HAERLE, Dan - Jazz Rock Voicings

8/13/2019 HAERLE, Dan - Jazz Rock Voicings

1/49

,.

~

l >

T U 0 l 0 ; p u b lic a t io ns \ re co rd in gs f

Y D /\N H E iH LE

\

S T U D I O P / R , I n c . , 2 2 4 S . L eb a no n S t ., L eb a h o n 'ln c f :: 4 J ; 0 5 2 C H : : : : C ~ C I 'r 'C J1 - . . . J ~ : . J ~ ~ . , - I \ J '--' u . , ~ 1/ r S 1 - th c t - - ' ,, - ,) 0 b 1 -J . ,. . .- ' 0 m ~ }

. -. . { I I J \ N ... .. .- . . \ . ~ .l .. t \ 1 r C G r i }- , : ..;, ; \ Ir ' l ' ( ' ) ' - - , , - _ ~ , _


2/49

.

DAN HAERLE

D a n H a e r le h o ld s a B ac h e lo r o f M us ic d e g re e f rom C o e C o lle ge , C e d a r R a p id s , Io w a a n d a M a st e r o f M us ic d eg re e fr om N o rt h T ex a s S t a t e U n iv e r s i ty , D en to n T ex a s . F o r th re e y ea rs , h e w as a p ar t- tim e i n st r u c t o r in t h e J a zz D e p a rt m e n t a t N o rt h T e x a s S ta te t ea c h in g a r r a n g in g , im p ro v i s a t i o n , a n d d i re c t in g v a r io u s ja zz

g r ou p s . F r o m N o rt h T ex a s S t at e h e m o ve d to M o n te r e y P e n in s u la C o ll e g e, M o n te re y C a li f o rn ia a n d w as in c h a r g e o f th e ja z zp r o g ra m d i r e c t i n g th e ja z z e n s e m b le , t e a c hi ng i m p ro v is a ti on an d a r r a n g in g , t e a c h in g ja z z a p p r e c i a t i o n , a nd d i re c ti n g j az z p i a n o w o r k s ho p s . F ro m S e pt . 19 7 1 t o J u n e 1 9 7 3 , M r. H a er le w a s th e A s s i s t a n t P ro fe s s o r o f M usi c at th e U n i ve r s it y of M ia m i, C o ra l G a bl es , F lo r id a , a ssi s ti ng Mr J e r r y C ok e r in t h e i ns tr uc ti on o f a rr an g in g , ja z z h i s t o r y , im p ro v i s a t i o n , ja zz p i an o , a n d d ir e c t i n g v a r io u s ja zz e n se m b les . H e w as a s ta ff m e m b e r o f th e S ta n K e n t on J a z z C lin ic a t th e U n iv e rs i ty o f R e d la n d s , R ed la n d s , C a l i fo rn ia fo r f o u r y e a r s ; a s t a f f m e m b e r o f th e S ta n K e nt o n J a zz C li n ic a t D r u r y C ol le ge in S p r in g f ie ld , M is so u ri fo r fo u r y e a rs ; a s ta ff m e m b er o f t h e Fa m o us A r ra n g e rs ' C lin ic ,U n iv e r si ty o f N ev a d a , Las V e g as, N e v a da fo r th re e y e a rs ; a n d a s ta ff m e m b e r o f th e N at io n a l S ta g e B a nd C a m p s f o r t hr ee y e a r s . Mr H a e rl e has ha d e x te n s iv e p e r fo rm i ng e x pe r i e n c e as a s tu d io o r ga n i s t i nd p ia n i s t, as a p ian is t

w i t h t h e F a cu l t y J az z Q ua rt et a t t h e U n iv e rsi ty o f M ia m i, an d as a s u m m e r r ep l a c em e n t f or S ta n K e n t o n w i t h th eS t a n K e n to n O r c h es tr a .

, S eco nd E dition

C op y ri gh t @ 1 9 7 4 Ly S tu di o P /R , Inc .2 2 4 S. L e L a n on S t ., L eL an on , In d ia na 4 6 0 3 2 All r i h l~ res er v e d . N o p ar t of th is Look m ay be r e p rod u ce d in a n y fo rm , by m im e o g ra p h o r an y o t h e r m e an s , w i th o ut p e rm iss io n in w rit in g fro m th e p u b li sh er s.

P r in te d in th e U n it e d S tat es o f A m eri ca .

-

-

-

-

-

-

-

-

-

-

-

w

-

-

-


3/49


4/49

FO R E W O R

A s o n e w h o is e x t r e m e l y i n t e r e s t e d in t h e de v el op m e nt o f m et ho d s an d m a te ri dl s p e rt a i n i ng t o t he s t u d y o f j az z-

ro c k m us ic I a m es p e c i a l ly d e li gh te d t o se e th e re le as e o f t h i s fi ne b o ok b y D a n H a e r le . I e x p e c t t ha t it w il l s o on

be c om e a st an d a r d m et h o d at s c h o o i ; w i th j a z z p ro g r a m s a t m us ic c a m p s J n d i n p ri va te s tu d y w it h o r w it h o u t

a n in st ru c to r. I a ls o s ee t h e b o o k as a v al u a b l e a i d to s t u d e n t s o f c o m p o s it i o n - a r r a n g i n g f or l ea r n i n g v o ic i n g s

v o ic e l e a d in g ch o rd f u n c ti on a lt er ed d o m i na n ts q U J r tJ h a r m o n y p o ly c h o r d s ch o rd su b s ti tu ti on m e l o d y

ha rm o n iz a t io n c h r o m a ti c p a r a l le l m o t i o n a n d i n g e n era l th e h ar m o n i c l a n g u a g e of o u r ti m e .

A n o u ts ta n d i ng pi an is t- ar ra ng e r- te a c he r D a n H a e r l e is c e r t a i n l y t h e r ig h t i n d i v i d u a l t o au t h o r s u c h a b o o k as t hi s.

