| LearnJazzPiano.com archives: When can I voice a melody with triad over tri-tone parallel motion? | |
| Brotherdavies -- 09/14/2007, 05:53:57 -- #37065 | |
| I would like to use the idea picked up from Mark Levines book (From top triads section): it sounds cool to voice melodies with chords moving in parallel motion: the chords constructed using the 2nd inversion of the triad built on the sharp 11th of a the major scale. The left hand plays a tri-tone. I see in Keyboard magazine that Dave Brubeck plays like this on his solo version of 'Indian Summer' (his new solo CD). Can I (or anyone else) voice any melody at any time with this technique? Cheers Bro' | |
| jazzpianoonline -- 09/14/2007, 18:38:42 -- #37065 | |
| hi brotherdavies i'm not sure what you are asking- i think you are talking about upper structure triads? if the melody that you are voicing has a note of the upper structure in it (or another triad) then you can voice it that way. this gives a nice bitonal effect and you hear it all over the place. br webmaster@jazzpianoonline.com http://www.jazzpianoonline.com | |
| antiJV -- 09/14/2007, 18:49:59 -- #37065 | |
| Hmmm... how long before this is censored. Why would anyone PAY for jazz piano information when they can get it for FREE on this site. | |
| MoJazz -- 09/15/2007, 15:13:13 -- #37065 | |
| Why would someone say Oscar Peterson died (in error) and not apologize to the forum for posting it. | |
| pphilip -- 09/16/2007, 07:12:37 -- #37065 | |
| What's going on? Are you advertising your business on this fine website? Shame on you! | |
| Jazz+ -- 09/16/2007, 12:25:26 -- #37065 | |
| Levine gives the example of Herbie Hancock playing upper structure #iv minor played in parallel voicings on the melody in bar 25 of Dolphin Dance over Eb7. | |
| Brotherdavies -- 09/17/2007, 05:34:54 -- #37065 | |
| Jazz+ said "Levine gives the example of Herbie Hancock playing upper structure #iv minor played in parallel voicings on the melody in bar 25 of Dolphin Dance over Eb7." Thanks Jazz+ : this is what my question relates to: Is it only this particular upper-structure that works for parallel voicings ? As you are moving the left and right hands in parallel, can you move this 'shape' without worring about the underlying chords, are you just thinking about the melody line? Or another way of putting it, apart from the Herbie example, where else can this particular upper structure be played? Here's That Rainy Day perhaps? Thank you Bro' | |
| Jazz+ -- 09/17/2007, 13:25:42 -- #37065 | |
| "Is it only this particular upper-structure that works for parallel voicings ?" No, there are others. Upper Structure VI is the most popular. "As you are moving the left and right hands in parallel, can you move this 'shape' without worrying about the underlying chords, are you just thinking about the melody line?" The effect is that of stepping outside. You are introducing dissonance against the underlying chord. So it depeneds on what level of dissonance you want. "Or another way of putting it, apart from the Herbie example, where else can this particular upper structure be played? Here's That Rainy Day perhaps?" Typically over dominant seventh chords that have some b9 potential. Ultimately it's up to your taste when to voice with U.S. VI in parallel motion on a melody. I rarely use it because it is quite edgy sounding. Some folks might even like it over a Maj 7th chord and others would think it sounds awful. | |
| antiJV -- 09/17/2007, 14:59:39 -- #37065 | |
| We all make mistakes MoJazz, it will be true one day. I was just a bit early thats all. | |
| smg -- 09/18/2007, 12:01:26 -- #37065 | |
| For more info re-upper structures(aka "slash chords")-http://www.humboldt1.com/~jazz/us.html | |
| DrJazz -- 09/20/2007, 16:39:08 -- #37065 | |
| The triad on the b5 can move up a tone and back - both triads imply an altered dominant chord (Gb and Ab triads over the same C7 tritone in the LH). Over a major seventh you can use an upper structure triad without it sounding dissonant, if you base the triad on the 5th. So for Cmaj7 play a G major triad. Sounds good in second inversion, with the D doubled top and bottom, and a rootless Cmaj7 or C6/9 in the LH (eg: EGAD, an octave below). It's a simple but effective way to get major chords to sound interesting. | |
| Jazz+ -- 09/20/2007, 21:36:14 -- #37065 | |
| Also, the triad on the bV can also move up a minor 3rd ( both triads imply an dominant 7th b9 chord) (Gb and A triads over the same C7 tritone in the LH). | |
| Brotherdavies -- 09/22/2007, 12:31:14 -- #37065 | |
| Thanks for the advice - I seem to be in a world of dom7 b9 at the moment! All my questions seem to lead back to the dom7 b9! | |
| Jazz+ -- 09/23/2007, 22:27:58 -- #37065 | |
| Well b9 on a dominant chord is of course the #1 most common alteration in jazz. | |
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