Fmaj7
b..o..
~
!
€-
!
~~
II
II TRIADS over TENSIONS
.-\n additional approach to the use of triad-over-bass structures as "upper-structure triads" would be 10 consider the triad to be the root or original chord with censions placed in the bass . This approach will be applied to dominant type chords only since it ha~ very limi1ed use on other c: hord types.
The following structures will receive II-V-I examples. They are presented here as substitute strucmres for a C7 chord; C/D =C9 C/Eb =C7(#9) CIF# =C7(#11 ) CIAb =C7(b13) {Abmaj7#5) (Major); C/Db = C7(b9) (Minor); Cm!Db = C7(alt9) Cm/E = C7(#9) Cm!Fff = C7(# 111#9) Cm!Ab = C7(b 131#9) {Ab maj7 } *Tension #9 will be temporarily allowed on the 5th string for the C/E~ structure.
I l Major triad over ~9; B~ IG
1
~
FIG~
2) Major triaci over 9:
CIF
!
ft
~g
~ <""!
!!
4) Major triad over #11;
:;
BP/G:> FIA ~ B:irn/G C-7b 5(11/9J F7(#.9) B l> -6
E~/ F
c ,- 9(11) F7(?9) Bb6(~1119) D.O.
3) Major triad over P.9;
C-7(11 )
(1 ~f!:.€- ---=-- - - .
~o
a••
b.o 0
.j
~
5) Major triad over 9 ! 3:
6) Minor triad over b9:
G/E A/F Cilm/F±: E-7 A 7(~ l3 j Dmaj9(~ llJ
1tR<'
8) Minor triad
over F. 11:
u
7) Minor triad over maj:lr 3rd;
G-7(11J Cm/E CIF C7(#9) Fmaj9
~f-§
~ :(k ~ t:J
G-7( 11 1 Cm!Fi C7(~ 11/#9)
~! 1
II TI
9) Minor triad over l> l :;:
CIF Fmaj9
G6(9) Am/F NF~ E-7(il) A7(b 13i~9 )Dmaj9
-Fk-~~i,___,.f.~....__-~i(f>~~!----+Ill
220
TRIADS over BASS ARPEGGIOS The following exercises can help establish the "dual" harmonic sound inherent in upper-structure triads over basic 7th chords, which can be hard to establish with just one four-note structure. By assigning different chord tones of a basic 7th chord under a single upper-structure triad, the complete 7th chord can be "heard" along with the complete upper-structure triad . Moreover, by alternating between the bass and triad whiie ascending through the different structures in te mpo, the basic 7th chord can be heard indepe ndently of the upper-structure triad. Those structures that can form consecutive thirds orfourths in the bass, which in tum forces inversions on the upperstrucmre triad. work best in these exercises.
3) Bii over C-7;
Bh/C
B~IE:i
i
-
I.'i
ii
t)fr
I
5) Dm over C-maj7;
Drn/C
II
I
I
i
6) Bb ovei: C-7b 5;
Dm/Eb
I Bb/Eb
Bb/C
-
II
r
8) Gb over C-7!:> 5, (G~ I Ab );
7) Db over C-7b5;
D:i/C
Db/Eb
G b/ C
.
I
G blE b
-61
9) Bb m over C-7b5:
Bb rn/C
1
BP m/G~
BP m/E,
~~·
~i
o.a
&I
I! DOMINANT CHORDS
J) Dover C7;
D~C ~
$
!" # i
DIE
DIG
#! ~ ~ I
3) Dover Bb7, (Dover
D/ Bp
·~ ~
I
r
~
I
I!
~a I
2) Eb over C7. (Eb over C+);
I
EblC
J Ii
t: 4)
DIA')
~:
EblE
~~ s ~ '
!If
I
F~
~
IJ
221
EblAb
~b~
iz~
ii~:
F#IG
over C7;
F#IC
~bf
I I
'I
I
E(~5) );
DI E
#s
r
D/B b
r
I
F#IE
I
#i±#~ ,,
..
r
,o.,.I I
[J
II
I
r ~t¥
II
5) F over A7 (~9), (F over C# 0 7): FI C# FIE FIG
6) A over Bb7;
7) Ebm over C7;
8) Fm over B7: Fm/B Fm/Eb
AIB~
-t 'l-Er-b" "-m-/C- -'-f '"l~l -E__,.b_m/_E~-~_E'f ~~' G
A/Ab
AID
II
9) Gm over C7, (Gm over C+);
Gm/C
I
Gm/E
Gm/Ab
b'
The following exercise uses the triad as the root or original chord while tensions are used in the bass. Note the tensions form their own lower-strucrure triad. The following structures are functioning as "C" dominant voicings; (Cm over D[,m) = C7(b13/alt9)
Cm/Db
Cm/Ab
Cm!E
SYlVlNIETRICAL MOTION Hybrid chords and upper-structure triads present a unique "marriage" between diatonic and symmetrical harmonic approaches. These structures can produce various symmetrical harmonies and line-patterns that h:ive littie regard for diaronic functions and rules, or•they can enhance a functional chord progression without compromising its diatonic integrity. The following examples will present some different ideas that will incorporate one or both of these approaches through the use of triad-over-bass structures.
PEDALS While either the bass QI the u-iad sustains, tne mher can move synunerricaliy or diatonically. The foliowing examples will present symmetrical triadic motion while the bass sustains. 1) Tri ads move in minor thirds: C~IF#
I# ~~
B~I FF.
~~#!
G/ Fti
EIF::
ii
~H
C~IF~
#,~
ff, IF:::
GIF~
b.o.
\!
~~! f
CMFS:
E/Ff
r;~
1,iF.tz
I!
2) Triads move in whole-steps; EIE~
~~i It,..!
DIEb
CIE ~
BblEb
EIE11
DIEb I
:m
·~
5
~~~!;¥
tl§ 222
t~
CIEb
~;~ ~
BblEi> I
&f!
II
3)Triads move in major thirds;
Bb / C
'
~~ -e-
Gb !C '
DIC ' -e-
-a
BblAb
DIE
I
~~1
I~!
is
~~ ~
GblE
BblE
'1
*b~ ~~~ Ii=
b.u
~~
DIAb
GblAb
11,~
II
4) Triads move chromatically;
GIE
AblE
&!1
FIE
Ftt/ E
q~§
4§
I
II
5) Triads move in "cycle-four";
FIE
Bb l E
~ ~
Ab l E
E blE I
:iiB
~1
,.e
tJ
BIE
I
b~r1
1,t[
!!~~
.p-e
Gb l E
DblE
f,.e.
1£1
r
I
The following examples present symmetrical bass motion while the triad sustains. Although the triad remains the same, different inversions will be used for harmonic variety and motion.
CIB
1) Bass moves in minor thirds;
CID
CIAb
C/F
-e-
¥ 2) Bass moves in whole-steps;
C/F
Cl Eh
;& n \:,.J
A~I B ~
3) Bass moves in major thirds;
1E
H CIB
CI D ~
~g
CI A
M
~g
1J""H-~
II
::i-u-
AblGb
AblD
II
Ab lBb
i
I~
I o-&
!i 4) Bass moves chromatic2.lly;
EiC
'ii u
~
EiC#
EID
--~
#!
;;;
~
-e-
EID,,
EID~
1-~!
'i'"
1t! 223
EID
~1§
EiC#
EiC
I~
--~
*
-e-
~
-e-
:I
-,,
5) Bass moves in "cycle-four";
CIF
CIBb CIEii
g.~
C/ G~
~~ ii~ &H ~~
ii
~
CI A b CI Db
CI B
-a-
e~
II
DIATONIC MOTION The following exampies will present diatonic tr; 1dic motion while the bass sustains. If a diatonic bass note is chosen, it will usually reappear in one of these basic progression's triads, producing a doubled note or an octave. For this reason, at least two examples for each progression will be presented; one containing a diaionic bass note and one containing a non-diatonic bass note. 1) Triadic progression; I - IV - V - I
DID G/D AID DI D
DIE' GI Eb A/Eb DIEP
D.'F GI F AIF
DI G GIG A!G DIG
I~
i ;f ! :ta
* fn
EIF~
!~ l
2) Triadic progression; I - Il - Ill - IV
CIC Dm/C Em/C FI C
'
i
8
-&
Em/Db CIDb Dm/Db F I Db
!