H is w id e e x p e r ie n c e le n d s au t ho ri ty t o h i s u s e o f c at eg o r ie s w i t h re g a r d to t h e r e l a t i v e c o m m o n n e s s o f sp e c i f ic

v o i c i n g s_ H a v in g t a u g h t w i t h D a n fo r th e U n iv e rs it y o f M ia m i Ja zz p r o g r a m I k n o w t h a t h is m e th o d s ar e

th o ro ug h cu r re n t an d e f f e c t i v e . I h i g h l y r ec o m m en d t hi s b oo k t o a ll p ia n i s t s a n d ar ra ng e r s o f th e j a z z- ro c k

id io m _

Jerry Coker

ig Creek Music Sem in ary

-

-

,

;,

L

I I


5/49

INTRODUCTION

This book s in tended as an in termedia te meth o d for jazz and rock keyboard players. Therefore, a basic under-

standing of the construct ion of common chord types s necessary for the application of principles out l ined in the book.

As there are many sources of this informat ion already available, it s the author s desire to provide only that informa-

tion relating to the handling of chords which it s felt tha t most s tudents are usually seeking. In addi t ion, principles of

chord function and subst i tu t ion have been included since an unders tanding of these s essential

The format of the book s based on a categoriza t ion of chords according to co mmo n uSJUe and basic s t ruc ture .

Although the use of root position block chords s certainly possible, their construct ion is obvious and, as such, they will

not be discussed here. Many voicings are presented in typical harmonic functions since this s an inseparable part of

their nature. All examples relate to the key of C (major or minor) to allow for a compara t ive analysis. An understanding

of each voicing, as to the adjacent intervals and the chord members included, will greatly aid the player in adding that

voicing to his harmonic language. Naturally, all voicings should be memorized and learned in all keys to achieve the

greatest ease in using them.

The book does not presume to be exhaustive in its inclusion of voicings; to d o so would be literally impossible.

However, a representative sampling of voicings in co mmo n use s shown and these should suggest many slight variations.

Moreover, principles of polychords, suspended fourth chords, chords voiced mainly in fourths, and electronic keyboard

applications are included to help the young keyboard player gain an understanding of current devices of the 70 s.

II

. ~ 4 ~


6/49

GENER L NOTES

Any of the three or four note voicings in this book may be used ill the followl11g ways:

"-

-

i-

A As a chord played by the left hand while the right hand creates a melodic improvisation. ~

B As a chord played by the left hand to which the right hand adds selected tones for a fuller voicing.C As a chord played by the right hand while supplying the root and 3rd, 5th or 7th) with the left

hand in accompanying other soloists.

In connecting chords, individual chord tones should move smoothly to i tone in the next chord, u s u ~ l y

stepwise. Common tones between two successive chords may be retained or moved stepwise if a resolu:ioncauses duplication of a tone.

The 3rd and/or the 7th of the chord should normally be present in v ry voicing.

In progressions of a 5th downward 4th upward), the following is always true:

A

B

The 3rd of a chord has the same letter name as the 7th of the next but may require a chromaticalteration.

The 7th of a chord should normally resolve downward stepwise to the 3rd of the next chord.

I

4:

In showing the voice-leading from one chord to another, the following method is used in this book: t

ABC

A straight line angled upward or downward indicates stepwise motion, usually in the scale of the key.A curved line indicates a skip of a third or more. tThe absence of either symbol indicates a lack of motion or a tone which is in common with bothchords.

Generally speaking, the basic three or four note voicings should be played in the vicinity of middle C on thekeyboard. Limits of approximately an octave above or below will assure best results by preventing thevoicing from assuming a quality of either thiness or muddiness.

,

, ,


7/49

THREE NOTE VOICINGS

(u n d ll cred)

T h e V O IC lr 1g s s ho wn _ b e r ~ r e1 2 ~ t o t h e II ch o r d w h i ch is u s u a l ly m i n o r , th e V c h o r d w h i ch is u s u a l d o m in a n t , a n d t h e I c h o rd w hi c h is m a j o r in a m a j or k e y . T h e c at e go r y A a n d C a t e g o r y 8 v o i c i n gs a r e th e me c o m m o n a l t h o u g h c a t e g o r y C v oi c i n gs a r e u se d w i d e l y .

C A T E G O R Y A : Vo ic in g s b u ilt o n th e 3r d o f th e c h o r d . o m i ( I I )

9 = 7 e

I ,

7 .....,. . .... .

I ...

7

9 -& -6 C . 7

}

.. . .-

,.r

r v

u l /

C 7

3 L

C A T E G O R Y B : Vo ic in gs b u il t o n t h e 7 th o f th e c h o rd .

o m i II) 6 .. ,

3 r i , , ., . .

c::. .. ... .. ... ., ... . ... 1 t: 7 . / -.:: . j Q { r t . ,

7 & 7

G 7 V ) C M a j. I)

9 O 2 7 ac . .... . . . ,

J t 7 ~ Q r / / f .. ... ..v ....... ,3 t: 7

G 7 V ) C M a j. I)

~ . ......,

1I;f.. ..

b ~ . . I u , .. ......, c o .c.e. . .... .. - 7o o

1

,

I In th e f o l lo w i n g I I - V - I p r o g r e s s i o n s , i t is im po r ta n t t o o b s e r v e t h e r e l a ti o n s h ip o f c a t e g o r y A a n c a t e g o r y 8 v o i c i n g s in th e c o n n ec t io n o f th e c h o r d s . I

C a t e g o r y : A

I

I II

. . /

t . , 7 r 9

l C a te g o r y : B

I

B A

v

- - 0

A B

A

II

7 r 9 -

B

B

V

- C 7

A

A

B

A B A A

II V I

- i - c 9 7 - 0 _

C /

B A

1

B

11 v

Co . -

...... .....r - -- ( : : r B A

A

I

- --...../ B


8/49


9/49

II v I II v I I v II v I 9 - + - - 6 - - - 0 9 c t - , t t J 9 r9 - / 1 9

67. _ - .. a -, .., .. --- - .-. - :." "l7 1i W 0 Z ~ - -d ] -- =-; ':: ; :7 - A r . L L c r f . } : ~ : - _ : ; .'1 ~ ~ . - : ; . j ~ ~ : .Z ; :; ' ~ . : ~ ~ ~ / ~ ~ ~ > t ~ ~ H

C a te g o r y : A 8 A

II v I A

U ~ c

If - ~ 7 ' - ~ j cJ . A .. ; 7 "'l :. .. , - 0 C 7

a te g o ry : B A B

C A T E G O R Y C: V o ic in gs b u i l t o n

D m i. II) 4

1 . IL ~ 1 ~ 71

" V I - -

te g o r y : C C C

II V I

A 8 A A 8 A A 8 A

II v I II v " v I

c

. ... - 0 : J 1. .... : J C / , j~ ,,: { . A 7 ~ ~ . J / '0 ~ ' :: ;. .7 &_ - - -7 : = ~ z,t? 7 ~ : - -0 - ( 7

8 A B B A B B A B

to n e s o t h er t h an t h e 3 r d o r 7 th w h ic h s o m e ti m es o m it e i th e r th e 3r d o r t h e 7 t h o r b o th .

