Voicing Modes
Contents
Introduction ...... 1
Functional vs Modal voicings...... 2 British food, French food, Indian food
Adaptable modal voicings...... 6 1, b 2, 4, 5 “Phrygian” ...... 6 Phrygian Etudes ...... 13 1, 2, 5, b 6 “Aeolian" ...... 16 Aeolian Etudes...... 23 Modal Mothers, Modal Mothers Etude 1...... 26 1, 3, 6, 7 “Magic 6th” ...... 30 Magic 6th Etudes ...... 38
Modal becoming functional ...... 44 Diminished ...... 46 Tonal thoughts, Hidden tonalities ...... 51 Diminished Etudes...... 52 Harmony of the Blues, Five Blues Sounds ...... 56
Diatonic Substitution: Tune examples for advanced bracketing & modal reharmonization ...... 62 Stella by Starlight ...... 64 All the Tings You Are ...... 66 Giant Steps...... 68 Modal Mothers Etude 2 ...... 73 Blue Bossa ...... 74
Reference Material (pg 78):
Melodic voicings (functional & modal) ...... 80 Major 7 ...... 76 Dom 7 (Mixolydian) ...... 82 Minor 7 ...... 84 Minor 7(b 5) ...... 84 Dom 7 (Alt) ...... 88 Dom 7 (Lydian-Dominant) ...... 90 Dom 7 V sus (modal Mixolydian) ...... 92
Modes with relatives, 7-position scale shapes w/ voicings embedded ...... 94 7 Major modes ...... 94 7 Harmonic Minor modes...... 115 7 Melodic Minor modes ...... 136
Other scales, ideas ...... 157 Double Harmonic/Hungarian Minor ...... 158 Harmonic Major ...... 162 (Brahms) Lullaby in Harmonic Major...... 166 Symmetrical Scales: Whole-Half Diminished ...... 168 Half-Whole Diminished ...... 170 Whole-Tone Scale ...... 172 Augmented Scale ...... 174 VoicingIntroduction Modes
Introduction.
Modes are ofen at frst understood in relation to a parent scale. While this can be helpful as a starting point and for developing muscle memory, in practice it doesn’t always point the player to the right chord tones in relation to the sound. In other words, it doesn’t help make the changes.
To use modes to make the changes, one must be able to relate the scale shape to a chord voicing - a chord voicing that outlines the essential few tones in a sea of seven notes. Tese voicings can vary depending on the amount of color desired. Te color desired is dependent on musical style/genre, and whether or not the chord is functional in a progression or static in its modality. Tese essential tones are not always 1,3,5,7 (tertian harmony - stacked in 3rds).
While most chords in jazz and improv-based music are expressed in one of four tertian-voicing archetypes (Major, Minor, Dominant, or Diminished) — this is a false tetrachotomy. Tere are more than four.
To capture some other sounds that many composers intend, especially in compositions written in the last 50 years (and in Classical music, 150 years) one must add a few other archetypes. While those indicated in this book are not exhaustive, they will open your ears to other ways of expressing harmony while still staying true to the key center.
While exploring other ways to voice the modes, keep in mind that these are not just for comping and soloing. Feel free to use them as a starting point for composition and reharmonization. Te use of “pivot voicings” instead of just pivot chords can open up your understanding of harmonic relationships in multiple ways.
Enjoy exploring.
-Noel
P. S. Tis book is way more fun if you use a looper pedal.
Second edition notes: Typo corrections, clarifcations, TAB added to all edudes Tird edition notes: Additional etudes, expanded modal subs section, added blues chapter
More more info, charts, videos, and free web app: http://noeljohnston.com/voicingmodes.php
Now go eat before you turn the page...
1 VoicingPhrygian Modes
V. G Mixolydian♭2
A♭ Lydian-Aug♯2 A♭+ A♭°
A♭∆7(♯5), A♭∆7(♯5♯9) Larger size modal relative diagrams are in the reference section A♭∆7(♯5♯11), A♭∆7(♯9♯11) of this book starting pg. 94. A♭∆6 (no 5) “Magic 6”
A♭°7, A♭°∆7 For interactive modal relative diagrams, download the "Voicing A♭°7(♭6/♯5) F Melodic Minor 4 Modes" iOS app, or check out the "Voicing Modes" web app at ♯ B Locrian ♭♭ 7 (Lydian Minor) http://noeljohnston.com/voicingmodes.php B° Fm B°7 Fsus2, F° Fm∆7, Fm∆9 B°7(♭6/♯5) F°7, F°∆7
G Mixolydian♭2
(Phrygian-Dominant♮6)
G Gsus
G7, G7(♭9),