8 lb s: ~a &i ;~ I 1~ ~ ~
~ -&
Dm/Ab Cl Ab Em/ Ab Cj,_A
CI F Dm/F Em/F FIF
-&
11.e
~
i!
~
II
3) Triadic progression; IV - I
B fn n/D F/D
¥~!
Bbm/Eb
FIE~
n !&!! ~rn
Bbm/F
1~&~
Bbm/G FIG
F
i
0.0.
I ~!
E
Btim!Go FIG,
b.o.
!
,~ , CL
BbmlF Am/F i
0.0.
~!
-&
1& y
II
!!
The following examples present diatonic bass motion while the triad sustains.
l) Bass progression; I- IV- V A/C
A/F
Air. u
-
-&
'
WI
~~u
#~
A./F
;:ii
2) Bass progression ; I - VI - II - V
DIC
Il±8 "-e-
D 1F
DI G
:n ~
DIF
tn
D:i l D DblB DblE D~IA
:~ ·~! ·~ ~= &! 224
A'DIC
~ l~ l I 1:z:
A~IF
Ab/G
A~IF
11>-&
,i,:g
,z : ;
'l
1-atl~ '
~
:
-&
CID CIB
!M
~ u
CIE
I
CIA -&
~ !*
C(add9 1
II
·!
p
=ij
CONTRARY MOTION Different symmerrical and diatonic pmterns can be introduced ro both the upper-structure rriads and bass at the same 1irne. Obdously this can produce many different combinations of which some will be presented here. Some of the most successful patterns w ill produce contrary motion between the bass and the triads. Tbe followrng examples wili combine different
~vmmetrical
patterns.
CIA
BIB~
BblB
€,, .. ~ " trc>
~§
oj'
~
2 1 Contrary whole-step motion: 111 example ·'a," the roors of the triads ascend while the acrual voicings (different inversions} descend. Use of different inversions are required w physically stay on the middle four strings. In example "b." the triads ascend using rne same inversion while the oass descends requiring the use of the. 6th string on the last two voicing:;.
CIF
a
~ ~\ ~1
~
DIE,
F~ /B
EiC:::
!I
ii
bl
" u
Contrary minor-third motion:
FIDb
Ab /Bt>
~,d~
F·~/ K ~' .......,
EiC::
·~
t~
,j.i.~
....
·~ ;
:!I P
i!
II
u
BIG
DIE
~~~
,qs ,, u
~~
DIE ~
~
~
"'~li lftf ~:
CIF
§~~1
~e
I!
h 11
I
4J Ccmrary fifth motion; 1_rriads move in cycle-four wnile bass moves in cycie-five)
B:' /_A. (·
r'I !
.'T
11.., / B
L 'J /l:.
.,.., _
I
~~i
~ e.J
!Zli 12 !:U
C ~/F;
~~
~
5 1 Triads move m cycle-1 0:..:r while ·oas~ ascends cimJ 1~1~n icai'. :;; (1his exampie corni.1incs ma of ~ne pre....-10u: svmmetrical examples)
G/ C
4e.,:
§ -e-
C/ D u
~g
B:>IE[,
F/D -~
I
t;~;
E~/E
AblF I !J-E,-
I ~
. ~
--,,-
! f} e .
! v/ ;.
be
-
'\'>
I
The fo llowing examples will c o ~bm e diffe::em diatonic !Jattern ~;.
1) Bass move:-. l - I\ . - ··../ - l while triads move \I - I - fV - V;
EblF
~
b§
225
I
bg
FIB,
f) ;J:
i:
2) Triads move I - IV - V - I while the bass uses three different progressions in three different keys; a) I - II - III - IV in "C", b) I - VI - II - V in "A~", and c) I - bVII - bVI - V in "F". a)
~
GIC
§ -a.
CID
DIE
GIF
b)
t ! 9· ~
M
GIAb CIF DIBb
~I,~
II
4l)
#I
~
GIE~
~i
c)
~
GIF
CIE ~
'~
DIDb GIC
~~ ~~rn
§ -a.
II
3) The following examples mix symmetrjcal and diatonic patterns. ln example "a." the bass moves chromatically while the triads move I - IV - V - I. In exar ;Jle "b," the bass moves in minor thirds while the triads move I - V IV - V - I. In example "c," the bass moves diatonically ( V - IV - III - II - I ) while the triads move in minor thirds. a)
CIF
FIE
~ .~ b)
CIA -a.
'
!*
GIE b
g G/F~
&i FIEb
· ! ~~
GIC
§
~
CID
CID
FIE:i
GIE
,M
I§
92
~I
CIA
c)
~~
-&
':&
BIA
~..a~ .. n
~
A~ IG
FIF~
~~
I [)-&
I!§
.z DiE
=~
~:
tJ
CIF
II BID
#~S
!I
4) The following example uses no particular patterns, but concentrates instead on contrary motion between triad roots and bass;
CIF
' .~
DIEb
F#ID
~! ~&B
GIC
AIB
~
=~~u
Bbl A
GIC
. ~~
:;;
C1
' -e-
FID
EIF
CIA~
q'2 !!~
~G
DIG
~~
i
"UNA YAILABLE'' HALF-STEPS As has been stated and in many cases presented, established harmonic rules, (i.e. b9th intervals and L.l.L. ). can often be relaxed when us in~ triad-over-bass strucrures. This is esoeciallv evidem in dominant functjon<> where an\" note can be ..justified:· In fact. all but four ( ~ 9 - ~1 • ':i - tt 9. _, - -+. anc F, 6 1 of the twelve possible hai:-sreps n:.i v~ been used in a dominant function. The fo llowing examples will attempt tO use these remaining fo ur half-steps in a dominant capacity. Verbal justification \.vill be given to each half-step. but the contrary chromatic motion used to resolve each one is perhaps the best JUStificarion.
<-
I) !:> 9 and natural 5-1 might be available together because they are the 5th and~ l 3rh respecti\·ely on their Sub\· chord.
AJF-:. Dmaj9
B:rrJF EP IE EID E9(add HJJ A.7(#11/ ~ 9 ) D (131#1119J
& ~tn
II
226
2) Natural 9 with ~9 might be available because of the "Blues" sound they possess together. AIF~
CIF#
Dmaj9
E9(#91~ 5)
BIG EIF# A7(13/fll/9) D(131#1119)
3) ~5 with 6(13) might be available because they are .2 and
#2 respectively on their Sub V chord.
FID
AID~
Ab l E
CIF
D-7
0+7(131#1 119)
C··-7(#9)
Fmaj9
-tH
I
I
1i~:2
JM
~
II
t
4) The 3rd and 4th are available together because the 4th is simply tension 11 on a dom7 chord. They are also~ 7 and natural 7 respectiveiy on their Sub V chord; (namral 7 on a dominant chord was introduced eariier). The 3rd with the 4th on a dom7 chord is not an uncommon sound in today's "jazz" or "pop" idioms. Di1 IE
G-7(11 l
CIF F maj9
C7(b 13/~9/add4)
'
.»
h~!
~:·
II
DOUBLINGS
In some situations the doubling of a note an octave higher might be necessary to continue the desired chordal or voiceleading ideas. Chromatic motion and "pedals" can often produce the need for doublings. l) The following example contains doublings in order to continue the desired chordal ideas over a bass pedaL Omaj71D DblD Gmaj7 E13{b9 1
'
~i
~I
!,~:!
CID
BID
A-7( 11 !
Dl3(:7f ,
g
#fB'
Bm/D Gma,: ~
·~~
BblD
CID
Bb/D
E7o5(bD;
A-7(U.;
D +7 (~9 J
i~ :;
;.
I
AID 06( ~ 1119 :
~!
M
I ~u
II
2) The following example contains doublings in order to continue the chord pattern; DIE Bb/ E B -7(11) E7b5(P9}
'
;!
&~!
C ~ID E13(~9 ;
,~;!M I
AJC:.:. /\,... n_{ I
~
CI D A-7(11 )
A~IC
D7h5(b9)
D/B Gmaj9
Om/C
F#m/D
C9
Dmaj7
t
1/lH
:~~
qe-
3) In the foliowing ll - V - I example, 1he comrnry chromatic motion AIB dictates the. need for a doubling on the V chord; B-9(11)
;~fi u
Bbm
:j~ ~
~~ -&
~
A6(9 )
E7~5( 13/ b 9 ) I
&:§ lTu
227
§##g• -0-
II
REHARMONIZATION Some of the most interesting and useful appiications of upper-structure triads and hybrid chords is in re harmonizing or substituting a basic chord progression w ith them. It is equally interesting and challenging to anaiyze a piece of music which contains many triad-over-bass structures and determine if there is a more basic harmonic progression hidde n beneath. I ) The following triad-over-bass progression is a reharmonization or substitution for the basic chord progression immediately foliowing it. Could you have realized the basic progression if presented with the triad-over-bass progression only ?