II V

1 .t2 .. --

C C

II V

G 7 (V )

6}

C

5 2

7

5

II V

@

C B

II

C M a j. ( I)

II V I

J 21 2 1 - -- - --A C B A

V II V IF A~ w ~ ~ n ~ L ~ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 4 ~ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ t

e g o r y : C C C C

- 7 9 -

C C

3

/ ..... .1 n , . - o , ,.,

C A C

......7 1 -5 . . -

C

- ( / '- p

A 8


10/49

T G O R Y A : Vo ic in g s b u ilt on th e 3 r d o f th e c h o r d .

G 5

A L T E R E D 5 th VO IC IN G S :

-53

G 7 5

+

13 G7 t 5 G -5 t l1 1

A L T E R E D 9t h V O IC IN G S :

G7 9 G7 +9

3 3 3

A L T E R E D 5 t tl a n d 9 th VO IC IN G S :

) - 1 .

9 G 7 5

I C j

5 V :/ 3

- 9 G7 +5

- 1 } r

+5 ( 7 3 'I? =

+ 1

+9 G7 5

7

V - - 0

~ 3

r ,,

+9 G 7 +5

1 7

t .

t 7

T E G O R Y B : Vo ic in g s b u ilt on th e 7 th o f th e c h o rd _

A L T E R E D 5 th VO IC IN G S :

I

- 9 G7 5

7 -;J

- . : ~ t . ~

-Q 7

~

9 G7 + 5

r; C .7~ 7

- ( :7 CT

+c

+9G7 5

n j v -

~

+5 3

A L T E R E D 9 t h V O IC IN G S :

13

G7 +9

+9 G7 +5

c -; I :: 7C

C 7

. . -

-

;I

.

-

J t

G 7 - 5 G 7 + 5 G 9 - 5 G 9 + 5 G 13 - 5 (+ 1 1 ) 9 G - 9

5 ~ + 5 -53~' - ; ' - 53 ~r ~~ 13 - 5 1 3 , - = _ 5 3 I MC + 5 3 f c : ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ L ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ ~ ~ ~ ~ ~ ~ ~ L

A L T E R E D 5 th a nd 9 th V O IC IN G S :

I I - 'V

r{

. ,

-

= = = = = = = = = = = ~ = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = ~ l .

4


11/49

CATEGORY C: Voicin;Js built on notes other than the 3rd or 7th which sometimes omit either the 3rd or 7th or

loth.

~j

1 \ V

t..

...J

I (

" t.

...

~\. Vt.

05 VO

1

(add 9)G 5

-, -5 VO +5 rt 1

3r J 3 A / 3 0.... 9 v 9 ......9

I :1

53 ~ _ 7

- 9 ~

, )

-9G13- 5

.....

G add-9

1 .........- 7::I 0 59 3 k o +9 3- v

7 0 7rJt?

ALTERED 5th VOICINGS:

(add 9)G +5 G 13 - 5 G9 +5

't - ' '- ...l L"' ..1 D ( Co ,... ~ -.... -- - D A I .c. ~ C.+:, D 5 t I - _ 5 ~ c ; ; +5 C;9 3 I .,.a_....

ALTERED 9th VOICINGS:

G add +9 G7 9

) / "....1 ..L": . . L ~ +

Q t : /t:7 0 D ::I & 7

A ' J+9 3

~....

ALTER ED 5th and 9th VOICINGS:

1

0( ;7 +5

(add - 9 )G +5

--.,Cl

L

-' . -5 +5 - 5 l6i5 ~ 7 b .. _ 9 3 ~ ~ _ 9 3 ~..... +9 3_9 33 ...9

.~+5

_'1

+5G9 5

>-'I , . .L-

..L.7_

C7

G7 +9

L" '

, ~5 C 7

:J_ _1' Q

+5 ~ ~. . d 2+9 ...-

..,

+5

+5G7 - 5

..........,

'0

+9G7 - 9

,-:.JC 7

+9 3 ~

1

(add +9)G +5

.....l 100"

5 17I i

+9 ....-I'

Some possibilities for chord connect ion using dominant 7 th voicings with chromat ic alterations: ( l l - V- l pro-gression)

II

1.

I .,.." -/

~ t e g o r y :A

v

B

I

_. 0f r , ' ,..., .,

,

A

II

2.

A

MAJOR:

v I

B A

5

- -

II v

3.

, JO :Ir

. - f -- ...

A B A

- .--" ~ . - -. . . . - - _ .. ---...,-,"'" ,"..... ~ . - - - . .,.,.....' ' ' ' ~ ' ' ' . i 1 9 ~ ~ ' I I" "


12/49

I I v I I I v I II v I - 5. 6 .~ tC ~ 'l ' ~ / 7 0 r / C 7 .

, l ....... ~ v ~ ;,..-~ - ; .. c 7 7 t 0 L,#.

v c; ( ? C t 7 v

7.

' a t e g o ry :

te go ry :

4.

t ~

e go r y :

7.

. I II

e g o r y :

II

o .....t

c

A

J r

'-;

v

B

V1 ~ '

C

( / C; J C 7 V C 7

A B B A B B A B -

::;l

-v I II v II v I~ ~ ~ _ _ ~~?r ~_aAA _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ . r 9 _ ._ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~ J _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ n , J

c A

B A

v I

J / Jt 7 I

r; t , t: 7 b ~

A B

v I

~ ~ a I ,}.. ., . , I'

;, .J i' : ,-

C A

1

5.

I L 1\

B

A

II

. / C L

\ ' I I t?

B

II

~ 'J

I-S l\. . ' 0

t .

i7

C

A

M IN O R :

B

v

1 11

1 1

( 7

A

v

1 . I,. , A

~

=r:9

B

6

o

B B

A A

II 6.

...... ' / L 7 .. ,

:,t t ? ~ C ?

B B

II

9.

~ I \ ......,

0 ~ ~ r l 7

~ ~ Z A C

B

v

. .L I' : /

I

7 .