G13( 9) ♭ Gsus(♭9) “Phrygian” C Harmonic Major G6 (Ionian ♭6) E Altered♮5 C (Phrygian ♭4) Csus, Csus2, C+ C∆7, C∆9 Em C∆7( 6) “Herbie” E, E+ ♭ Csus2( 6) “Aeolian” Em7 ♭ E7, E7(♯9) Csus(♭6), C∆7(♯5)
E7(♭9), E7(♯5) D Locrian♮2 ♮6 Em7(♯5) (C2/E) (Dorian ♭5)
D° Dø, Dø9 D°7 D9sus (no 5th)
9 VoicingAeolian Modes
i. G Double Harmonic Minor (Hungarian Minor, Harmonic Minor #4)
A Mixolydian♭5♭9 A(b5) A7 (no 5) A7(b5), A7(b9 b5) A6 (no 5th) A13 (no 5) Larger size modal relative diagrams are in the reference section A13(b9) of this book starting pg. 94. F♯Ultralocrian ♮5 B♭ Ionian ♯5 ♯2 (Phrygian b4 bb7) B♭+ For interactive modal relative diagrams, download the "Voicing F#m B♭∆7(♯5) F#, F#+ Modes" iOS app, or check out the "Voicing Modes" web app at B♭∆7(♯9♯5) F#m6 http://noeljohnston.com/voicingmodes.php B 6 (no 5th) F#6 ♭ F#°7(♭6/♯5) G Dbl-Harm Minor B♭∆6 (no 5) “Magic 6” Am B♭sus (♭6 ) (no 5) A° B♭°7(♭6/♯5) Am∆7, Am∆9 A°∆7 Asus2(♭6) “Aeolian”
C♯ Locrian♭♭3♭♭7 E♭ Lydian ♯9♯6 C♯sus2b5 (“bb3”) E♭ C♯°bb3 (D#7/C#) E m, E ° ♭ ♭ C♯sus2♭6 (♭5) (A7b5/C#) E ∆7, E ∆7( 9), E ∆7( 11) ♭ ♭ ♯ ♭ ♯ D Dbl-Harm Major C♯sus♭6 ♭2 ( D /C#) E 7, E 7( 9), E 7( 11) ♭ ♭ ♯ ♭ ♯ D E m∆7, E m7 ♭ ♭ D+, Dsus E♭m7b5, E♭°∆7 D∆7 E♭7(∆7) D∆7#5
D∆7(♭6) “Herbie” Dsus(♭9) “Phrygian” Dsus(♭6)
19 VoicingAeolian Modes
•Tis etude should be played chord-melody style •It only uses one parent scale - Hungarian Minor (also known as Double Harmonic Minor or Harmonic Minor #4). Asus(b6) is used ofen. •As an experiment, record the chord changes in a looper and improvise using A Aeolian arpeggios. •See the reference section for Hungarian Minor scale shapes, & modal relatives with voicing options. Aeolian Etude #1 Noel Johnston Aeolian Etude #1 Afro-Cuban/Swing Noel Johnston {m q = c 120} 5 Asus2( 6) B7 5 Asus2( 6) C # 3 b b b ± 3 j ( ) j j 4 ‰ œ ˙ œ# ˙ ‰ œ ˙ ‰ œ ˙ & 4 Œ ˙. œœ ˙˙ ‰ œ œ ˙ Œ ˙. œœ ˙˙ œ# œ ˙ ˙. œ œ ˙. œ ˙. œ œ w 0 0 T 0 4 4 0 5 2 2 2 2 4 A 3 3 3 3 6 B 0 02 2 0 03
5 5 11 7 7 A m B7 b5 C±# F/Eb C±# /E F ±# /E E ± F ± /E ( ) œ . œ. #œ . œ. œ . œ. ‰ œ. ‰ #œ. ‰ œ. ‰ œ. ‰ œœ. ‰ œ. ‰ #œœ. ‰ œ . 5 & œ. œ. œ# . œb œ. œ . œ. # œ . œ . œ œ œ. œ œ. œ . J . J J J œ. œ œ. œ œ. œ ˙ 1 4 5 6 9 J 10 J 12 J 13 2 2 4 5 5 9 9 10 2 3 6 7 9 9 13 14 00223366 8 11 12 0000000
Asus2( 6) B( 5) G /A Am(∆9)/G F7(∆7) 5 # 3 # F 7/E b b 3 E±# b œ œ œ# œœ œ œ œ œ œ #œ j œ œ œ œ j œ #œ Nœ œ# # œœ œ œ œ œ nb œœ œb œn ## œ œ 9 & œJ 3 ˙# Str. 8ths œ œ œ 3 œ 3 Str. 8ths œ œ œb ˙ 3 12 12 11 8 87 5 5 12 12 12 9 9 5 5 5 9 6 14 14 10 8 8 5 8 8 8 5 15 15 13 10 10 6 6 7 7 10 7 12 0 8 7 6
( 11 Asus2( 6) C 9 C 6 Asus2 b6) F ±# b ±# rit. U U œ U " œ œ ˙˙ œ œ œ #œœœ œ 12& œ œ g ˙ œ œ œ œ g ˙ œ œ freely œ œ œ# g œ œ œ 0 0 0 10 5 0 0 0 0 9 4 2 2 8 7 3 3 3 9 0 3 32 0 87 410 8
23 Voicing Modes "ModalVoicing Mothers" Modes
26 "ModalVoicing Mothers" Modes
Try this: Find the tonality/key center and use the 1-b2-4-5 / 1-3-#4-7 / 1-2-5-b6 / 1-4-b5-b7 interval set appropriate to the key center and try it with various voicings related to that key.
For example, "Modal Mothers" in a major key would be 3-4-6-7 relative to the parent key. A V7 chord providing the context (Mixolydian) it would yield 6-b7-2-3 relative to that sound: Here's an F7 chord in the key of Bb F 7 œ œ bœ œ œ 4 œ bœ œ œ bœ œ & 4 bœ œ œ œ œ bw
10 11 10 T 8 10 10 8 7 8 8 7 A 7 7 B 6 10 10 6
Modal Mothers in melodic minor would be 2-b3-5-6 relative to the parent key. A IV7 (in melodic minor) chord providing the context (Lydian-Dominant) would, just like Mixolydian, yield a 6-b7-2-3 sound: Here's an F7 chord in the key of C melodic minor: F 7 œ 4 œ bœ œ œ œ œ bœ œ & 4 œ bœ œ œ œ œ bœ w
10 T 10 10 12 12 A 12 13 13 12 10 12 12 10 B 10 11 11 10
Modal Mothers in harmonic minor would be 1-2-5-b6 relative to the parent key. A V7 (in harmonic minor) chord providing the context (Phrygian-Dominant) would yield a 1-b2-4-5 sound: Here's an F7 chord in the key of Bb harmonic minor: F 7 bœ bœ œ bœ bœ 4 bœ œ œ œ œ bœ & 4 œ œ bœ bœ œ w
8 T 11 11 10 11 11 10 A 8 10 10 8 8 9 9 8 B 8 8
Let's take a look at another chord in melodic minor. Modal Mothers in melodic minor would be 2-b3-5-6 relative to the parent key. A VII7 (in melodic minor) chord providing the context (Fully Altered, aka Superlocrian) would yield a #9-3-#5-b7 sound: Here's an F7 chord in the key of E melodic minor: F 7
