This is? http://www.learnjazzpiano.com/forum.mv?screen=msg&mid=1743&query=A+AND+B+FORMS&srchopt=all&srchfld=message...

Ben, I was able to find your old post. Not sure why you had trouble but I had a heck of a time searching for it. I'll see if I can find it again and post...

I agree with 7 Ben, it would be great to have this kind of stuff in an article so it doesn't get lost.

Alert Scot to that fact in the room called "Scot's Studio". He doesn't always read every single post.

I just tried to access the old forums to retrieve my old write-up. Unfortunately, it looks like the old forums are no longer up for public access. Scot o...

Ben, Stuff gets lost in threads and posts. Please write up a formal article and upload it as a PDF file to the appropriate room. That way it won't g...

Thanks guys. I was pretty sure that was right but your explanation tells me exactly why. Love this place!...

7: Yes, you're right. I cite this relationship in the original post I wrote on the subject a few years back. Maybe I'll find it, and paste the text fr...

Scott - The Am7 upper structure should be interpreted literally. If you were to play the G-B-C-E rootless B-form structure over it, it would premature...

Good as always, 7. Ben, I was asking about your previous post: Dm7 = left hand A-form ii, with an upper structure Am7 chord, in any inversion, in the rig...

[sf]It should also be noted that the "type C" voicings above are exactly the same as the "A" and "B" rootless voicings for th...

The voicings I gave for altered dominants are rootless. For example, if your left hand plays the pitches of Fdim7 (F-Ab-Cb-D) and your right hand ...

This is really good stuff Ben. I worked with the extensions you gave yesterday a bit. Would you clarify one thing for some of us literal-minded types: wh...

What I find the most difficult is comping ballads for vocalists. It's very challenging to keep it interesting, while staying out of the way. I've always ...

Here's a great way to approach altered dominant voicings: First, identify the related diminished 7th chord, which corresponds to the original dominant.

Hi Ben i've always had problems with right hand [RH] tension voicings to couple with the LH A/B types as the ones i'm able to figure out don't sound tense ...

There's a mistake in my post above. Over the Am7 B-form ii voicing, play an Em7 chord, not Dm7. Sorry, Ben Blau...

As far as voicings are concerned, I've always been a proponent of the left hand "A&B Form" system that has sparked so much controversy here i...

Hehehe I did introduce some appropriate available tensions into one of our practice sessions just to see what would happen. The guitarist asked me after...

Add in some available tensions - Maj 6, Maj 9 to make the major texture more interesting.. Don't think that because the symbol says "Major" you ...