| LearnJazzPiano.com archives: question about voicings | |
| ronald1 -- 02/06/2007, 03:54:43 -- #32907 | |
| Just wondering about the application of the A + B form of ii-v-i voicings. Is it ok to treat each major 7th chord you see as the i, each minor 7th as the ii, and each dom 7th as the v? or are these voicings mostly used for ii-v, v-i and ii-v-i combinations?? for example, on the piece crystal silence (which opens with A-7,E-7,Fmaj7,B-7) when I play the corresponding voicings (ii,ii,i,ii) it sounds too loose and unconnected. In other words, are the A+B ii-v-i voicings dependent on finding the right chord progression? hope you understand the question, thanks | |
| DaveB -- 02/06/2007, 05:04:10 -- #32907 | |
| Hi Ronald, Yes, you could use the "A B" voicings but as you say the results can be a bit disjointed without the smooth voice leading you get when you use them as II V I voicings. The idea of voice leading is to make the conections between voicings as smooth as possible - in particular the top note of the voicing can trace a melodic line as it moves to different chords. One way of voicing the progression above could be: c b c d g g g a d d d e a a a b e e e f# The other thing to watch with voicings is to make sure that you aren't clashing with the melody notes. Also, when the tempo is slower or a chord lasts for several beats you can move the voicings around for that chord to create interest. Of course this is a vast subject so the above is just a little something to be going on with!!! There are several good books out there that deal with voicings specifically eg Frank Mantooth's or general books like Mark Levine's that have good chapters. Dave | |
| Jazz+ -- 03/21/2007, 00:27:06 -- #32907 | |
| Yes, but go for the nearest inversions. | |
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