A

v

-

V 7

A

B

A

I

/ 7 11/1 .

~ ~ B

I

-; , v ~

~ . ~

B

-

-1 .

-

, , 1

,

I :

. :

4


13/49


14/49

T o a b as ic le ft h a n d v o ic in g , v a r i o u s fo r m s o f t h e rri 1d m a y b e a d d e d .

C9il . ~

1

.,.,. ,. .' } -.... f

i a 7 f?" I . j I 1 7 /

C h o r d t o n e s w h i c h a re e i t h e r p r e s e n t o r m p h as is t o t h e m C9 " r9

':;ii l ' iL C Z \. ,J -t J

9 Q.- -

J 7 ~

' .7 L " " .1 c . / t:

L

I '? . -i t J

r7 L : 7. - .

' i, .u. -

~ ~ ~ ~ t ? "1 2 ; / h -~ r7 / 7 L / ,

f o t f o u n d in t h e le f t - h a n d v o ic in g m a y b e a d d e d in o c ta v es to g iv e-bJ2... :2:: L / ...

I ..... '7 ....., L / - ~

tt7 .- b ~

~. . t? L

Y C 7 I ? 1 , ": . / C / r . ./ r / 1 .....

II

M a jo r o r m i n o r tr ia d s f o u n d w i t h i n t h e c o m p l e t e 1 3 t h c h o r d m a y b e s u p e r i m p o s e d o n t o t h e le f t - h a n l0 ic in g

{,

C m i.9 ..

C7 ~ ....., r--JI . . I ~ / 7 ~ I JI . ,., 7 { - ':;,I' ..... , "" ' :7 I I ;. . ., ;.. ..- ,., / 7 " ~ 7 ...,. . / - J v ,9 rJ g J 7 0 . f? r 2. t ? 1 L.':; ,I' tJ ,1 :.1 , / ': : / - 7 t "

.1 t 7 } 1 "' .7 f 7 t 7 / t / ' / t 7 -/ V a ri o u s o th e r t r i a d s m a y b e s u p e r i m p o s e d to c r e a t e a l t e ra ti o n s t h e b a si c c ho r d . T h e l e ft -h a n d v o ic in g t ay h ave t b d ' t d e a JU s e

0 f ? o ~ '1 .....

/ 1/1.' I l V It f...C 7 + 9 C 7 - 9

~ 9 - 9 ,IV 7 C 7 7 . ~ L

' { c ,. / .) 1 7 / ,

?1 cT . A

v I f r ,

. . / +9

C 1 3 - 9 ~ C +5

+9 Q - 9 ~ C J 7 1 7 7 L : ;. { I 'J J C

-

;

. ~

/ 7

, C 1 3

I

9 ~ It ? 7 I } L ? , .

J L . 7

, \

-;,

. ,

I \,

~

-h e b( Js ic VOICll1g m a y be p l a y e d b y t h e r ig h t h a n d w h i le s u p p l y i n g f u n d a m e n t a l c h o r d t o n e s In th e le ft ,A

~ nd.

\ . ' J

~

' \ I'

C9

L ' . ..........

b 0

C 7

r9

'1 ...... .... v _ ...... ... . .' L 'l

b r ( / - b ~ I

b / 7 , ba - 0 ' 2 J

6 ' .( 9 - ,


15/49

1

CHORDS VOICED N FOURTHS

. C h o rd s v o ic e d in in te rv a ls o f a f o u r t h (2 12 s t e p s ) h a v e a l ig h t , f lo a t in g q u a l i t y w h ic h c o n t r i b u t e s an- O P E ee ling t o a n y h a r m o n i c t e x t u r e . T h is is p r i m a r i l y fo r t w o r e a s o n s : 1) S in c e t h e v o

ic in g s a re a r r a n g e d p r im a r i l n

fo u r th s , t h e r e is le ss o f a t h i c k n e s s , o r c l u s te r i s h n a t u r e t o t h e s o n o r i t y , a n d 2) S in c e t w o a d j a c e n t in te rv a f a f o u r t h i m p l y a s u s p e n d e d h a r m o n y w i th a t le a s t t h r e e r e s o l u t io n s , t h e r e is a n o n c o m m i t a l n a t u r e t o t h e hz o n y see E X A M P L E 1)

,

EXAM PLE 1

1 T h e r e a r e m a n y t h r e e a n d f o u r n o t e v o ic in g s b u i l t e x c lu s iv e ly in f o u r t h s w h i c h a re p o s s ib le in r e l a t i o n t o h e m a in c h o r d f a m il i e s . T h e s e m a y b e u s ed as l e f t - h a n d v o ic in g s o r m a y be p l a y e d w i t h b o t h h a n d s , a d d i n g fu nment l c h o r d t o n e s in t h e l e f t h a n d .

EXAM PLE 2

M a jo r f a m i ly C Mai_ 7 , C M a j. 6 9 , e t c . )

su s)

o m in a n t 7 t h f a m i l y ( C 7 , C 1 3 , e tc . )

s us .l

M i n o r f a m i l y ( e m in . 7 , C m in . 6 9 , ~t c l

J r 7 1 , r J ~ t / 1 . / A L ...... L / ' , ( 7 v -

/ Y

'-.....

t j . s u s . )

b su .) su s .)

I r I t J - v : . -0 ' \ L Z - C /

9

b s u s . )

...., r r

1 1 ..... C

o & .

- 6 ' / ? --


16/49

Five and six note voicings which are not built exclusively in perfect fourths are probably the most coml o n l yused voicings. Any major, minor or dominant chord may be rearranged so that its voicing consists prig,

Jrily of intervals of ,3 fourth.

t

EXAMPLE 3

C Maj. 6 9 C 13 C Mi 11

- / 0r J

/ t'. C 7 I

L

L

L ,r

\ ( ? - (67 ) \ II ~ -.a.;. . .,., t7 0 J 1 / / :J d I 0 I

. , /. \. c . J : / / - L 7 J I r J\ ,

to

Some factors which affect the quality of fourthy voicings seem to be the following: t-(1) What note is the highest and lowest note in the voicing?

A. A major 3rd or major 7th of the chord on top tends to brighten the sound of the voicing. A t-raised 11 th has the same effect.1

If the bass note is the root of the chord, the voicing has more strength, but if it is absent th e tquality is considerably lighter. ~

8.