bœ #œ œ #œ bœ & 4 #œ œ #œ #œ œ #œ 4 œ #œ bœ bœ #œ w 5 T 9 9 6 8 8 6 A 6 7 7 6 6 6 B 5 9 9 5
27 Voicing Modes "ModalVoicing Mothers" Modes
You may have noticed that the "Essential Phrygian" and "Essential Aeolian" structure is related as they are inversions of each other. Tere are two other inversions, the 1-3-#4-7 (Lydian) and the 1-4-b5-b7 (Locrian). Tese 4 Modal Mothers ft in many tonalities. You can use this intervallic structure on related chords. "Modal-Mothers" Etude: Sweet Georgia Brown
using the 1-b2-4-5 / 1-3-#4-7 / 1-2-5-b6 / 1-4-b5-b7 interval set appropriate to the key center 6-b7-2-3 if mixolydian or Lyd-dom, 1-b2-4-5 if Phryg-dom, #9-3-#5-b7 if Altered (etc)
F 7 œ œ bœ œ œ œ œ bœ œ œ 4 œ bœ œ œ bœ œ œ bœ œ œ bœ œ & 4 bœ œ œ œ œ bœ œ œ œ œ
10 11 10 10 11 10 T 8 10 10 8 8 10 10 8 7 8 8 7 7 8 8 7 A 7 7 7 7 B 6 10 10 6 10 10
7 Bb œ bœ œ bœ œ œ bœ œ bœ œ bœ œ œ œ œ bœ bœ œ œ œ œ bœ & œ œ œ œ œ œ œ œ œ œ
8 8 T 8 9 9 8 8 9 9 8 7 7 7 7 A 10 10 10 10 10 11 11 10 10 11 11 10 B 8 10 10 8 10 10
7 Eb œ œ œ œ œ œ œ œ œ œ & œ œ bœ bœ œ œ œ œ bœ bœ œ œ œ bœ œ œ bœ œ bœ œ œ bœ
8 8 T 8 8 8 8 10 10 10 10 A 10 11 11 10 10 11 11 10 8 10 10 8 8 10 10 8 B 8 9 9 8 9 9
7( 5) 7( 9) Abmaj Gmi b C b bœ bœ œ œ œ bœ bœ œ œ œ œ œ œ œbœ & œ bœ bœ œ œ œ œ œnœ œ œ œ œ œ bœ œ œ œ bœ œnœ œ bœ
8 T 9 11 9 8 9 8 8 10 8 7 8 10 A 10 11 10 9 10 11 10 11 13 11 10 11 10 8 B 8 9 8 7 8 11 13 11 10 11 9 28 "ModalVoicing Mothers" Modes
F 7 bœ bœ œ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ & bœ œ œ œ œ bœ œ œ œ œ
10 11 10 10 11 10 T 8 10 10 8 8 10 10 8 7 8 8 7 7 8 8 7 A 7 7 7 7 B 6 10 10 6 10 10
7 Bb œ bœ œ bœ œ œ bœ œ bœ œ bœ œ œ œ œ bœ bœ œ œ œ œ bœ & œ œ œ œ œ œ œ œ œ œ
8 8 T 8 9 9 8 8 9 9 8 7 7 7 7 A 10 10 10 10 10 11 11 10 10 11 11 10 B 8 10 10 8 10 10
7( 5) 7( 9) 7( 5) 7( 9) Fmi Gmi b C b Fmi Gmi b C b œ œ œ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ & œ bœ œ œ œ œ bœ œ bœ œ œ œ œ bœ
8 8 T 8 8 8 8 10 10 10 10 A 10 11 11 10 10 11 11 10 8 10 10 8 8 10 10 8 B 8 9 9 8 9 9
(G phryg-dom because of the b2 and n4 in the melody) 7 7 7 7 7 7 Ab G F# F Bb Eb Abmaj œ œ bœ œ œ bœ œ œ & œ bœ œ #œ #œ œ bœ œ œ œ œ #œ œ œ bœ œ ˙ œ bœ bœ œ 10 8 T 8 10 9 8 5 7 8 10 A 5 6 6 8 11 10 1 3 5 6 7 10 8 3 B 1 2 9 8 3
29 Voicing Modes TheVoicing "Magic Modes 6th"
•Tis one sticks to only 1-3-6-7 voicings. Both chords and lines. •Te chord shapes and lines are supposed to mirror each other on the same place on the neck (and are suggested fngerings/positions - feel free to come up with your own sustained arrangement). I call this the "Jim Hall Method" - where lines and chords are conceived in the same part of the brain. As with the other etudes, try to think of these lines as voicings instead of just single-line 'shred' arpeggios. Guitar as a hybrid line/chord instrument is unique in this way. •Te tune, harmonically, only uses three keyMagic centers: B, G, &6th Eb. (Giant Etude Steps) Te Magic #1 6th voicing works on the I & IV chords of each key. See page 68-73 for more Giant Steps modal reharmonization examples for comping over this etude. Noel Johnston
Magic 6th Etude #1 Noel Johnston
2 4 4 4 4 4 1 1 2 1 1 4 1 3 1 œ œ# œ œ o œ œ œ o œ 4 œ# œ œ œ œ œ œ œ œ œ œ# & 4 œ# œ œb œ œ œb œ œ œ# œo o œ œ œ 3 8 3 0 12 T 9 12 10 0 3 3 0 8 8 9 5 5 0 11 A 6 10 2 5 5 5 4 2 6 6 7 B 7 3
B 7(6) C 7(6) G 7(6) E 7(6) G 7(6) ± ± ± b± ± œ. #˙ ˙˙ ˙ w œ 4 # ˙ ˙ ˙˙ ww ˙ œ# . & 4 #˙ ˙ ˙b ˙ w #˙˙ ‰ ˙ ˙ 7 3 0 12 T 9 10 3 0 8 8 9 4 5 0 11 A 6 10 2 5 4 2 6 7 B 7 3
4 4 4 2 2 1 œ# œ 3 œ œ œ œb œ# œ# 2 1 2 œ œ œ œ œ œ œ# œ# œ œ œb œ# œ œ 5& œ# œ# œ œ œb œ# œ œ# œb œ 14 12 10 15 11 16 11 3 12 13 13 15 12 11 6 12 12 13 8 5 13 9 8 3 5 6 11 6 3 7 6 4 (6) (6) B 7 G 7 E 7(6) ± ± b± 7(6) #˙ ˙ #˙ ˙ Ab± ˙ ˙˙ ˙ # ˙ ˙ ˙ ˙b ˙ ˙b ˙ ##˙ ˙ #˙ ˙˙ & ˙ ˙ # ˙ ˙˙ ˙b ˙ #˙ ˙b ˙ 14 10 15 16 3 12 13 15 16 6 12 12 12 15 8 0 5 13 13 13 6 3 6 14 6 3 7 4
38 TheVoicing "Magic Modes 6th"
2
1 4 4 3 3 œ 2 œ œ œ œ# œ# œ œ# œ œ œb œ œ œ œ œ œ œ œ# œ# œ & œb œ œ œ œ# œ œ œ# œ œ œ 3 8 7 2 4 6 10 5 4 9 5 7 8 8 9 4 6 8 5 10 9 7 2 4 5 6 6 7 2 7 8 3
(6) (6) (6) 7(6) C 7 7(6) E 7 B 7 Eb± ± G ± ± ± w ˙˙ # ˙ œ #œœ. w ˙ #˙˙ ## ˙˙ œœ œ. & wb w ˙ ˙ ˙ # ˙ œ ˙ ˙ 7 2 4 6 8 10 5 4 9 5 9 2 4 6 8 5 10 9 2 5 6 6 7 7 8 3