' '
DIG
Db l E
iF
~ 6'
CIF
~
BIC
DIB
IF
':.@
l§f
DIE
C;t l D
#u
CID
E7sus4
GIE P
,.
C2
I ::&
E-7i! 5
ii12
~
I
r
E/ F
fr
GIC
B blB
BID ~~
If
DIG
Bb lF~
gY
~6'
!l ~e
II
B
Basic (hidden) progression of above example;
11
Gmaj7
E7
A-7
D?
B-7
E7
A-7
D7
I
D-7
G7
Cmaj7
F7
B-7
E7
A-7
D7
Gmaj7
1r
*The above basic progression is the "A'' sectwn in "Rhythm Changes."
2) The following example is another triad-over-ba$S re ha rmonizmion of "Rhyti1m Change:;" in the key o: "D. " This example takes more liberties by introducing the natural 7th on two dominant chords. Also note the "constant-structure·' motion in th~ nmwrour:. 1
4
I
41
G/E Ci:.
EID
a.
j,.
Bm/ D~
::E
E:i iE
, .. ~
~~
~
D9C13)
DIG
B bl F ~
AID
F~ 7(~9 •
±
fto
t-.:
~
~¥
Bvm!Eu
DIE
~ 6'
I #6' -~
FIG
E /F:::
GIE? q~
~
GIA
Abl B~
.t2.
v-
A/B :l-&
'
~r
r
Bm/D~
BI D
Em
F~ -7~ 5( 9 )
Eb 7(f9 l
GIE
'
I
3) The following example is a minor T- VI - II - V caden~e in the key of "E minor. -F #-7b 5 _ _ _ _ B7 __ ___ E m __ __ _ C#7 _ _ _ _ F# -7 ~ 5 - __ _ B7 ____ _ Am/F~
1
,.
I
1 ·
Em/ C~
Em/F A/F
Am/Ff
IF '!~
i~
!, _ ~i
,,_ 228
DIE ~
BID
Ii.,
t
E-6( 9)
ii .t:&tt4l
4) The follo wing is an example of "constant-structure' ' mot ion through the use of triad-over-bass structures.
AJB CB-7 )
CI D (E7 )
'Ull
EI F~
DIE
(Amaj7)
(F~7 )
~Q
u
AID (B-7)
:!t-e
B/E (Amaj7)
CI F (E7) bo_
II
$le
I
II
Cominued incerest in hybrid chords and upper-structure triads should include, and almost demands. exai.11ination of additional string sets and widths as well as uugmenred and dimi nished triads over various bass notes. Even the middle four strings lend themselYes to further examination of triads plus an unrelated note. This chapter has dealt only with triads over an unrelated note. The unn::larcd note could be located on the 2nd string (lead note over triad), or on the 3rd or 4th strings (open iriads with an unrelated r.o~e in the middle). The follo\v ing ·'standard·· tune bas been harmon1zed with triad-over-bass structures. Inciuded are exampl es of a diminished and an augmented triad over a bass note. The original chords appear above the triad-over-bass structures in bold tyre. A 7 __ ___ __ ___ _ C-7 _ __ __ _ F7 ___ _ _ _ _ E-7~ 5 ·- _ ____ _ DIEt, F ~/G F,./E BblEb [Al DIB~ ~~'f!/'-.
&t~· tJ
!
e·
F-7 _ __ _ ___ _ _ _ Eb / F
Dr1r
I
B~ maj7 _
't
__ __ _
FI Bb
F maj7 - - - - - CI F
E~ maj7
____ BblE" Eb / F
Dr .. r
_,
t~·
~:im/F
B,m/Eb
;;-g
~
E-7b:i
! J.;
-~ '."
0'2· -
Am/B~
f
_ _ _ _ _ _ _ _ _
D/ B?
r~
#.
5
E~7-
II
__
FI Db
I I
~
pt;
D7 - - - - - - - Bb I Gv
b.a..·
d
C-7 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Bb/C Bb/Eo um!G
!__
--=._-=._ ..... -_--+-_,__ I _G _' --=---=--=-==·== ...-... .:::::I:IGI
---~-]
.,.
Bp IIl3J /_ - - Bt,maj7 CID
- - - - - - - - - - - - - - -
CIF
FIG
IB
It
A7
D-7~ 5 _ _ _ _ _ _ _ Ao+ID B:, / C
F:i lG
G7- - - - - - - Db/EC,
E~ iB
";_,,----T',-·- · ----! ~~~;--_,.---. __.__~_~__.c:.;.-2.·~,-=~:1:~=~="-=~~=~~=~:::e-~~=~~=~: =- : .-~lJ_1.,~r-·~--=~~~_._~·):,_~_c~::::~----~l F7 _ _ _ _ _ _ _ _ _ _ _ _
A~ I Gb
B'IG,
BIA
o..a.
' ~..@.·
t
Bb -7_ A!i l Db
~ ~: ~ b,,~a
C-7b s __ ______ __ __ ..
!>.·
r I
I
. .·
A -7b5 .- - - - - - - G~ I E AJF GI Eb
AoI 7 _ ___ _ ___ __ _ _ ___ __ __ _ _ _ _ BblGb AblGb Fm/D Ernv C
(N.C. )
v.a..· !
CI D
~, , ~~r
~-&f _[)-*_· --/C--k~_._·-i"~~n--i--•. -J~i~
II
Em/F
G~/E
_").,m/D /
6'
D-7 ___ _ ___ __ _
G7 __ _ _____ ___ __ ___ ___ __ _ _ _
[fil
Bb/G?
r
~
r-~ -
E-7b5 - - - A7 -· - FID;;
A b7 __ - _ _ I
I
I
E -7b5 ___ A7 _ _ _ Am/BP FMG
~~#.
¥
@;i. :. . __'- -tt---tll·-~1r9---~;za·
B~7 - - - - __ _ - - Gb /D
I
•
_,
~, j
I
.a..
C~ IA
~,,...--..~ ·•-
I
B~maj7 ___
_
DIBb
I
r'
~
Fine 229
Chapter Twenty-Eight. Song Examples By exploring different songs, a variety of chord progressions are made available to the many voicings introduced in this text. Different songs will also afford various applications of the voicing techniques introduced including modal harmonies, triad-over-bass structures, approach chord voicings, and constant-structure motion. Each song will afford a varietv .. of temoos \.Vithindividual skills dictating""'" what is ··comfortable." Those son!!s containing..... manv.,, different approach voicings might demand quicker tempos aliowing for a smoother and faster resolution of their chordal dissonance.
-
.._
The following song exarnpies will include "standard" jazz and pop tunes. "modern" jazz compositions, modal tunes. biues. "rhythm changes," and originals. Some of the examples can be played with the melodies of those songs and will be noted as such. Some examples also contain various rhythms to enhance the voicings. Additional rhythm applications and suggestions that could be applied to th~se songs are contained in the following chapter appropriately entitled Rhyt hm. Each song example will state the original basic chord progression i n bold symbols over the top of each stave. A harmonized voice-lead rendition of these original chords will appear immediately below.
Song Example - #1 Fmaj7 __ _ _ Fmaj9
(A majority of these voicings will work with the melody) ' Ai__ _ _ Bb maj7_ _ _ _ _ D7_ _ ____ _ A7(~9/ ~5) A7(h9) Bbmaj7b,5 D7(b9)
G -7 ____ _ G-7
G7_ _ ___ _ __ _ G9 G7#5(b9)
D7___ __ __ _ _ _ D +7 D7h5(b9)
#:Ab 7__
A-7_ ___ _ _ A-7(11)
0
__ _ __ _
~
A-7__ __ _ A-7
G-7 ___ _ _ G-9
.
G-7
__
6_
_
_
: : _·
Db6(9 J _
_
,,_n_·_
Fmaj7_ _ _ _
A7 __ ____ __ _
Bb maj7_ __ _ _
Fmaj7
A7#5(~9 )
BPmaj%5
A7(b9J
•·
t2.