(2) What is the interval between the highest two notes and lowest two notes of the voicing?

A. An interval of a major 3rd on top of two or more fourths greatly brightens the sound of t he t

8.

. .vOIcing.A major 3rd interval on the bot tom of the chord adds to its clarity wheras a dissonant inter- '

val such as a major 7th tends to obscure it. t,;

-In a context of VOIClngs that are primarily built in fourths, voicings which combine perfect fourths andlc

gmented fourths will fit in well and tend to sustain the general fourthy quali ty. This is particularly true of mi-x harmonies where a t r i tone augmented fourth exists between the 3rd and 6th of the chord, and in dominan:,rmonies where a tri-tone exists between the 3rd and 7th of the chord. This can easily be seen by looking at t ~

icings shown in Example 4.

XAMPLE 4

Major Familyi t .

r

L. L A .. r:; ; . .~ - - - - - _ ~ - ~ - - r - _ ~ _ A ~ ~ ~ _ L . ~- __ 4 _ _ ~ ; ~ - ~ ~ 9 ~_ _ _ _ - ~ r . ~ 7 ~ ~ ~ ~ ~- - H

1

0

I

)

r ,


17/49

AMPLE 4 continll ' d

0 . l an t 7th Familymll

1

,=f.

,1

--

. /

Minor

tI.IJ

# .r T \

J

/

t :.I" L')..... ~-

VV' l1'7;' . /

( . 0 1

F amlly

... ~ - t _ ~ V't7...., ...r ' 1"7

'

-:.'..,.

~ ~

f ' 7 1 ,

.........,;:

/'V

/ : . /

...:::,.-7

~

,..,..,(:?

......

....../ / 7

I t '7

sus. )

' ,J V

/':.L...,

L :?

rI

I"

..........( /

......,-f 7'/

~

( s u s )

....t:...,

I('I

(/ -' l

'/ t'.-..,t :J

,.,; - '

t ?

C/ /

POLYCHORDAL VOICINGS

I ~ t ;/ '1 1...

'., .....

r / . '/ j r.i 1 . 1/

.1.


18/49


19/49

In t h e e X J m p l e s g i v en h er e , th e tw o c h o r d s of e a c h p o ly c h or d a r e s h o w n in r o o t p o s i t i o n . H o w e v e r , in i c a t i o n , it is o f t en d e s ir a b l e t o e x p a n d a n d / o r i n v e r t e i th e r o f th e t w o c h o r d s to Jc h e i v e J r i c h e r s o u n d . In d o s o , t h e c h o rd to n e s o f th e t w o c h o r d s s ho u ld n o t b e c o m e in te r m in g le d if il tr u e p o ly c ho r d q U il l i t y is t o b e reo e d . T h is is s h o w n in t il e s e c t i o n o f ty r: iic al v o ic in g s .

E X A M P L E 3 T y pi ca l vo ic in gs :.M a jor F a m il y (C M a j. 7, C M aj. 6 9 , e t )

- - - j~

--I.t. I \ J

eJ -r9 - v

L J 7

' r J

.A I

........

D /C D /C

i n a n t F a m il y (C 7, C 9 , et c . )

A ., -I I -~ .1 j r - L : /\ 'JIIIIi

.. .. .

t? t' t? t J J ~

I7 / '7

(

' 'c J m i C 7 D /C ?

)

r F a m ily (C m i.7 , C m i.6 9, e tc .)

D m i/ C m i D /C m i It..

-y J r . . l

t.J r .

.....

..... I / ;/ J C 7

~

... .

-:;:;., ..,t :.

( / A

iI 'Z

( v

D / C 6

J... .

,

1/ ... .

r ~ 1'1v 7

( , .. , _I

..... I

E b / C ?

E b /C m i

- '1.01 _

b ....( ?

:

. /

- .

...~ I : .,.. , - ..... j - - .. . r ....

C 1 c;.r l.

If? ...ir1 7 ~

? 7 : / ./

7

( ) ; ....D /C m a j7 E C E C B/C B/C

....I .. ...'1 ~ / C. L.

-I 7 1 /1

'.. -\ ,..

., -,V C 7 ' v

~ ...., ....,.....1 d ~ ~ ~ t 2 1:7 :/

7 7 L L : 7 : 7 /

( ~ )

E b / C ? G b /C ? F:'frn i/C 7 A b / C ? A / C ?

E b /C m i F /C m i? G n ii/C m i G /C m i B b /C m i

.... - ...... .. I .. .

1 '14 - .. , Z .. . .. 1 .. .. b

V

~ ~ C ? 0 v

7(;7 .....A ...

1 / ./ : . / C 7 . / 7 1 ':.7 _ 7

).... L' ' 1.

(v '

13

.


20/49

SUSPENDED FOURTH CHORD VOICINGS

j

A suspended 4th chord is simply a chord that has the tone a 4th above the roo t in place o f the 3rd A s u ~

pended triad, therefore, iNould h ave a root , 4 th and 5th; a 7th chord would have the root, 4th, 5th and 7th , a n ;

o on.

In traditional harmony, these suspensiO(lS always resolved but , in contemporary usage, they may e i t h e ~I

esolve or progress to another chord without resolution. A suspended chord which resolves may be seen in e x -

ample 1 while example 2 shows a series of unresolved suspended chords. An example of

xclusively of unresolved suspended 4th chords is Herbie Hancock 's Maiden Voyage.

EXAMPLE 1.

A '. o mi 9 G 13 sus4


21/49


22/49

A P P L IC A T IO N S T O M IN O R K E Y S

. - M o s t vo i c i ng pr in c ip l es a p p ly t o a m i n o r k e y as w e ll a s m J jo r J n d se v e r JI J r e J S i n v o lv in g m i n o r fJ rn i l y c h o r d s hav e 'lr ea d y b e e n d i s cu s se d . H o w e v e r , th e r e a r e s om e g e n e r a l c o n s id e r a t i o n s t h a t c o ul d b e m e n t io n e d a t t h i s p o in d : he II c h o rd in a m i n o r k e y is u s u al ly a h a l f - d im i n is h e d c h o r d a n d t h e V II c h o r d ( r e p l a c i n g V ) is a f u ll y d im i n -

h e d 7 th c h o r d . S i n c e t h e v o ic in g o f t h e s e c h o r d m e .

t y p e s h a s n o t b e e n c o ve r ed ye t , th e y w ill b e d i s c u s s e d at t h is ' l.