1 2 2 4 1 1 4 1 4 œ œ œ# œ œ# œ# œ œ œ 1 œ œb œ œ# œ# œ œ & œ œ# œ# œ œb œ œ œ œ œ œb œ# œ œ# œb œ
4 8 7 6 6 6 8 8 9 9 8 4 5 10 7 8 8 8 8 6 5 6 10 9 6 8 6 10 7 6 4 8
(6) B 7(6) 7(6) E 7(6) B 7 ± Ab± b± ± # w w # #ww # w w w # w & w# w w wb w w wb 4 8 6 4 6 8 9 4 5 7 8 8 3 5 9 6 4
39 Voicing Modes TheVoicing "Magic Modes 6th"
•Tis one uses mostly "Magic 6th" (1-3-6-7) voicings appropriate for the key centers of the tune, Alone Together. •Key centers used in order of appearance: F major, D harmonic minor, Bb major, G harmonic minor, A major, D major, F harmonic major, C major, F melodic minor. Magic 6th Etude #2 Noel Johnston Magic 6th Etude #2 Noel Johnston
F 7(6) F B 7(6) F 7(6) ± #5 - 6 b± ± w ˙ w ˙ 4 w œb œn ˙ w w œ ˙ & 4 w w œ ˙ w w wb œ œ ˙ 10 5 T 10 10 10 8 5 9 6 7 7 7 A 7 5 7 8 8 8 B 6
7(6) 7(6) 7(6) Bb± Eb± Gb6(no5) Gbo7 G m Eb± ˙ ˙ w ˙˙ œ œ ww 5 œb œ œb œ œ & w ˙b ˙ ˙ w wb w wb ˙b w 3 8 3 1 3 7 5 5 3 2 3 2 3 5 5 5 1 0 5 6 6 6 2 3
7(6) 7(6) 7(6) 7(6) 7(6) A ± D ± F ± Bb± F ± œ œ œ œ œ œ œ œ œ œ# œ# œ œ œ œ œb œ œ œ 9 & œ# œ œ œ œ 12 10 7 12 10 15 15 10 6 11 9 14 14 10 4 9 7 12 15 14 8 13 5 10
(6) 5 (6) (6) F ±7 F ±# G ±7 D ±7 œ œ# œ œ œ œ# œ ‰ œ œ œ# œ œ œ# œ . 12& œ œ œ œ œ# œ œ . œ œ 5 9 7 5 5 5 7 7 7 6 4 7 6 7 7 4 5 9 0 8 7 . 3 7 .
40 TheVoicing "Magic Modes 6th" 2
B 7(6) E # 11 E 7(6) B 7(6) b± b±#9 b± b± w ww #w ww w & w w w wb w 15 wb wb b w 5 5 5 10 8 7 8 10 7 7 7 7 5 5 5 8 6 6 6
7(6) D m 7 A B m 7 A 7(6) 7(6) 7(6) 5 Db± b ± b ± F ± Bb± F ± F ±# # ˙ b˙ w ˙ ˙ ˙ ˙ ˙ & bww ˙b ˙b ˙˙ ˙ ˙ ˙ 19 b w ˙ ˙ ˙ ˙ ˙ ˙b ˙ ˙# 1 12 9 5 1 13 10 5 8 3 5 3 12 9 7 7 2 2 3 11 8 7 5 0 3 4 0 0 8 4 6 1
F 7(6) F B 7(6) F 7(6) ± #5 - 6 b± ± w ˙ w ˙ w œb œn ˙ w w œ ˙ & w w w œ œ ˙ 2 wb 10 5 10 10 10 8 5 9 6 7 7 7 7 5 7 8 8 8 6
7(6) 7(6) 7(6) 5 ± Ab± Bbo7 Bb6(no5) F ± F ±# E 12 ww ˙ # w w ˙ œb œn ww ww & w ˙ ˙ w 2 w ˙b ˙b 7 5 10 6 5 14 9 5 6 7 7 10 7 3 5 7 14 8 8 4 6 12
41 Voicing Modes TheVoicing "Magic Modes 6th"
Magic 6th Etude #3 (Countdown) Using 1-3-6-7 on the I and/or IV of the Major tonalities, and on the III of the Melodic Minor tonalities
G6J(omit5) E 6J(omit5) C 6J(omit5) D 6J(omit5) D 6J(omit5) b 8 b 6 b 8 9
3 bœ #œ œ bœ bœ bœ #œ œ 4 œ œ œ œ bœ bœ bœ bœ bœ bœ nœ œ Œ & 4 œ bœ œ œ bœ œ œ œ œ Keys: D Major ...... Bb Major ...... Gb Major ...... Bb Melodic Minor . . . . . D Major ...... | 3 6 9 14 T 3 3 3 9 9 12 5 5 8 8 11 A 2 5 5 8 9 9 8 10 12 2 6 8 B 0 3 9 6J(omit5) 6J(omit5) 6J(omit5) D 6J(omit5) 6 (omit5) F D b 6 E J 10 F b 8 9
œ œ œ œ œ bœ œ bœ œ #œ œ œ bœ bœ œ #œ #œ œ œ Œ & #œ œ #œ #œ nœ œ œ #œ œ œ Keys: C Major ...... Ab Major ...... E Major ...... C Major ...... | 12 10 8 6 4 5 T 10 11 6 4 3 5 10 10 6 6 2 A 11 10 6 2 3 7 6 4 5 B 4 1 5
6 (omit5) 6 6J(omit5) 6 D J J(omit5) B J(omit5) 5 B 5 5 C b b b 6
bœ bœ bœ œ #œ œ bœ bœ bœ bœ bœ œ #œ œ œ œ & œ œ bœ #œ œ #œ bœ œ œ bœ œ œ œ bœ œ œ Keys: Bb Major ...... Gb Major ...... D Major ...... Bb Major ...... | 6 7 6 7 9 10 6 5 T 9 9 7 8 8 8 6 7 7 A 5 7 9 9 8 7 5 5 5 9 5 B 6 6 5 3
6 (omit5) 6 (omit5) 6 6 E J D J D J(omit5) B J(omit5) b 6 b 8 7 b 5
œ œ œ œ œ œ bœ œ #œ #œ bœ œ œ œ bœ œ bœ œ bœ & œ #œ œ œ œ bœ œ œ bœ #œ œ #œ bœ Keys: D Major ...... Bb Major ...... Bb Melodic Minor ...... | 2 5 8 10 8 T 2 8 8 11 4 7 7 8 10 A 4 5 7 8 10 11 10 8 2 4 5 5 6 10 8 B 2 6 9
42 Voicing Modes
Modal Becoming Functional
Enharmonic equivalence
Some sounds, when “modally voiced” (with upper extensions in the lower register) can actually become functional. In other words, some modes contain 2nds, 4ths, or 6ths which are enharmonically equivalent to intervals that make up common sounding triads and seventh chords. Some enharmonically equivalent intervals (written diferently, but the sound is the same pitch on an equal tempered instrument): # 2 = b 3 b 4 = n 3 # 4 = b 5 # 5 = b 6 n 6 = b b 7
Chord examples:
•Example 1: F Lydian #9 (6th mode of A harmonic Minor):
1, # 2, 3, # 4, 5, 6, 7
1-3-5 triad is an F Major triad
1-# 2-5 is “Fsus # 2” which is enharmonically equivalent to an F Minor triad.
1-# 2-# 4 is “Fsus # 4 add # 2 (no 5th)” which is enharmonically equivalent to an F0 triad
Similarly,
1-3-5-7 is F∆7
1-# 2-5-7 “F∆7sus#2” (who wants to read that?!) is enharmonically equivalent to an Fm∆7