230
II C7 _ _ _ _ _ _ _ __
C7(13/9)
C7(~9/#5)
b.,_.
of!'-.
G- 7 _ _ _ _ _ _ _ _ __
A b 0 7 _ ___ _ Ab c 7
tzr- _ _ __,__! _
p..·
1:c
C9
tr
1*-"
Ab ~ 7
C7___ _
C7 _____ __ _
C9sus4
C7(~9,
___.__o·_ _ :::tl-'_·_
D7_ _ _ _ _ ·- _ _ _ _ __ _ D7(b9 I D7#5(h9 )
____,,~
G-7 _ ___ _
D7 _ ______ __ _
G-9
D7#5(b9)
D7 b 5(~9 )
I D.4.·
k· ,
I
F9~5
F7~5
! G-7 __ _ Bb/C
Bb6(9 )
() ~ ·
II
o,
c. •.
B0 7_ - - - - B-7b5(11) B'' ?
c
:!
C7 _ _ Fmaj7_ ___ _ Fmaj7/C
-&'=-~-~---''""""--!~·~:--v .:....._===··===-=-·=--=--·___
l O·
maj7_ ______ _
I
.,
€·
B~
I
FIC i· ·
~·
o·
Fmaj7___ _
I
G%5(b9)
C7 ___ __ _ _ C9 Gb-7
-----~--~
I , I
G9(13 )
~·
F7 _ ___ _ _ ____ _
C-7 __ __ _ C-7(11/9)
G7 ___ _ ____ _
G-7_ _ _ C7sus4
C7 __ Fmaj7 F#? Fmaj7(9/6)
-,.,..!---,..,-:•.-~J._.--itLu
- ---·-,
n
h
-]9-.
Fine
I
'\
23J
Song Example - #2 (A majority of these voicings will work with the melody)
Bbmaj7 __ C-7 __ _ _ Bbmaj9 Eb6(9) Cm(addll)
D-7_ - _ Db0 7 _ __ _ C-7_ _ __ F7 _ _ _ D-9
Eb7 Db 7(9)
C-9
0
Bb maj7__ D7 __ _ _ Bbmaj9 D7(#9)
B9 F7(alt5)
I
1r Gm_ __ Gm(maj7) _ _ Gm7 _ _ G7 __ _ _ Gm(addll) D7 G7sus4 G13b5 Db7(#9) G-maj7(11/9)
C-7 _ _ _ F7 __ _ C-7(1.1 ) F13b5 B7(#9)
Bbmaj7 __ Bb7 __ _ _ Bbmaj7 Ab IBP Bb9sus4
I
If Ebmaj7 _ _ Ab7_ ___ Bb/Eb Ab9
Bbmaj7 _ Bb7 _ __ _ Bb6(9) Bb7~5(tt9J
Ebmaj7_ Ab7_ _ _ _ E bmaj7 Ab 13
II
Bb maj7_ _ ___ _ Bbmaj7 Bt:.6(9)
~4~r~---4.,1T-1~~,~~~~j·o~~1:~~r~~1~ ~,~-b~p~~ E-7b5 _ _ _ A 7 _ _ _ _ E-7b5(b13) A7(b9) Bb6(9) G-6(9)
~·
D-7_ _ _ Db7__ __ _ C7sus4_ C7 __ _ _ Dm(ll) Db7(13/#11/9)C13sus4 C13b5 F6(9) Bmaj7#5 G-9 Gb7(#9)
ba
I·§~
'
Bbmaj7 __ C-7 _ _ _ Bb6(9) C-9
r
II C-7__ _ _ F7_ ___ E b/F F9#5 C-7(11)
D-7 __ Db 0 7_ - - Dm (ll) C13(#9) Dbc 7(b13/9) I 19-
:r
jf
&~fI
Gm __ Gm(maj7) _ _ Gm7__ _ G7 __ __ _ G-(9) G-maj 7(9) G-7(9) G7(alt9) Ab-6(9) I
I~~i
'' ' 4 E b6(9)
~
"j
7
!
. o.a..
Jl),g
11
1
tf
I
:
~
F -7 _ _ _ Bb7 _ __ _ F-9 Bb7#5(b9)
~-
I
_ G7_ _ _ _ G+7(b 9J
r
Bbmaj7_ _ D7 _ __ _ Bbmaj7(9/6) D7b5(b9)
C-7 _ __ F7 _ ___ C-7(11) F7b5(b9)
Du
t;~
E~ maj7_
F7sus4 __ F7_ _ _ F9sus4 F13(b9)
C-7_ _ _ _ _ _ _ _ _ C-maj7(9) C-7(9) E~maj7#5 Ebmaj7
A-7b5 _ _ D7 __ _ _ C-6(9J D+7(b 9j E bmaj 7b5
G-7 _ _ __ Gb7 _ __ _
G-9
Gv8
'
Bbmaj7 _ _ _ ___ C-7 _ _ _ F7 _ __ Bbmaj7_ _ __ __ C-7__ F7 __ _ __ B~maj7 ____ Bbmaj7 Bhmaj9 F7sus4 F7 Bb(add9) B11maj9 Grn/C B/C~ Bb(Hl/9) F 7(b9/alt5) D-9 C-9
~ .
~
:
tJ
~
I~
I
~
I
I&~ 232
~
1~i· -6-
fJ
llqbg
II
Fine
Song Exan1ple - #3 The follow1r.g exampie is a "minor blues." The nature of this "stagnanL" or sustaining harmony lends itself welJ to modal voicrngs and various approach techniques. Note che constant fourth structure being moved chromatically in the firs t five measures.
C-7 _ _ _ _ __ _ _ _ _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - C-7(11)
D-7<11)
C~ -7 (11 )
E:i -7<11 >
D -7(11)
Db -7(11)
C-7 _ ___ ___ _ ____ __ _ - - _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - C-7(11) F13(Dm/Er1 ) E:i /F C l3 (~9: C-6(11/9 1 C-7(111 -G-.
t
r, .
o·
!JO•
i
ll
I
F~-- - - - -- - -- -- - - --- - - - -- - - - -- - - --- - ----- - - -- -- --- - -
F-7(11)
F-6(9)
Db9
D -7b5(F -6)
I>?·
6 '
C-7 _ _ _ _ __ _ _ ___ _ _ -· __ ___ ___ __ __ _ ____ __ ___ __ ___ _____ _ _ C-7(1 1 ~
C-6(9)
B +7 (0-maj7(6)l
C-6(9)
-!?-.
O·
D7 _ _ _ _ ___ __ __ __ ____ _ ___ _ _
D9(13)
E~9
D~
DI~;_ - - - - - - - - - - - - - - - - Eh + ~ .~, rru·u;
D~ 97 5
C9p 13:
Db9(tif
Dt>~
C-7 _ ___ __ __ ___ __ ___ _ _ _ _ - _ __ _______ ___ __________ _ _ C-9(13) ~
t
,_;
I
0~: -e;;.. ·
C dorian fourth
i 2:
(:· •
voicing~
<' .
ti'I?:
_ _ __ _ _ _ _ _
-c-· -
: f:
_ __ _ ___ __ ___ _ __ _ .£!..·
11::-"
0";7.
!)P •
i If
6' ;; 1·
ii Fin!
Song Example - #4 The following example makes liberal use of dominant approach techniques in reharmonizing the basic progression. This allows for a "colorful" dominant cycle-five approach to each chord, enhancing the "predictable'' diatonic progression. It is not uncommon in "jazz" to make the II-7 or II-7 ~ 5 chord a dominant chord; II7 or (V7 of V). Note the b9th interval in the tenth measure of section "A," (Eb IF#), which resolves in contrary motion to the next chord, (D/G). Also note the use of "constant structure harmonic motion" in the first three measures of the "B ,. section, and the first four measures of the "C" section.
CA]
A-7 __ __ _ _ _ _ A7#5(#9) A13(b9) C#maj7#5 F#IG b-9~b.a.
'#~
~~ I
F# -7b5 _ __ _ _ _ F#13(b9) FU 3(#9) Eb lE
~~ir
~
j~~ ~ . "" G 11
I
A-7_ _____ _ _ _ Am(ll) A7(#9/alt5)
IA91
D7 ___ _ _ _ _ _ _ D13(#9)
~
1~~~[
Gmaj7 __ _ _ _ _ _ _ Gmaj7(9/6) G7(alt5) Eb9
D7(#11/~
9) F#-maj9
?