-w ill b e f ou n d t h a t m o s t o f t h e v o i c in g s s h o w n in t h i s b o o k f o r m in o r 7 t h f J m i ly c h o r d s m a y b e c o n v e r t e d t o~ lf -d im in is h ed v oi ci n gs b y s im p l y l o w e r i n g t h e 5 t h o f t h e c h o r d . H o w e v e r . it m a y o r m a y n o t b e d e s ir a b l e t o ~ o we r t h~ 9 t h . if i t is p r e s e n t in t h e v o ic in g . T h e lo w e re d 9 t h o f a II c h o rd is i n h e r e n t t o t h e m i n o r to n a l i t y ( I ) b u t ta ls o q U i te d i ss o n an t t o th e c h o rd . . l XAM P LE 1

-

A

/ j [ a 1 / 7 c J II' J C Z L J _ . .. .

~ b $ : b b-v li t ~ . ~

, e h a lf -d i m in is h e d 7 t h b u i lt o n II is g e n e r a l l y f o ll o w e d b y a V c h o r d w h ic h is a l t e re d . ,T h is a l t e r a t i o n is a g o o d , . a c t i ce b e c a u s e t h e to n a l i t y o f t h e m i n o r I c h o r d t o f ol lo w i m p l i e s a # 5 . ~ a n d # 9 in t he d o m i n a n t 7 t h c ho r d .

XAMPl E 2

c p u re m in o r ( )1

-. .... . .... . C '6 C 7

V T

I L 1 / ?

.J ~ / / -

1

/ l. / . ... .. .

+9

9 G 7 + 5 J ; -

I . 0 r ,t C ./

, e ?

l

tI

d im i n is h e d 7 t h ch o r d o c c u r s a s a d i a t o ni c V II c h o r d in t h e h ar m o n ic m in o r s c a l e g iv in g i t a s t r o n g t e nd e n cy ; v a rd a m in o r c h o rd a h a l f - s t e p ab ov e . T h e r e a r e t w o g e n er a l a p p r o a c h e s to t h e v o i c i n g o f th is t y p e o f c h o rd : - . t is o ft e n c o n s id e r e d a n i n c o m p l e t e d o m i n a n t 7 th w i t h 3 ~ a n d . ac c or d in g ly . t he ro o t is ad d e d a m a jo r 3 r d 1

o w t h e e x i s t i n g r o o t ; 2 T o a v oi d a tr ad i t io n a l s o u n d in g c h o rd , o n e o r m o r e n o t e s m a y b e a d d e d a w h o le s t e p v e a n y c h o r d m e m b e r o f a d i m in i sh e d 7 t h c h o r d . E xa m p le s o f th e se t w o m et h o d s a r e s h o w n be l ow 1 ,

X A M P LE 3 a E XAM P LE 3 b \,G 7 -9 8 ' RO I o

L , A .. . ..1' j C 7 ~ O C Ie . ; / t 7 L c. . 7 . . / It'

C JI - 7 / 7 L : :- o t: 7 ' 1 7 , ( 9 ) ~ C / 7 C 7 I C ? , 1 , 1 6

I


23/49


24/49

THE FUNCTION OF CHORDS

c.h type ~ f c I ~ o r dhas one or more funcyons: that is, ways in which it normally progresses to other chords. T h i s ~d p a s l cfunction IS unaffected. by the addlt.lOn of higher extenSions of the. chord or by the alteration of certain,: h o r dmembers. Such extensIons or alterations tend to only affect the relative dissonance or fullness of the chord ..

b

t j o r7th family chords tend to function as tonic chords, or ones which establish a key (ex., an EbM7 in the key;f Eb). They are relatively stable and do not need to progress to another chord. A series of major 7th c h o r d s ~r e a t e sa rather soft progression which lacks strong drive. In selecting chord qualities, it is important to~ e m e m b e rthat a major 7th chord could always suggest at least a temporary key center.

~ i n o r7th family chords are slightly less stable and have more than one primary function. They may serve eithe 1as a tonic chord in a minor key (Imil) or as a supertonic chord in a major key (1Imi7). If the minor 7th is longi

e n o u ~ hin duration a n ~is preceded by a d ~ m i n a n t7th c h o ~ dlocat:d a, 5th above, it will, probably assume a ton i)-nct lon. In the follOWing example, the Cml7 assumes a tonic function In the key of C minor. :

ArJlPLE 1 -V II V I ,ICmi.7 G7 Cmi.7 DP ;G7 Cmi.7 1.-

1 / / / / / / / L, L , / L L / / / / /

/ / / / / ,- ,- / f / f / / / / I L / /?:i

w e v e r if the minor 7th is followed by a dominant 7th located a 5th below, it will probably function like a 11:hord. The Cmi7 in the next example functions as a II chord in a Sb major. 1

AMPLE 2

IIC '7

:mi.

L/

// /

L //

VF7

/L / . /

/ //

/

IBbM7

//

/ // / /

-

/ / / / // / / /

,\ny minor 7th chord could be assigned the function of a II chord and be followed by a dominant 7th a 5 t h ~

1;-,

,, ..Dominant 7th family chords are still less stable and normally want to progress to the chord located either a ha l f -te p below or a perfect 5th below. A notable exception is in a blues progression where a dominant 7th commonlyssumes the function of a tonic chord and may not progress normally. However, a dominant 7th is usually given;'h efunction of either a V chord or a b I chord. Any dominant 7th chord could be assigned the function of a V -

h o r d and be preceded by the minor 7th a 5th above (its II chord). The following example shows the two mo s t.:ommon resolutions of a dominant 7th. . .

-EXAMPLE 3aV

G7

I / //l

/ ,,

ICM7

,-'

/ /,

18

EXAMPLE 3b

btlG7

/ / / / ,, , , ,


25/49


26/49

THE FUNCTION OF CHORDS *

The Roman numerals in this chart indicate the degree of the scale of the key on whichexample, a 117 in the key of Eb is built on the second scale step which is F.

IM7 Establishes the key center, doesn t need to progress.

