A & B Forms of Voicing
5
? ? ? b b b b b b b b b b n n n n n # # n n n n n # # n n b b b n n b b b 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ D m7 G 7 ˙ ˙ w w w w C w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ E b m7 A b 7 ˙ ˙ w w w w D b w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ E m7 A 7 ˙ ˙ w w w w D w ? ? b b b b b b n n n # # # # n n n # # # # n n n n b n n n n b 8 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F m7 B b 7 ˙ ˙ w w w w E b w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F # m7 B 7 ˙ ˙ w w w w E w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ G m7 C 7 ˙ ˙ w w w w F w # # # # # # # # # # # # The A & B Forms of voicing Alberto Betancourt (albetan) 9 7 5 3 13 3 9 7 9 6 5 3 II V I II V I II V I II V I II V I II V I John Mehegan in JAZZ IMPROVISATION, (1965) shows a practical and useful way to perform chords in left hand, that he calls the A and B Forms of voicings. This is the most frequent style in contemporary jazz piano. The A form of voicing: IIm7 chord begins with third as lower note, followed by 5th, 7th and 9th. V7 chord begins with 7th, followed by 9th, 3rd , and 5th. I chord begins with third as lower note, followed by 5th, 6th and 9th. The A form is used in keys from C to F. But you may play also other chords in this A form if it sounds good to you. The B Form of voicing: IIm7 chord begins with 7th as lower note, followed by 9th, 3rd and 5th. V7 chord begins with 3rd as lower note, followed by 13th, 7th and 9th. I chord begins with 6th as lower note, followed by 9th, 3rd and 5th.
-
Upload
ricardo-luna -
Category
Documents
-
view
336 -
download
5
Transcript of A & B Forms of Voicing
?
?
?
bbbbb
bbbbb
nnnnn##
nnnnn##
nnbbb
nnbbb
2 ˙̇˙̇
˙̇˙˙
D m7 G 7
˙˙
wwww
C
w
˙̇˙̇
˙̇˙˙
Ebm7 A
b7
˙˙
wwww
Db
w
˙̇˙̇
˙̇˙˙
E m7 A 7
˙˙
wwww
D
w
?
?
bbb
bbb
nnn####
nnn####
nnnnb
nnnnb
8˙̇˙̇
˙̇˙˙
F m7 Bb7
˙˙
wwwwEb
w
˙̇˙̇
˙̇˙˙
F#m7 B 7
˙˙
wwwwE
w
˙̇˙̇
˙̇˙˙
G m7 C 7
˙˙
wwwwF
w
######
######
The A & B Forms of voicingAlberto Betancourt (albetan)
9
7
5
3
13
3
9
7
9
6
5
3
II V I II V I II V I
II V I II V I II V I
John Mehegan in JAZZ IMPROVISATION, (1965) shows a practical and useful
way to perform chords in left hand, that he calls the A and B Forms of voicings.
This is the most frequent style in contemporary jazz piano.
The A form of voicing:IIm7 chord begins with third as lower note, followed by 5th, 7th and 9th.
V7 chord begins with 7th, followed by 9th, 3rd , and 5th.
I chord begins with third as lower note, followed by 5th, 6th and 9th.
The A form is used in keys from C to F.
But you may play also other chords in this A form if it sounds good to you.
The B Form of voicing:IIm7 chord begins with 7th as lower note, followed by 9th, 3rd and 5th.
V7 chord begins with 3rd as lower note, followed by 13th, 7th and 9th.
I chord begins with 6th as lower note, followed by 9th, 3rd and 5th.
?
?
######
######
nnnnn#
nnnnn#
nbbbb
nbbbb
nnnn###
nnnn###
15 ˙̇˙˙˙̇˙˙
G#m7 C
#7
˙˙
wwww
F#
w
˙̇˙˙˙̇˙˙
A m7 D 7
˙˙
wwww
G
w
˙̇˙˙˙̇˙˙
Bbm7 E
b7
˙˙
wwww
Ab
w
?
?
###
###
nnnbb
nnnbb
nn#####
nn#####
nnnnn
21˙̇˙˙
˙̇˙˙B m7 E7
˙˙
wwww
A
w
˙̇˙˙˙̇˙˙
C m7 F 7
˙˙
wwwwBb
w
˙̇˙˙˙̇˙˙
C#m7 F
#7
˙˙
wwwwB
w
? ˙
˙
?
?
b
b
n#####
n#####
29
œœœœœœœœ
˙̇˙˙
œœ ˙
œœœœœœœœ
˙̇˙˙
œ œ˙
œœœœœœœœ
˙̇˙˙
œœ ˙
2A & B Forms
5
3
9
7
9
7
13
3
5
3
9
6
II V I II V I II V I
II V I II V I II V I
C in B Form F in B Form B in a Form
Practice also C and F in B form, and B in A form.
II V I II V I II V I
The B form is used from F# to B.
You may play other chords in this B form if it sounds good to you.
The reason why we use A/B form voicing is that we may play all chords in a little
zone of keyboard from E2 to A3:
nnnnn
nnnnn
?