1r
I#~
'1
E-6(9) E-maj7(916) D#7(#9)
!~
~~I
If
f
I
#:~
E -maj9
E7(b9)
!~
! ~~ i
II
I
D7 _ _ _ _ ____ _ _ Gmaj7 __ -,- _ _ _ _ Cmaj7_ _ _ _ _ D9 D7(b 131addll/b9) Gmaj9 G7(b 13/#9) Cmaj7(9/6) G7(b 13/ alt9) DI G E h/F (Dom Approach) Eb l F#
___ _ _ _ __ B7___
_ _ _ ___ _ F#13(b9) F#7(#11/b 9) B7(#111#9 )B7(b9'alt5) E-6(9) Eb /E CIC~ E li-maj9 E~6(9)
F ~-7b s
(Chrom/Dom Approach)
Em' _ _ _ _ _ __ _ ___ _ ____ _ _ _ _
B7_ _ _ _ _ _ __ _ B13(#9) B7(b 13/b9)
lb.1~
~kf
Cmaj7 _ __ _ _ C(add9) G13
'
E-m aj7(6)
i+7
E -6(9) ~
I
IJ::o ?7·
I F# -7b 5 _ _ _ _ _ _ _ _ _ B7_ _ _ __ _ _ _ _ _ Em __ _ _ ___ ____ _ _ _ _ _ ___ _ _
[fil
F~-7b5(b 13) F!:-7b5(b 13.' 11)B7(!19' alt5i B7(~£t' alto J
C6(9)
t1
D6(9)
#~
A -7 _ ___ _ _ _ _ Am(ll) A-9(11) Am/D GIE
'~
~
Eli 6(9 )
F6(9;
:iiim(ll) E-maj9 E 7#5(#9J G6(9'1 Gmaj7~5 or BI G Cl A~
El3(b9 l C~ID I
D7 _ _ _ _ _____ _ Gmaj7 _ _ _ ____ _ _ _ _ ____ _ _ _ _ _ _ _ D7~5 (~ 9 ) D7(b 131#9> Gma.17(9/6) Gmaj7 (~11~ G6(9) Gmaj1rn11/6) G lydian fourth voicings: __ ___ _ _ _ _ ___ _ Bo/F:.
~
.. ,
~i
I
·1 "
234
[g
Ftt -7b 5 _ _ _ _ __ _ _ F~rnl>5 F #7(Ul/b9)
E-7 ___ E~ 7 _ _ _ E m(ll/ 9) Eb (# 1119) Gmaj9 G-9
B7 _ __ _ _ ___ _ _ B13b5 B7(tt ll/b 9)
D-7 _ _ _ D~ 7 - - Dm( ll/9) Db CU l/ 9) Fmaj9 F-9
'~= ~~I~~-----l.J-'-...l-f=.-1' ----+--b'--'---f-L-1r _h-f-<--" r
___J
Cmaj7 _ _ _ _ _ _ _ C6(9) Cmaj7(6) G6(9)
r
t=f
'--
.
Em _ __ _ _ _ _ _ - _ - - - - - - - - - - -
B7 _ _ _ _ _ _ _ _ _ _ B13sus4(b9)B7(alt5) G#+7 G+7
I~~
E-maj9
f
~:~
/
1JK~R==
=====i======w=::::::flFi~
===r==i·•t::=tb
tz2::=.J
Song Example - #5
.;~.:
··:·: :...
This next example is an ori2:inal composition. The original chords and melody will be given first, followed by a harmonized rendition that can be performed with the original melody or chords. The basic chord progression on this piece is much more progressive and " modern" sounding than the basic chord progressions in the previous pieces. Care must be taken to not over-harmonize such pieces for fear of losing rather than "embellishing" their original sound. "SOMEONE WHO LISTENS" © 1974 Bret Willmott
~
E-7b5
~it
~ CID
A7(b 9)
Fmajn5 ~·
~
c:1 I r· I#"·
B-7b5
r r·
G-7b5
Ab m aj 7
f If
Gbmaj7b5
~qC' Emaj7
f F f l:o·
Ir·
rF
11 · I·
~ I
~q•· O·
Amaj7
Fmaj7
1r
D-7
I
1·
Fine
235
r
I· I· :II D-7
Dbmaj7 tt5
br· n:~ ...
€.
Fmaj7
E-7
Fmaj7
Cmaj7
gI
A-7
r·
I
lzµ
If'
Abmaj7
~ F
Ebmaj7#5
D-7b5
Dbmaj7
I "· Bbmaj7
A7(alt9)
The following example is a ham1onized rend itio n of the above original composition;
E -7b5(11)
AIF Fmaj7#5
~
~i f
r·
B-7b5(9) B-7b5(11)
F#IG
~c
Ifur A~maj9b5
A-9(11)
If G-7b5(11) Gbrnaj7b5 G-7b5(9)
1n1 l£.J
l
.
IT"
GIA
D-7b5(11)
A+7
A13(b9)
I
r·
f"
E-7(11)
CIF
Fmaj7b5
F brnaj7(al t5)
Fmaj9
ir·
ff
E dorian fourth voicings: _ _ ____ _ _
1J ~~: ~~:
Ip:
#f:
I
Fmaj%5 Fmaj7(6)Dbmaj7b5 Dbmaj7b5 Symm. Constant __ Fmaj7(916)D-9 Dbmaj9b5 D-6(9) (D dorian)
I
t r 't
#':
Ir
E' =: Ic
g f Ir
f: ~:
- - Fourth Structures
F#IE
DI E
EIA
(C lyd)
(A lyd)
~~:lydia~~~)-------.-
1trc
D-maj7(11)
D-7(11)
If
Fmaj7
~r-
EblF (Db lyd)
~r-
ir·
DIE FIDb (Bb lyd A7rn9/#5) -aug)
~r
D-6(11)
t
11 Fine
Song Example - #6 This next examp le is a popul ar jazz form referred to as "rhythm changes ." Note the chromatically desce nding major triads in the first two measures. Also note the chromatically descending bottom voices under a sustaining lead voice in measures 7 lhrough 12 in the "A" section. The top two voices in measures l and 2 of the "B" section move in contrary chromatic motion whi le measures 3 and 4 move in opposite contrary chromatic motion. Note the use of chromatic approach chords in measures 5 and 6 of the "B" section. Finally, note ~he top voice in the first two measures of section "C" s pells a Db maj7 chord, while in measures 3 and 4 the top voice spells a Cmaj7 chord, and finally a D-?b 5 chord in measures 5 and 6. ~i~::.,.
Bbmaj7 _ _ _ G7 _ _ _ Bbmaj7(9/6) G1 3(b9) ~
FIG
EIF
Ff 1
F-7 _ __ _ Bb7 __ _ Frn(ll/9) Bb 7(#91 #5)
Jfj9
C-7 _ _ _ F7 _ _ _ C-7(11) F13(b9) Eb/F DIEb
Wf
~f
Bbmaj7 _ _ G7_ _ _ Bb6(9) G+7(alt9)
C-7 _ _ _ F7 _ __ _ _ C-7(11) F7(~9/alt5) Constant Structure _ _ _ ______ Amaj 9
I~
i.'
Ebmaj7 _ _ Ab7 __ _ Eb6(9) Ab9(13)
B bmaj7__ _ G7 _ _ _ D-9 G13(b 9)
lbf
I~
'
236
,.
lbf . ~~---l C-7 _ _ _ C7#5(#9)
lg''
F7 _ _ _ F13(#9)
~'
II
Bbmaj7 __ G7 __ _ IA 1B;,13 (~ 9) G 13
C-7 _ ___ F7 ___ _ C7(#9) F9(13)
9
B~maj7__ G7 _ B~ maj 9
__ _
C-7 _ __ F7 ___ _ C-7(11) F7b5(b9)
G7b5(b9)
~'~~~-f;;--· ---HI&F-19- - -f~-t~f-1-¥1-1 ~ -----1.-ii~~~-~, ,,~ F-7 ___
B~7-
F-7(11)
Bb7b5(b9)
_ __ E~maj7 _ Ab7___ _ Eb6(9J
A b9(#11 l
E 11 -maj7
~~'i ·~i
I
I
&~!
l& si
II
I
G7 _ __ __ _ _ _ ________ _ ___ _ _ G 13 G7(bl3/b9) G9 G7(#9/#5)
__,.,~~9i__~li~~~--'-!11~----~-==--==-~!$~'-==--==-~~+-9-.,.. . ._ o~'_= _ _h~~;-~. .: : : : :---=-~~,....._.?,___::o~~.-==-==~ ,
,
!