1-# 2-# 4-7 “Fsus#4∆7 add#2 no 5th” (boo!) is enharmonically equivalent to an F0∆7
1-# 2-# 4-6 “F6sus#4#2 no 5th” (yikes!) is enharmonically equivalent to an F07
44 Modal BecomingVoicing Functional Modes
•Example 2: Super Locrian/Altered (7th mode of Melodic Minor):
1, b 2, b 3, b 4, bv 5, b 6, b 7
When voiced in 3rds, it is a Half-Diminished chord: 1, b 3, b 5, b 7
BUT... if you voice the b 4 as foundational, it’s perceived as a n 3rd - and against the b 7 it makes the dissonant tritone - the most common way to voice this sound is actually a DOMINANT 7th sound:
Tis scale is typically thought of as 1, b 9, # 9, n 3, b 5, # 5, b 7 (“Fully Altered”)
•Example 3: Altered b b 7 / "Ultralocrian" (7th mode of Harmonic Minor):
1, b 2, b 3, b 4, b 5, b 6, b b 7
When voiced in 3rds, it is a Fully-Diminished chord: 1, b 3, b 5, b b 7
BUT... if you voice the b 4 as foundational, it’s perceived it as a n 3rd - making it a major voicing - and the b b 7 then sounds like a n 6 making the voicing like a MAJOR 6th sound:
With that in mind, check out these 8 diferent diminished favors of Harmonic Minor and Harmonic Major:
45 Voicing Modes VoicingDiminished Modes
Just to let those variations sink in a bit more, check out this very guitaristic fngering of these various diminished sounds. Compare them to the symmetrical diminished. Some of these sounds are very useable in the context of blues licks. Diminished idea #1 °7 arpeggio on B & D strings, with favor notes on G-string
48 VoicingDiminished Modes
Option Anxiety: Tere are 11 possible diminished sounds (four harmonic minor, four harmonic major, two symmetrical diminished, and also blues) and an additional 5 tonal sounds if only a diminished triad is required. Is it any wonder that people freak out when they see a diminished chord?
Tings to consider when you see a diminished chord (or any chord, for that matter): • Is it possible that you can treat the diminished chord as part of a specifc tonality (instead of automatically playing diminished scale stuf on it)? • Is it more appropriate to think of it as part of a cadence in one tonality, or as an isolated sound among shifing tonalities? • Do you fnd it easier when thinking of it in a tonal context to improvise longer, or more musical phrases? • Is it more interesting to your ear one way or the other (tonal vs non-tonal)? • Do you leave space on diminished chords? Is it because you want to, or because you know you won't like what you'll play? • Is it really only a passing chord? Is it an "old fashioned" sound? • Sometimes the diminished chord can be substituted for another tension chord (dom 7) based on the next chord, but many times it is not really the sound the composer intended (For example, the b3º and parallel diminished: biiiº & iº7-->IΔ ) • Tere's no right way all the time, but there's something special about sticking to a tonality for more than just one chord.
"Chromaticism destroys tonality" -Dan Haerle
"But, wait! Maybe it doesn't. Maybe it just adds intrigue and clouds everything in mystery!" -Dan Haerle
Hidden tonalities disguised by simple chords: See if you can fgure out ONE TONALITY that fts each of these chord progression examples. Keep in mind there can be some mystery in each chord - instead of a colorful chord revealing a lot of notes at once (a "jazz chord"), the tonality of the sound can be disguised amongst simple chords, thus revealing the tonality only in the full context of the progression. Tis simple-chord concept works well in non-jazz styles because simple chords (like triads) are familiar to people's ears, allowing other aspects of the music (such as melody, texture and timbre) to be the focal point:
1. D # º7 A/E 2. D º7 A 3. D D º7 A(no 5th) 4. B bº (triad) A b/C//C B bº/D b A b/C//E b 5. Dm C # º7 B bº7 B b Δ7 6. C *E b 6 (no 5th) G6 (no 5th) B 7. A b E b m D b m G b 8. C # 6 (no 5th) Dm B bº7 B b 6 F 6 (no 5th) A 7/C//C # 9. E b/C/2/G F/A D b 6 (no 5th) 10 . B b 6 (no 5th) D 6 (no 5th) F # 11. F F7/E b Am/E E 12. B b m A b 6 (no 5th) Gm (no 5th) E 6 (no 5th)
*Te "6(no 5th)" chord is really a 1st inversion minor triad, but it can be savored as kind of major.