V7 Progresses to I (down a 5th)

IImi7 Progresses to V (down a 5th) or to bll (down a 1 2 step)

Vlmi7 Substitute for I, progresses to II (down 5th) or to bVI (down 1 2 step)

VI7 Progresses to II (down 5th) or to bVI (down step)

"he chore is built. F --

I-

I-

mi7 Substitute for I, often follows V7, p r ~ r s s sto VI do m 5th) or to bill (down 1 2 step) I

1117

117

17

IVM7

Vmi7

VII P

IVmi7

bVII7

bll17

bVI7

J b 17

J

I

II

Progresses to VI (down 5th) or to bll17 (down 1 2 step)

Progresses to V(down 5th) or to bll (down 1 2 step)

Progresses to IV (down 5th) for temporary key change for relief

Temporary key center for relief from original key

IImi7 of IV,progresses to 17 (down a 5th) and then to IV

Progresses to I, substitute for V

Transitional chord between IVM7 and return to I or between IImi7 and I,

Transitional chord between IVmi7 and I may progress to. bill (down 5th)

Substitute for VI7, progresses to II (down 1 2 step) or to bVI (down 5th)

Substitute for 117 progresses to V (down 1 2 step) or to bll (down 5th)

Substitute for V7, progresses to I (down 1 2 step)

*7-Dominant 7th, M7-Major 7th, mi7-minor 7th

20

-

I-

,-

1-

-

-

-

I .,

,,

I ,

-


27/49

TRI-TONE SUBSTITUTIONS*"Tritone equals 3 whole steps

Any two dominant 7th-type chords whose roots are located a tri-tone apart will subst i tute for each other.

In C Major, in the progression I l mi .7 -V7 - IM 7 (Dmi.7 -G7-CM71. a D ~ may replace the G7 (V7) mak-

he progression I I m i J - b1l7-IM7 (Dmi.7-Db7-CM7). The Db7 and G7 are a tri-tone apart.

EXAMPLE 1

tri-tone substitut ionj ,

tritonetritone

I

U IA , /,, ~ . ' v

~ I ~ : : ~ ~ = = = = ~ ~ : : = = ~ ~ ~ : : : : : : j t : : ~ ~ : : = h ~ I / ~ ~ ~ ~ ~ : : : : : : ~ : : : : : : 1e. 0 ~ C? r 0 6l II ~ v '

Omi.7 G7 M7 Omi.7 0 ~ 7 CM7 ~ v

II mi.7 V7 I M7 IImi.7~ 1 1 7

IM7

In C Major, in the progression IM7-VI7-l Imi .7 ( C M 7 - A 7 - D m i J ) , an Eb 7 may replace the A7 (VI7)making the progression IM7- b 1117-lImi.7 (CM7-Eb 7-Dmi .7) . The Eb 7 and A7 are a Tri-tone apart.

XAMPLE 2

tritone substitutionI tritone

tri-tone

I l ~ ~ ~ ~ ~ ~ ~ - ~ ~ ~ ~ ~ v ~ ~ ~____ { _ / r -____ - ~ ~ ~ ~ . Lf r ~ ; . ; ~ ~ V ~ ~ . I e -

, '

z //-:/

C Maj.:

CM7

IM7

A7

VI7

o mi.7 CM7 Eb 7 Omi.7 bill VIIlmi.7 IM7 bll17 Ilmi.7

This is in line with the two most common jazz progressions: down a perfect 5th or down a Y2 step. Ineither case, the final chord of the progression is reached in one of two ways_ In many cases, the substitutionhOrd may be an exact duplication of the original chord with only the root changed. However, the analysis of

xtensions and alterations in the chord would, of course, be different when the chord has a different root_

1 EXAMPLE 3 Substitutions with only the root changed.

I(A) ( B) (e) (0)

It{ . . L ~-I V Z / , U ,1 \ I 2- , 2 1/1 ~ v ~ rt . ~ 7 - ~ , ~~. G7 +5+9 oh

13A 13 E ~ 7+5+9 B7 +5 +9 F13 Bb 13 E7 +5+9

II. . ILL~ / -'-:2

..1

7 v , ;, ~- -2

\


28/49

..

USES OF T R I TONE SUBSTITUTIONS:

1.

2.

3.4.

o lJreak a monotonous chain of progressions of 5th s or '11 steps by converting one or more of theri

(the progressions to the other type.To add harmonic interest to a simple progression.

To provide an oppor tun i ty for a sudden wild departure from the keyfor temporary relief.

To lead an improvisation into different melodic territory. ,,lL

EXAMPLE 4 F ormul as for tri-tone su bsti tu tions.

(A) (8) ( C) ( 0 ) (E)A -

~ ~ A ~ _ C ;l i/ Jl.

~t

p 11 ': , L .-7

, ,...J ~ t 7 ~b ~ ' ' V

, bV7- r V ~ -r 1-9- b ~ 7 , t i

i/ Z '" I/ ILL A

~

V ' V ' , - V ' - >-

-- >J ,..,. -&- t?,..,.

6~

, r.l.

or ~

\ ./ ~ J , I I...... I I r

* 2.,.'

I Embellishment of a harmony which lasts for two measures is shown in examples 3, 4 and 5. Here, the Cminor chord is ~ l u n d e dand moved away from chromatically, only to return very soon. This type of motior

creates tension since the chromatic harmonies foreign to the tonality are of sufficient duration and appear in arIIaccented position in the measure. Example 6 moves a little farther away from the C tonality but still returns to cstrong statement of that chord.

I

I

II

I

EXAMPLE 3 EXAMPLE 4

A Cmi. 7. I. -::0 Cmi. C m i . ,U ' . - ; ;

/ '

~ l.- I.1V

II

* *31

, OJ

2,,,,

7Cmi.

- ~ . . . . 1I T /~ tz '.:/

- *


38/49

EXAMPLE 5

1Cmi.

( ~ f1 J

t.

t. I ~I , I J

./ J

II .A' .'/ - ; - - ~.V j

~

I I

*

,.

. ~ .,

;....

i\ Cmi. 1~7 ~ / ~ ... .J ' l L ..,..

I / l ~ "* .tJ .. .. Co

~ I ,. / ~ _ I

-~

L L fV

y7 G ~M7

Abmi7 Ob7 Gmi7

16. F ~ m i 7B7 Emi7 A7 Omi7

G7Cmi7 F7 BbM7

Bbmi7

Eb7 Ab M7

Ab mi7 Ob7 Gmi7

Abmi7

Ob7GbM7

17. F M7 F ~ m i 7B7 EM7 Eb M7 ob M7 BM7 Bb M7 Smi7 E7 AM7 Ami7 07 GM7

NOTE: Portions of these progressions could be combined with each other to create hundreds of

of the above. Notice that practically all blues progressions follow a similar basic form, which4 measures - I chord; Second 4 measures - IV chord (returning to a I chord or its substitute),- V chord (or I I -V substitute) returning to a I chord.