_ __
T
1
r
C7 _ ___ _____ _ _______ _ _ ___
F7 __ __ ___ __ _________ ___ _
C9C13:1
Fl3 F7(alt9) Fl3 ___ Ab13 _ _ _
C7
B9(13)
E9(13)
#~i Bbmaj7__ _ G7 __ _ _
'i
F-7.. _ _ F-9
Bbmaj7_ G7 __ _ B~maj9
F7(alt5)
I
I
I
__ _
B~7b 5
E~ maj7 _ E~maj9
_ Ab7___ _ A,9(~11 l
&''g ~
237
C-9
~
C-7___ F7 _____ C-7(11 \ F +7(alt9)
!
ir;~~
II
C-7 _ _ _ F7___ _
G9(13)
~
I~
I
1 B~7-
C-7 _ _ _ F7 __ _ _ C-9(11J
F7(alt )
' ,,
'
(9 B bm~i7(9/ 6) G 13(b9)
F7P 5(~9)
B13
FS'rnll J
··~
I
B ~ maj7 __
__
Bb6(9)
;
g
Ji Fine
-
Song Example - #7
T he follo\:ving is another ..standard" tune . Note the top two voices moving in contrary chromatic motion in measures 6 and 7 of section '" A." In the "D" section the min7 b 5 voicings are repeated a minor third up for the dominant chords. Also note in this section the lead voice ascends while the c hord roots descend. Note the tonic diminished substitutes for the ending B b maj7 chord. Finally, note the top voice over the last two bars forms a Bb Blues scale.
iAJ
E -7b5 _ _ _ _ _ __ - E -7b5(11) E -7b5(9)
A7__ _ _ _ _ _ _ _ _
C-7 _ _ _ _ _ _ _ _ _ _ F7 _ _ _ _ _ _ __ _ _
A+7(#9)
C-7(11)
B~ 7 _
F-9
Bb13
F-7(11)
C-9(11)
I
I~r F-7 __ _ __ _ __ _
A7(b9)
,, p
F
D.'2.
;
Eb maj7 _ _ _ __ _ ·-
________ Bb+7(b9)
I
0
E~maj7 ( 9/ 6)
bp
Eb6(9) I ').'2.
19I
i
lnl B~maj9 LEJ
_ ___ _ Bvmaj7(6j
F6(9)
Fmaj7__ _ __ _ _ Fmaj7 F6(9)
_
_.,,_g~a.
D-7 _ _ _ _ _ _ _ _ _ D-9 D7sus4
E-7b 5 _ _ A 7 _ _ _ _ E-705(11) A+7(b9 l
y
I
I.
F+7(#9)
~!2
Ab 7 _ _ _ _ __ I
D.a..
B b- 7 _ _ B b-9
a~
Eb 7 _
__ Elt 9(13 l
D7 _ _ _ _ __ _ _ __ _ _ _ D +7(ii9) D7Cb .- · t 5) A-7P5(11) A-7#5 Constanr Structure _ _ _ __ _ _ _ __ _
A+7(#9) F/ DD
b.a..
1
-+-j-o
_
_ f " _---;f---,-, _
~ _..__...: 1? - - -
-+~++r-----<'.-:;:::::::::.:::::::::::::_t-l.::::::::::.:::.::::::::::.=~ •-'-v·.c;-,:::.:::.::::::::::::=.t-1::::::.:::.::::::::::.:::.:::::::::::::::::::::::::::~.....f~_-_-:._-_- _-_-_-:.___ ~ G+7 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ G+7(l:9J__ .. _ _ _ G-;- .G+ 7(:. "· Bm aj7b5 _ _ _ _ _ _ Ev/B
Q,maj7~5
Go +
Al> 7(1~/ !: il/ 9> A~ 7 Bt>/ G;,
-
===-+'=ti
C-7 - - - - - - - - - - - - - - - - - - - - - C-f· C-7
-- Ab?_ _ __ _ __ _ _ _ _ __ ______ _ __ _ A;9( ~i l>
II
A a7~ 5
_...,....,.._~---+I o---...--~-
A:i 7C13/ Hl/9)
_
AVi ( 13/ ~11/ 9) Ab9 B ~/G~
b,a.
E-7b5 _ _ A7 __ _ E-7b5
ba
!'
-l-
Bbmaj7 ___
F13(b9)
B~maj 7
__ _ __ _ ___ __ _ __ _ __ __ _ _
Bt>maj7 B:>m aj7(9/ 6 l
Ab/G;;
238
B,(a dd9 ) Bt>m aj 7
lliJ
E-7b5 ________ E-7b5(11) E-7b5
&
A7 - - - - - - - - A+7(#9) A+7(b9)
c
D-7b5 ____ - _ _ _
G 7 __ ____ - -
D-7!1 5
G+7(b9) _ _ (t9)
0
f
D-7b5(11 > (2
p.6-
I
:1t6'-
I
I
C-7b5 _ _ _ _ _ _ _ _
Fi _ _ __ _ _ _ _ _
Bbmaj7 ________ ____ __ __ __ _
C-7b5(11/ 9) C-7:i5 B:i/Gb
F+7rn9) D!>/A
Bb (maj7)Bb " 7(H31 A/ B, F#IG
G
~
F+7(b9)
F+7(#9) Amaj7#5
Bb6(9)
Fine
239
Song Example - #8 This last example is another original composition. The melody can also be played with the following harmonized rendition.
"THIRD ANNIVERSARY" © 1974 Bret Willmott
(Latin)
't-
C- 7
E maj7
:
!
I
i
., j
1
Dhmaj7
A- 7
~.~ ----,
I ~
I
-6'-
Eh7(alt)
Amaj 7
'D~maj7
1
~wD •111!
l
Abmaj 7 3
'
r r
& r
JI
J
a
I I' D-'
Amaj7
r- 3 - -
Ip
!
J
I
0
or '
z:2
I I
iud
1
,,.
:
II
I
E7(#9)
,--3 --,
Ij
!
gI
&:J
A-7
3
.. 'FfJ
Ibo
J
3- - ,
F -7
- -:
Gbmaj7
I
Bb -7
(j
0
-9-
'?7
, - -3 - - ;
1
I
I
--1.
3
Iµ G-7
r---3 ---,
3
I
bJ
~
-tl Fine
'~o
The follow ing is a harmonized rend ition of rhe above composition . Note the use o f '·constant structure harmonic motion" in the second half of this piece.
Emaj9 BI E
~#· G- maj 9
'4
D~ 6 (9 )
ll'fr
Emaj9(6)
11E
Cm(ll/ 9) C-maj9 E~ maj9 G/Eb
A-7(11 ) A-maj 9
I?~=
I{
G-maj7(11) Amaj7(rtll/6) Am aj 7(~ 11 )
I
.. I
{G
~~
1 ~1ig
#~
E ~ 7( altL
G6(9) ~
~
G- 9
Dbjaj7b5
I
I
lo@·
I
Abmaj7(#11/ 6) A6(9) Abmaj7(#11)
i
Amaj7(6)
...
11
i'=
hi,~jj
Gbmaj71>5 Gb6(9) I
, II.a.
! 1,~=
1![f t1
I
E7(b 1 3/ ~9} A- 9
BtJ-9
b-L
E 7 (~ 9)
I
b.a...
'
!re-
t'.kt
I
l. ,..,
~·:
I~
Gm(bl31 C- \:1
__ __ I~
I
$ 1·~~
4i1'~
bi
.a..
Dbmaj7b5 Dbm aj9#5 Db9(13) F7
19 iiI
!~'ii
F-6(11 ) A-7(11) A-6(11) E <_add9) Consrant Structures in whole-steps __ _____ _ ___ _
F -7(1 1)
1A glj Ii;!·j \~ 240
I~
II
Fine
Chapter Twenty-Nine. Rhythm All the voicings and harmonic knowledge presented in this text would be wasted without the same attention given to rhythm. I think most musicians would prefer few and/or simple voicings with a rhythmic" groove" accompanying a soloist or melody than many complicated voicings with no rhythmic sense. Although this text will not undertake the many rhythmic styies, tempos , time-signarnres, and concepts needed to use with these voicings, I still feel the need tc stress their importance and deserving attention. Most of the voicings in this text were displayed with little or no rhythm. A few simple rhythmic ideas or suggestions will be presented here that could enhance those existing exercises or songs.