1. A Lydian#9 (6 of C# Harmonic Minor), A Blues, or 1/2-W diminished 7. A b Mixolydian b6 "Aeolian Major" (5 of Db Melodic Minor) 2. A Harmonic Major 8. D Harmonic Minor 3. A Ionian #5 (3 of F# Harmonic Minor) 9. B b Melodic Minor 4. Ab Mixolydian b6 / "Aeolian Major" (5 of Db Melodic Minor), A Harmonic Major or Bb Blues 10 . B Harmonic Minor 5. B b Lydian #9 (6 of D Harmonic Minor) 11. F Lyd #2#6 (6 of A Hungarian Minor) 6. C Lydian #9 (6 of E Harmonic Minor), or C Lyd #9#6 (6 of Hungarian Minor) 12. B b Dorian #4 (4 of F Harmonic Minor), or B b Blues 51 Voicing Modes HarmonyVoicing of the Modes Blues
Harmony of the Blues* (Blues in a 12-tone environment)
Blues is not necessarily major or minor, but can be either, both (held in tension at the same time) or something else entirely. Even though traditional western harmony, (with its major-or-minor-key dichotomy) has a tougher time explaining it, blues is a tonality with multiple diferent favors. Te tension of the b3 vs the 3, and the b5 vs the 5 are some of its various defning sounds, yet this can't easily be expressed chordally. Unless one is talking about the chords in a blues progression, the blues is uniquely melodic in nature. Tis because its intervals don't neatly ft into the equal-tempered system of intonation, and why i'm a little hesitant to suggest a chordal structure using it. However, while the human voice and some instruments are capable of achieving the "in-between" notes, we make music in a 12-tone environment alongside others who are confned to this equal-tempered system. Te adaptation of the blues to this environment is one of the most important roots of jazz. So I'll go ahead and talk about the commonly taught BLUES SCALES and how they can be voiced:
Te blues scale (aka "minor blues scale") has the interval structure: 1, b3, 4, b5/#4, 5, b7 Te major blues scale has the interval structure: 1, 2, b3, 3, 5, 6 (having the same interval structure as the minor blues starting on the b3)
If you take the intervals from BOTH scales starting from the same root, you get a magical HYBRID BLUES scale: 1, 2, b3, 3, 4, #4/b5, 5, 6, b7
(minor blues: 1, 3, 4, 4/ 5, 5, 7) (major blues: 1, 2, 3, 3, 5, 6) "hybrid" blues scale: 1, 2, 3, 3, 4, 4/ 5, 5, 6, 7 b # b b b b # b b
& bœ bœ œ œ bœ œ bœ bœ bœ bœ bœ nœ œ bœ œ bœ nœ bœ œ bœ nœ bœ nœ œ
Te blues sound is not tied to a specifc chord quality, but it's most ofen associated with dominant 7th chords, however... FUN FACT: This 9-note scale contains a LOT of different CHORDS:
2 7 7 7 7 Bb Bbmin Bb` Bbsus Bbsus Bb (shell) Bb Bbmin (shell) Bbmin
& bw bw bw bw bw bbw bbbw bbww bww bw bw bbw bbw
6 6 7( 5) 7 9 7 7(add 4) 9 Bb Bbmin Bbmin b Bb` Bb Bbsus Bb Bbsus bw bw & w w bw ∫w bw b w bw b w bw bbw bbbw bb bw bw bw bbw bw
7(#9) 7( 5) 7(#11) 9(#11) 13 13(#11) 2 9( 5) Bb Bb b Bb Bb Bb Bb Bb Bbmin b bw ww w ww w ww & b#w b w bw bw bw bw w bw bw bw bw bw bw bw bw bbbw
56 HarmonyVoicing of the Modes Blues
Another fun fact: The hybrid blues scale contains the notes of these FIVE tonal scales: (100% correct - all 7 notes are one of the 9 hybrid blues scale notes)
Mixolydian (V of E Major) b ↑ ↑ ↓↑ & œ œ bœ bœ bœ œ œ bœ
Dorian
(ii of A Major) b ↓ ↑ ↓↑ & œ œ bœ bœ bœ œ bœ bœ
Dorian #4 (iv of F Harmonic Minor) ↓ ↓↑ ↓↑ & œ bœ bœ bœ œ bœ Nœ œ
Lydian-Dominant ↑ ↓↑ ↓↑ (iv of F Melodic Minor) & œ œ bœ bœ bœ œ œ œ
Locrian n2 n6 ↓ ↓ ↓↑ (ii of A Harmonic Major) & œ bœ bœ b bœ œ bœ bœ bœ
(Extra nerdy section)
Remember the modal mother patterns (such as the 1-b2-4-5 "Essential Phrygian" set)? Let's see if that fts anywhere in the interval structure of the 9-note Hybrid Blues scale. (Yep. It does. In Tree places!)