?
bbbbb
bbbbb
nnnnn####
nnnnn####
nn##
nn##
36
Œœœœœ Œ
œœœœbC C 7
˙ ˙
Œ
œœœœbbŒ
œœœœbC m7 Cm7b5
˙ ˙
Œ
œœœœbb
Ó
C dim
˙ Ó
Œœœœœ Œ
œœœœb
Db
Db7
˙ ˙
Œ
œœœœŒ
œœœœnC
#m7 C
#m7b5
˙ ˙
Œ
œœœœ#n
Ó
C#dim
˙ Ó
?
?
##
##
nnbbb
nnbbb
nnn####
nnn####
42
Œœœœœ Œ
œœœœn
D D 7
˙ ˙
Œœœœœnn Œ
œœœœbD m7 Dm7b5
˙ ˙
Œœœœœbn Ó
D dim
˙ Ó
Œœœœœ Œ
œœœœb
Eb
Eb7
˙ ˙
Œœœœœbb Œ
œœœœ∫Ebm7 E
bm7b5
˙ ˙
Œœœœœnb Œ Œ
Ebdim
˙ Ó
3A & B Forms
EXERCISE:
Play all chords in all qualities in A/B form voicings:
Jazz players are very familiar with these forms and they refer to it as
A/B voicings. This is one of more used styles in contemporary jazz.
Practice these A/B forms until mastering it.
I think Maurice Ravel (1875-1937) was first using these chord forms.
Duke Ellington introduced these vocings in sax sections.
Horace Silver in fifties used this style of voicings in piano accompaniment.
From sixties, this is a very common style in contemporary jazz, thanks to
promotion made by John Mehegan in JAZZ IMPROVISATION.
?
?
####
####
nnnnb
nnnnb
n######
n######
48
Œœœœœ Œ
œœœœn
E E 7
˙ ˙
Œœœœœnn Œ
œœœœbE m7 Em7b5
˙ ˙
Œœœœœbn Ó
E dim
˙ Ó
Œ
œœœœŒ
œœœœb
F F 7
˙ ˙
Œ
œœœœbb
Œ
œœœœbF m7 Fm7b5
˙ ˙
Œ
œœœœbbÓ
F dim
˙ Ó
?
?
######
######
nnnnn#
nnnnn#
nbbbb
nbbbb
54
Œœœœœ Œ
œœœœn
F#
F#7
˙ ˙
Œ
œœœœnn
Œ
œœœœnF#
m7 F#m7b5
˙ ˙
Œ
œœœœbnnÓ
F#dim
˙Ó
Œœœœœ Œ
œœœœn
G G 7
˙ ˙
Œœœœœbn Œ
œœœœb
G m7 Gm7b5
˙ ˙
Œœœœœ
bbÓ
G dim
˙Ó
?
?
bbbb
bbbb
nnnn#####
nnnn#####
nn###
nn###
nnnbb
nnnbb
60
ŒœœœœŒ
œœœœbAb
Ab7
˙ ˙
Œœœœœ Œ
œœœœn
G#
m7 G#m7b5
˙ ˙
Œœœœœ
nn Œ Œ
G#dim
˙Ó
Œœœœœ Œ
œœœœnA A 7
˙ ˙
Œœœœœnn Œ
œœœœb
A m7Am7b5
˙ ˙
Œœœœœ
bnÓ
A dim
˙ Ó
?
?
bb
bb
nn#####
nn#####
66
Œœœœœ Œ
œœœœbBb
Bb7
˙ ˙
ŒœœœœbbŒ
œœœœbB
bm7 B
bm7b5
˙ ˙
Œœœœœ
bbÓ
Bbdim
˙ Ó
Œœœœœ Œ
œœœœnB B 7
˙ ˙
Œœœœœnn
Œœœœœ
nB m7 Bm7b5
˙ ˙
Œœœœœ
nnÓ
B dim
˙ Ó
4A & B Forms
Practice these 60 chords until you get an automatic performance.
nnnnn
nnnnn
?
?
74
Œ
˙̇˙˙b
Œ
C 7
.˙ Œ
Œ
˙̇˙˙bbbb
Œ
C7alt
.˙ Œ
Œ
˙̇˙˙bbbb
Œ
Gb7
.˙bŒ
Œ
˙̇˙˙b
Œ
Gb7alt
.˙b
5A & B Forms
Altered Seventh chord: C7altWhen you find an altered seventh chord, play root in bass and tritone
substitute in chord. See "Substitute Chords" at Albetan's Area.Tritone substitute corresponds to a seventh chord over its flat fifth.
So C7alt is Gb7 with bass C. Gb7alt is C7 with bass Gb.
Please see file "Altered seventh chords" at Albetan's Area.
C Forms of voicing:Mehegan calls so this altered seventh form of voicing.
Play some of your favourite tunes with this style of accompaniment.
You may play chord voicings omitting bass in a "rootless" way.
Or you may play bass and skip to chord.
Play accompaniment of a standard with left in bass and right in chords.
Good luck and enjoy A & B Forms of voicing.