By the addition of quarter or eighth note anticipations and deiays, an exercise or song becomes more rhythmically active. The following are just some of the possible anticipation and delay combinations over two measures of half notes in 4/4. l)
@
2) I
7 .
z~
~
~
<[<'-
1\_J
I
11
I
I
elajj
e'
,,
3)
'
l
7
II
b
,,··;1
I
Z· 2'
I
II
4)
...1 r7~ .
.,
1
,~ . r
~I
!
.l..
i
II
5)
~
eI
~ r
-P- ~
7
~
~ 1
~
I
zL
(;I·
! I (I/•
II
6)
I I
7 .
r
-P ~
~ ~I
I r7
I
u
4;
I
~
~
e'
7J
~I
l
I zI .
I
l·
1
l
t ...._,.,I r
!
I
~
e•·
8) l
~ l'.
.., I
iI
~ -
r
~ ....
el ]
,l
7'
r
I
.., l
I
I
7' .
r
~ ,. r
~
z~e
l
A couple of concepts unique to the guitar could also be used to enhance the voicings presented in this text. The first involves sliding into or away from a voicing chromatically. This is usually accomplished rhythrnicaily with as little as a grace n0te and onen with eighth or quaner notes. This concept enhances both the "sound" of the voicing as well as emphasizing its rhythmic placement. The second concept is a percussive technique achieved by muting the strings and strumming different rhythms after a voicing is sounded. These techniques are more or less applicable cepending on the specific styles of music.
241
Another very important concept for comping in today's jazz or pop idioms is silence. What you don't play is often the best thing to play. An interesting and valuable exercise would be to omit certain voicings in the exercises and songs presented in this book. In those exercises or songs harmonizing the half-note in 4/4, try first omitting the second chord in each measure; (beats 3 and 4). This retains the strongest chord sound of the measure. Next try omitting the first chord of each measure: (beats l and 2). This retains the weakes1 chord sound of the measure. Finally try different chord omissi0.n combinations; like alternating between two half-note voicings and two half-note rests, or two halfnote voicings and one half-note rest, etc. Also remember to add different rhythms to these chord omission exercises. Omitting voicings actually increases the different rhythmic possibilities and allows for more rhythmic creativity. Also note how voice-leading is broken by the omission of different chords. At first this might appear to be a problem, but the missing lines can often be "heard" through the silence. As many jazz artists are aware, it' s what you hear while your not playing that is important. The following examples will display and suggest various chord omissions to existing exercises. The foJiowing is another example of the half-note being harmonized. Note the use of symmetrical and modal chord patterns as well as chromatic and/or dominant approach voicings.
G-7
Gmaj7
§#f
I
I
'
,
Fmaj7
~i I
I~
~~
l~f
~~~~
..
I
19-
j&~
~ I
!~f
b,'F I
Ii'
l(f
~
I
~~ f-5-
! lb~
I
~
v
I
I
Ii§
~.Q_
Ibi.~ F7
~~!
-6-
I~~i
II
'
D7
C-1
I
~
I• .
Bb7
;~
i-{
~§
Gmajl
~;
11~~
I
A-7
bu
4
~
F-7
Ii
~b~!
~
v
Ebmaj7
~
C7
G6
~h~
I!~
I!
By removing various voicings and applying different rhythms ro the above example. an interesting '"compin(· rendirion of mis chord progression can be produced. In the following example, the first four measures of the above example have the second voicing in each bar removed. The next four me.:sures have removed the fi rst voicing in each bar. The next six bars remove every Lhird voicing while the final three bars remain the same with only some rhythmic variation.
Gmaj7
4
;~§f
G-7 OJ
~~g~
s
I ..ii
242
~;m
C7
£
'
!
,:1
.,,
vf '
Fmaj7
'
~ i;R§l.~
..,
!
f
Ebmaj 7
~
F-7
f
I
~t
I
Gmaj7
~f
I~
"~E ! ~
D7
:
1
C-7
LJ
I
I-
!
11
A -7
........------..,,. i"f id'.f
b.a.·
2
i~·
B 11' ?. I
·t
I
F7
I
a: 1~w.; r~·
.,I
G6
1
~ 'i ~l~
Note that several chromatic approach voicings have been added to the above example. As mentioned e~rlier, different voicing omissions and rhythmic interpretations should be developed and applied to each exercise and musical example presented in this text. In the following example. try superimposing the displayed four-bar chord omission pattern over the first II - V blues example introduced at the end of the Tension 9 chapter.
Four-bar chord omission pattern;
-
-
r
I-
r
II
Now try using the following rhythmic interpretation of the above omission pattern over the II - V blues exampb.
Fmaj7(9J
~
E-7b5(9) An5(b9 'i
D-7(91
Bb -7(9)
A-7(9)
B b7(9)
!
r
" I
~ G-.7(9) .. l
,l
!
c
I
l
E b9
r
I I
,l ~·
~
I
It
I
I
L
n~7b5(9)
( I1e
/.
C7~ 5C:9) C7#5(~ 9)
le
F7:,5(~$
F6(9)
Ii 243
~ .
I
C7#5(9)
1-
'I.
(
.L· I
I
,
<
I
Y'
F9
6]F
!1
Different string combinations and voicing sizes which are discussed in the following Conclusion chapter will only enhance these rhythmic concepts.
1n most comping situations it is common to attack all four notes at the same time. The following exercises will explore attacking different string combinations at different times. This produces some interesting sounds as well as isolating different voice-leading situations between various string sets. It will enhance awareness of individual guide-lines as well as two and three note voicings. These different combinations also produce many unique and beneficial ways of physically preparing chord changes. Any one of the following combinations could be used to alternate between two different string sets. Additional combinations are possible. Strings will again be notated as bold numhers in parenthesis. 1) Alternating betwee11 one voice and three voices;
(2) and (3)
(4) (5)
(3) and (2) (4) (5)
(4) and (2) (3)
(5) and (2)
(3) (4)
(5)
2) Alternating between different two-note voicings; (2) and(4) (3) (5)
(2) and(3 ) (4) (5)
(2) and (3)
(5)
(4)
,3) Alternating between four-note voicings and one voice:
(2) and (21
(2) and (3)
(3) (4)
(3) (4)
(5)
(5)
(2) and (4) (3)
(4) (5)
(2) and (5) (3) (4) (5)
After establishing a two-bar rhythm pattern, chose one of the above combinations and alternate its string sets on every other attack of the rhythm pattern. The following rhythm pattern will use the above alcernating string combination of (5) and (2) (3) ( 4); (5)
& e)
I
(2) (3) (4)
7
I
I
I
!
I
(5)
(2) (3)
(5)
(2) (3)
(4)
I
I
(2) (3)
(5)
(4)
7
I
7
I
(4 i
I
I
I
I
I ·
i
Now apply the above rhythm pattern- string combination to any of the previous examples or song~ in this text. Some of the combinations might be easier with fi ngers in place of, (or with) , a single pick. The following- chord orogression will oe useo . '""'
C9(13J c 1rn91 alt5) ~
~ b§ tJ
I
I D-0-
~1~~
F maj £)
I~
Bt> !=:
hs
lO
demonst;me some of these conceots: ..._
A-7(11.' D9(#1l i
!::~
244
#2
D-9 e-
Ik; !
G+7(#.9>
:!±-& ~~
CS
i!5I j j
"Legato" version;
Also try mixing t'J..'.o:d~ more of the combinations as well as reversing some of the given ones. The following example will use the (i) u~d (3)(4)(5) combination on the first two bars while reversing the combination {(3)(4)(5) and (2)} on the last two bars;
4r
bt
~ ± [J
f
v=tt~
.,
1
#~
•( I
.., Ir ~
q~
":!:.
so I
• I
I
~
0
•(
I
tt..-· 7.
'
I
•!
I
i,~:
•It
11!!
II
The following uses the (2)(3) and (4)(5) combi1rntion on the firs t two bars whi le using the reverse combination (4)(5) and (2)(3) on the last two bars;
~f
'
~
·r 1
8
~
>-.