on the 2 This will have a Dorian flavor. & w bœ bœ Will fit in the 2nd and 3rd examples above bœ w bw nœ bœ nœ w
This will have a Locrian flavor. on the 4 Will fit in the 5th example above & œ œ bw bw bw œ bœ nœ bw nw
on the 6 This will have a Dominant flavor. & w bw bœ Will fit in the 1st and 4th examples above bœ w bœ nw bœ nœ œ
*Big Disclaimer: Tis stuf is NOT blues. It's how you play the notes that matters
57 Voicing Modes HarmonyVoicing of the Modes Blues
(Extra Extra nerdy section)
OK, check this out: Here is something that could be called the tritone blues hexatonic scale but should really be called six really important blues notes. If we take these notes as a kind of blues essence (especially making use of the bent blue notes between the b3 and 3, and the b5 and 5), we can discover some additional sounds that become useable in blues. 1 3 - 3 5 - 5 7 b b b
& bœ nœ bœ nœ bœ bœ ↓ ↑ ↓ ↑ ↑
(These two contain all 6 of the above, but have one "forbidden" note according to the 9-note Hybrid-Blues scale)
1/2-Whole diminished (almost right - forbidden note = 2) Lydian 2 6 -VI of Hungarian minor (almost right - forbidden note = ∆7) b # # bœ & bœ nœ œ œ œ bœ œ œ œ #œ œ b1œ n œ 3 - 3 5 - 5 7 b1œ # œ3 - 3 5 - 5 7 b b b b b b
More almost right sounds to try:
Lydian 2 -VI of Harmonic minor Tritone Scale # Altered n5 - III of Harmonic Major (5 out of 6, 1 forbidden note = ∆7) (5 out of 6, 2 forbidden = 2, 6) (5 out of 6, 1 forbidden = 2) b b b
& œ œ œ œ bœ ∫œ œ bœ bœ bœ œ œ #œ bœ b 1œ # œ3 - 3œ 5 - 5 b1œ b œ b 3œ - 3 5 7 b1œ n œ œ3 5 - 5 7 b b b b b b
Hungarian minor Lydian-minor - iv of Harmonic Major Lydian - IV of Major (4 out of 6, 2 forbidden = 6, ∆7) (4 out of 6, 1 forbidden = ∆7) (4 out of 6, 1 forbidden = ∆7) b
& œ bœ œ bœ œ œ œ bœ œ œ œ bœ 1 b œ3 œ5 - 5 1 b 3œ 5œ - 5 1 œ3 œ5 - 5 bœ œ b b bœ œ b b bœ œ b
Honorable mention: These three almost right tonalities contain the 'sass' of min7 5 b Locrian 2 - vi of Melodic minor Altered/Superlocrian - vii of Melodic minor Locrian n6 - ii of Harmonic minor n (4 out of 6, 1 forbidden = 2) (4 out of 6, 1 forbidden = 6) (5 out of 6, 2 forbidden = 2, 6/ 5) b b b b # bœ bœ bœ & bœ bœ œ bœ bœ bœ bœ bœ ∫œ bœ bœ bœ 1 b œ b œ3 5 7 1 œ b œ3 5 7 1 b œ b3œ - 3 5 7 bœ b b b bœ b b b bœ b b b
58 HarmonyVoicing of the Modes Blues
Five Blues Sounds Here are 5 diferent favors of blues. 5 diferent tonalities imbedded in the hybrid blues scale. Changing tonalities can be shocking at frst, (like drinking orange juice right afer brushing your teeth) so feel free to spend more time in each sound to get used to it. Tis collection of blues licks is all over Bb (looper recommended)
B Pedal b j j j j 4 bœ ‰ œ Ó bœ ‰ œ Ó bœ ‰ œ Ó bœ ‰ œ Œ ‰ œ & 4 J bœ. œ bœ. œ bœ. œ bœ. œ T A 8. 8 8. 8 8. 8 8. 8 8 B 6 6 6 6 6 6 6 6
B dominant blues (mixolydian) b bœ bœœ œ œ œ œ œ j j bœ nœ bœ bœ nœ bœ bœ œ bœ ‰ œ Ó bœ ‰ œ Œ ‰ œ & œ bœ bœ nœ J bœ. œ bœ. œ 6 6 6 6 T 9 8 6 8 6 6 6 7 8 6 7 A 8 6 8 8 8 8 8 8 8 6 4 5 . . B 6 6 6 6
B dorian blues b r bœ bœ bœ œ œ . r œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ . r bœ œ œ bœ b œ œ œ œ bœ œ bœ œ œ & bœ œ œ œ b œ bœ ‰ 3 3 bœ bœ bœ œ œ . œ bœ
6 9 6 T 6 6 6 8 9 9 9 9 8 6 8 8 6 8 9 8 6 6 6 6 8 10 10 10 10 8 6 . 3 5 6 5 3 A 8 8 8 8 11 11 11 11 8 6 . 3 5 6 5 3 B . 1
B dorian 4 blues b # bœ . j j œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ bœ ‰ œ Ó bœ ‰ œ Œ 3 bœ œ & 3 bœ bœ. œ
T 6 6 6 6 9 6 6 3 3 9 9 9 9 9 6 9 6 6 A . 8 8 8 8 1 . B 6 6
59 Voicing Modes HarmonyVoicing of the Modes Blues
B dorian 4 blues (cont.) b # 3 1 1 3 1 1 bœ bœ bœ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ & bœ bœ œ œ œ œ œ ‰ b œ œ œ œ œ bœ œ œ œbœ bœ œ œ bœ ‰ J œ œbœ œ bœ bœ J œ œ
T 6 6 5 6 2 5 6 5 2 5 8 9 8 5 8 9 11 9 6 6 5 6 3 3 6 6 6 9 A 6 8 6 6 6 6 5 6 2 3 3 2 5 6 6 5 6 8 8 8 7 8 7 7 B 9 6 6
full 1/2 r œ bœ œ œ œ b œ bœ œ œ bœ œ bœ œ œ bœ bœ bœ œ bœ œ œ œ œ bœ œ œbœ bœ œ bœ & 3 3 3 3 bœ bœ œ œ full bœ
9 12 15 (15) 13 13 16 T 11 9 9 11 18 (17) 14 14 6 12 9 12 15 13 15 13 6 A 15 14 11 5 13 13 13 B 6
B lydian-dominant blues b r j j œ œ œ œ ˙˙. œ œ ˙. œ & bœ ‰ œ Ó bœ ‰ œ Ó b˙ . bœ œ ˙. 3 bœ. œ bœ. œ b˙ .