42/49


43/49

I I - V- I PROGRESSIONS

lj1. ALL MAJOR KEYS

,

A - - I

t:i=....

-,

I . . . .

-L .I

If .... t ' " ..... - , (/ /- - .....1 \ / ~ - ........ '- ~ -, , ? r , - V - V ' - C. 1\ c I ;::.,. ~ ~ j , tI C7 ~ V -/ ~ .' '

-'- ,./ / A . - .... ~ -V ~ ~ t ? - . . . ; 7 , , / 7

C ; ...... ~ ~II v A : II v Ir v

,.f ..... ....,~ ' , / iA .... v / -,. /' ~ _ 7 L f. -- ? t :;... ....tJ I ~ ,I c: b " " ' ~ ~ 1 I ... I J 0- D ~ ~ . ... V t ? V -r.- OC - 0 -

I->.

./

/ ..... / / : / / 1 . -:;;0- V . / , ( . /

t:? riC;; -V

I G II v G ~ : II v F: \I v,.

~'

..-

' V - ' I .... / n -.- \. .0' - 7~ .., f# t ~ ' ] b ~ ~ ' f,.. ~

"7- ...-:: r - L ; ' ~ I .... t ...... C7 t?'

,

J

... c;- I/,', -,'

V V ' C;[ ~E: v D: \I vI v

J

J7 1 ~ 12 y ~ A

. -

~ ~ t lI, ...

-Q;-....

~ ~A

f1,-; I- ' /' "7 - i: 7 7 . 7 ~ ~ V IT .,.,./ ,,

,

I

.

J

/ .... ...... 1 ( /[ I v C; /' r:9 C7Db: \I v I c: \I v B: \I v I

37


44/49

2. ALL MAJOR KEYS

A

H i;;illo

" , /

t..

"

,.I

. /

F:

A

(. .

B:

t if )

(.

/

,.., ..... ..../. ""

-' 'IV

II

III1 0 '

...

II

I II :.

~ 7 ~

,/l

II

-..........

v

/

V

V

V

0 '

~ V

V

/:

~.....

( /

/

.

I

V -~ ' ~ ~

'I c . ~

I I - V- I PROCRESSIONS

,

I

E:

Db:

t

- ' .1I..o i

'

I C /

II

~ . ~

II

-

".,

v

Bb: II

........-

C,

r

G: II

,

/ : - , , ...... / ....,. , /:1

o.? i i: ' '

( /

i. ..

,- ,/"1.....v I

I

VJ'10' V C /

.A

fJ / :L.

VO

V

V

-.., L'"'? -

;/I

~ ~ ....

- 'V I38

,, , t ~

, A ' ' ' ' ' '-I V V C;;

,,,,I

I ,, ', ......, J '-""

~ ~ t 7

II v

...........( /

c: II V

( .....,I ....

A: II V

A ..... 'I .....\1; - - bClz

rf t::? 6

'1 0

V

/' ., -, .-.r : -

,I

06

r.....

I I':b' _

V

i / lv....,

,

' .tI

I

-

III

' - ' -

,

t

11

1;lJ

-

,I I

,

P't:-

, r,J..

,I,,

I

I


45/49

,

13. ALL MINOR KEYS

4

I

I

A

~\ . \ /

tJ

.. /

g:

, .

e:

A

Ii{cl

A

t

/:.

-6 :7

II

II

~ ~ ~ I I

,

,- vI

c ~ . II

A

~I I , . ,

I \ Y /

t. ~ ..... 1 ..??V

...,.L':.

II

~

v

v

Z

f ~

. A

v

/7 4 . j

, 0

v

rl ..... I . -

~

.....{

I

.........A

I ~ ~

I

/ ' .

~ O ~ ~

....

I

II-V-I PROGRESSIONS

...,-

I

.......I ~

f#: II

I17 0 : ; ; ;

eb : II

/71

-

c: II

~

~

'-

a: II

-.....-....

v

v

1'1

j

~

(;

'v

/:

.:::JI L- ~

L''-

v

39

I

-

/

'

C;

I

rJ

V ' -

I

,.

~ ; I ~

7 /

I

....

~ ~

;

I

1/7 -A '-oil

-f:

d:

.

' ....; ....

1...... ' - '

II

II

....I

~ ~ 6 t

,b. II

bJI Z ;

IaD :

..... .....7 -'

II

1,,-

. / .

.... - .,/ .......

Ir

~ /

v

~ ~, ....I

v I

.../:.

~; -aP.. .. b., -

\

1I:z;r-

vq

1/1 ......

~ ~f ~ I . I .............J

\ ~V ~

v


46/49


47/49

CHORD SYMBOL APPENDIX

Major family - C, CG CG9, CM7, Cmaj.7, C : r C6.

Minor family - Cm, CmiG, Cmin7, c-7, Cm h

Dominant family - C7, C9, C9 11, C13

Half-diminished - Cmi7-5, d

Diminished - Cdim7, C07

Augmented - C , C 7

Suspended - C sus., C sus.4, Chord/C pedal or Chord/C bass

Added notes - Cadd 9, Cadd 4

Omitted notes - C omit 3

41


48/49

I

NOT S

4

;1.


49/49

I ~ J t , \

. ,I I . ~ 1 j

.

lSTUDIO PIA, Inc., 224 S. Leb,)llOn St., Lebanon, Ind. 4G052

STl:()IO P'R J..\ZZ BOOKS

;\ :"-LW APPROACH TO JAZZ I\\PROVIS.\T ON - Volumes 1 through 10hy Jailley :\eber.;old (record :1I1d book) . . . . . . . . . . . . . . . . . . . . . . . . . S8.95

P \ T T I ' I ~ \ , SFOR J \ZZ by Jerry Coker. J:lI11L'S Casale. Gary Cl111 pbL'11. :1:1

HAERLE, Dan - Jazz Rock Voicings

Documents

Transcript of HAERLE, Dan - Jazz Rock Voicings