7.
~~t)
#~
,.,I
"f
q&
q~a
.) \
I "f
"f
>-.
I
9(
I
5 vtiJ'
245
"l
~
1!
"~:
¥
II ~i
II
Chapter Thirty. Conclusion As slated in the Introdu ctio n , the intent of this text was to establish a simple and direct approach or system to chord construction , vo ice-leadii1g, enharmonic realization , and supportive the ory that wo uld enable students to exerc ise and expand their knowledge and begin a process for future d iscoveries. T he initial introduction of drop 2 type voicings with tension additions is a simple formula fo r many com plicate d voicings. By lim iting those voic ings to the midd le fo ur strings. more inform ation on voice -lead ing, enharmonic substitutions, fingering possibilities, and theory could be presented. The enharmonic realization process w as estPblished as a means to the eventual discovery of new vo ic ings w hic h coul J ultimately be perceived as groups of specific intervals with twelve potential roots. These concepts can also be appl ied to various string sets and voicing sizes. T he fo llow ing comme nts will suggest some approache$ to the vario us s tring sets and voici ng types on the gui tar. Continuation of fou r-no te voic ing research on the middle fou r string s should include a thorough exami nation o r seventh-width voicings and applicable voicings containing an "octave-doubling." Equally important are the thrccnote vo icings available to the middle four strings, as well as later e xamination of additional three-string combinations. Perhaps the fll'O three-string combinations that contain the same width as the four-string voicings presented; [(2)(3)(S)J and l(2)(4)(5)], w ou ld be a logica l starting point since they voice-lead we ll w he n mi xed w it h the fou r-note voicings used in this text. Certainly one advantage that many three-note structures have over four-note voicings is their physical ease in finger ings. T his might be an important consideration w hen music containing many chords is played al a fas t tem po. O ften j ust those four-note structures that produce difficult fingerings can be substituted by three-note voicings. The following example wil l illustrate this. 1) Passage using four-note drop 2 type voicings;
E -7(9)
~!f~ •"
_,
A7~5
Ftt7rn9)
~!it
E - 7(9)
B9
l~i
~#;2
'1
A7(#5)
!u
~·
D6(9)
I#~-
11
2) Above passage with some single voices removed lo produce easjer fingered three-note voicings;
~fi~
.-
, ~
~
[!~
12
~·0 0
I~
~
Ii§
II
N ote two of the above three-no te s tructures are miss ing "guide-tones" while the other two omit a root or a fifth. Three-note voicings often produce "incomplete" struetmes, but as mentioned earlier in this text, certain tensions and pred ic table c hord progressio ns can dic tate the m issing guide-tones. Also mentio ned earlie r, some the best "sounding" voicings arc in fact incomplete. Moreover, if two or more voicings are used on one chord, the guidctones n1ight be staled in one voicing vvhile the other voicings ren1ain incon1p lete. ~~-~~ ....
or
The "ambiguous" nature of many three-note structures inc re ases the amo unt of enharmonic cho rdal uses available to any one structure. T he fol lowing will attempt to illustrate this;
(Notes) ...............
F
A
E (minor modes)
Fmaj7 ... ..... ......... G7( 13/9) ............. Db 7( #91#5) ....... .. A7(b13) ........... ... Bb 1m~j 7( H 11) ....... B-7b 5( 1l ) ......... .. Dm(add9) ............ Esus4( b 9) ...........
J
b7 3 b 13
s
bs b3 b9
3 9
tt s l
7
b7 5 4
7 13 H9 5 #11 11 9
(A aeolian)
I
(E phrygian)
(G dorian)
246
An interesting exercise might be ro take a nicely voice-lead four-note voicing example and remove various single strings to produce different three-note voicings. The following will serve as the four-note voicing example; D-7(9)
~ tJ
G7(~9/# 5 )
f>e_
-&
I
~~
I!~
Using above
E~7(9)
C6(9)
!I
11
D9sus4
IM
Db9Cno3)
Cmaj7(9)
i, : ·i~
I§
I~
-e-
example~
1) Play top three voices only. 2) Play bottom three voices only. 3) Play top two voices and bottom voice only. 4) Play bottom rwo voices and top voice only. 5) Alternating different three-note structures . As an example, ai[ernate the following string sets on the above example; [(2)(3)(5)) and [(2)(4)(5)];
~ IV
-&
(}&
~~
~
_g~_
I
~~
IJf:
~~~~~
I ~·
q
_ ___:·,,
€-
Additional three-string combinations using the high and low "E" strings, (1) and (6), should also be examined, keeping in mind their limited use in a ''comping·· or band situation.
The above four-note voicing example can also be used to illustrate an "octave doubling,. within a four-note structure. Prepare the above example by doubling the lead note down an octave on the 4th string; G7(~ 9/#5)
D-7(9)
C(add9 ~
' I ~ iz!1 ~;
f;
-&
1£ ;;
I
f!)
i
>-ic1\::..: prepare the same examp:e " Y ooubli r.g G7(1:>9)
D-7 ,~
~ u
~
,J
m~ 00 ..:r.;
~de)
!h
78
II
==h:zu
cP
0
Cmaj7(9J II
Ii ~
iJuO
- ii
:ei::>
nm.:: up an ocrnYt: on t!::: 3rct sm<.,:; .
E ti(add9)
p
I
D~9
D9
~~
C6
~
Ii
E~9
D9sus4
D~ (sus9 )
·-
0 d'
0
DO
Clsus9) f'
-&
Ph· :;1ca1consideration rni£!hl d1cwre the use ot 8vb doubling on the first three chords and 8rn d{Jll bling on the l a :,~ thr~e chorcis with the E 69 "Chord containing no doubiln~ since it is difficult w itb either one: D-7(9) -e-
'
G7(~9;;.5 )
Ii~
ii
Oadd9 \ -
·__Q_
Li=
D9sus~
Eb9 ~~ ·~ &
~e' '
I
g
Cisus9 .
Db(sus9J --nliei -
! ~·=
" n
I
- -, I
"
-&
Tbe next phase of harmonic swdy on ih~ guitar should underrake tl1e various string combinations <:l\'ajkbk ro ii11s instrument. \Vhile three and four string combi nations are the most common in a majoriiy of comping snuarion'>. two Jnd five strimr con1binarions are aiso worth cxam inmion. While five and six strim~ voicings are orohablv most common to ·'solo'· guiwr, these sm1cmres might also be :ivailable o'v'er a "ballad'. in a band situation. ......
...
247
-
J.
..
Perhaps the first logical step in exploring different string combinations would be to transpose the voicings examined on the middle four strings to the !Ql2 four strings. In fact, a majority of the drop 2 type voicings are physically more accessible on the top four strings while some of the non-drop 2 type voicings might prove more difficult. Keep in mind, the higher register of these voicings on the top four strings might at times produce conflicts with a melody or soloist competing for Llie upper range. On the other hand, the top four strings are excellent for "chord soloing" and "chord melody" applications. The following exampie will alte rnate between the middle (M) and top (T) four string voicings; D-7
G7
E-7
D-7
G7
c
CM)
(T)
(M)
(M)
(T)
(M)
.a-
' '
!!
11!
F
B~ 7
E-7
(T)
(M)
CT)
g
D-7 (T)
A7
CM)
-e-
....a.
-&
l>e-
I§
..
I Ho
~!
18-eG7 (M)
l>e-
g
C7 (T)
~1 c
(T) ..a.
lih;:
II
Note the physical advantages in alternating string sets as opposed to placing all voicings on the middle four srrings . Also of interest is the melodic "pattern" over the entire exercise. This last example will mix middle and top f our string voicings with three note voicings. (1) will denote the top voice being placed on the I st string while (2) denotes the 2nd string as the top voice;
~
D-7b5
G7
C-6
F7
(2)
(1)
(1)
. (1)
(>&
~
b~
:
I
b ::
ll, ~
Ab7 (2) I
O.il.
l& o
G7
C-6
(2) ~
(1)
q§g
-0-
1"!!
II
Note the physical "shapes" are the same on the last two voicings. Colorfui and sensitive comping is rroau~eci D~· tne use of differcnL srring sers ar.d vanolis \'01ci:::g size~ a10:.g \\'1ti~ a variety of rhythms and space (rests). Have fun on your next comping trip!
248
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