T 5 6 8 5 8 5 8 7 A 8. 8 8. 8 6 6 8 5 B 6 6 6 6 6
1/2 1/2 1/2 1/2 r r r r # œ # œ # œ œ œ œ œ bœ bœ œ bœ œ nœ œ bœ bœ œ œ œ bœ œ œœœ œœ bœnœ œ œ œ œ & bœœ œ ‰ J 3 3 Œ 3 ≈bœ œœ 3 œ bœ bœ bœ 1/2 1/2 1/2 1/2
6 9 11 9 13 13 12 T 6 5 9 11 11 9 14 14 11 7 5 6 7 10 10 A 6 5 14 8 7 5 11 15 B 8 6 4 6
bœ œ œ œ œ œ. r œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ b œ bœ œ œ œ œ w & ≈ bœ œ œ œ Œ œ œ œ œ w 6 œ bœ bœ 3
12 15 16 15 12 12 8 T 13 13 9 6 8 8 6 5 6 5 12 13 13 12 9 7 7 5 7 7 5 A 10 6 6 6 8 8 6 5 6 5 11 7 B 8 6 6
60 HarmonyVoicing of the Modes Blues
B locrian 2 6 blues b n n j j bbw bbww & bœ ‰ œ Ó bœ ‰ œ Ó b w b b w bœ œ bœ œ bw7( 5) 6 (omit5) . . Bbmi b Fb J T 5 4 6 6 A 8 8 8 8 6 6 . . 7 B 6 6 6 6 6
. 3 bœ bœ bœ œ w bb˙. bœ bœ bœ bœ œ bœ bœ b bw b˙. bœ bœ bœbœ b ˙. ‰ j bœ 3 3 bœ & b w bœ bœ bœ 9( 5) (4) Bbmi b Bbº 8 11 11 16 12 12 12 T 5 9 11 16 16 6 9 13 15 13 A 6 8 13 14 14 11 13 13 16 B 11 12
bœ bœ bœ bœ œ œ œ œ œ bœ œ bœbœ œœ œœœ œ bœ œ & Œ 3 bœ œbœ œœ bœbœœbœœ œœ œ ‰ œ œ Œ bœ œbœ œœbœ bœ bœ J
12 16 9 6 9 6 6 T 14 15 15 9 6 9 6 9 9 6 6 6 A 8 8 6 8 6 8 8 6 6 5 7 7 6 7 6 7 6 B 9 9 6 4 6
3 3 3 bœ bœ œ bœ bœ œ bœ œ 3 3 bœ bœ bœ œ œ bœ bœ œ œ œ œ b œ bœ œ œbœ œ bœ bœ 3 bœ œ œ bœ & œ œ œ bœbœ œ œbœ œ bœ œ 11 9 8 6 T 9 8 5 5 5 11 11 11 9 6 8 8 8 9 9 8 9 8 3 A 8 5 8 11 8 11 8 1 2 2 1 10 10 4 1 4 B 3
3 j j j & j bœ ‰ œ Ó bœ ‰ œ Ó bœ ‰ œ Ó œ bœ ˙. bœ. œ bœ. œ bœ. œ 3 T A 8 8 8 8 8 8 1 . . . B 3 6 6 6 6 6 6
61 Voicing Modes Tune Examples Voicing- Diatonic Modes Subs Diatonic Reharmonization
What is Diatonic Reharmonization? Simply put, it is the changing of a chord for another chord in the same key. Once you have found the tonality* of a particular chord (which the composer consciously intended or not), then you can substitute that chord for another chord in the same tonality. For example, if you are in the key of C Major** you can use any of these chord-voicing options (you can use this concept for diatonic soloing ideas and arpeggios, too). Diatonic reharmonization in C major can include any of these***:
(I) (ii) (iii) (IV) (V) (vi) (vii) C Dm Em F G Am Bº Csus Dsus Esus Fsus2 Gsus Asus BØ7 Csus2 Dsus2 Em7 F(add2) Gsus2 Asus2 BØ7 (add11) C(add2) Dm(add2) Em7(4) F∆7 G(add2) Am(add2) Bm7(4)(no5) C∆7 Dm7 Em(b 6) F∆9 G7 Am7 Bm7(# 5) C∆9 Dm9 Em7(# 5) F∆7(#11) G9 Am9 C 6/9 Dm11 Esus(b2) F∆13(#11) G11 Am11 C∆13 Dm7(4) F6 G13 Am7(4) C6 Dm6 F6∆7(nº5) G7sus Am(b6) C6∆7(nº5) F 6/9 G6 Am7(# 5) G9sus Asus2(b6) G13sus G 6/9 (Some of the above can also be thought of as inversions)
Here are some inversions:
Am/C Bº/D C/E Dm/F Em/G F/A G/B F/C G/D Am/E Bº/F C/G Dm/A Em/B Am7/C (C6) BØ7/D (Dm6) C∆7/E (Em(b 6)) Dm7/F (F6) Em7/G (G6) F∆7/A (Am(b 6)) G7/B F∆7/C G7/D Am7/E BØ7/F C∆7/G Dm7/A Em7/B Dm7/C Em7/D F∆7/E G7/F Am7/G BØ7/A C∆7/B G/C (C∆9(nº3)) G7(4)/D Dm7/E C/F (F∆9(nº3)) F/G (G9sus) G13/A F/B Am2/C (C6∆7(nº5)) C2/E (Em7(#5)) Dm2/F (F6∆7(nº5)) F2/A (Am7(#5)) G2/B (Bm7(#5))
etc.
*Not just major key & relative minor, tonality can be Major, Harmonic Minor, Melodic Minor, Harmonic Major, Hungarian Minor, or even symmetrical or synthetic sounds.
**For example, Dm7 - G7 - C∆7 (clearly a passage in C Major)
***Many of the non-inversion options are listed in the "chord-bubble" diagrams throughout this book. (Not only in Major, but also in Harmonic Minor, Melodic Minor, Harmonic Major, and Double-Harmonic, aka Hungarian Minor) Te chord-bubble diagrams are also available, in any key, in Major, Harmonic Minor, and Melodic Minor via the iOS app, "Voicing Modes" - available at the Apple app store. 62 Tune Examples Voicing- Diatonic Modes Subs Standard Tune Examples
Following are some tune examples with reharmonized changes - the reharmonizations follow a strict adherence to the key center the composer intended - they are diatonic substitutions. Not only can you use diatonic subs to change the accompaniment (one type of reharmonization), you can use them to gain new ideas for soloing over the original chord changes (“Bracketing” or “Modal Bracketing”)
Reducing the changes to it’s key center is called “Bracketing”* and it’s ofen how beginning improvis- ers learn to solo. Changing it to other key-center related changes could be thought of as “Advanced Bracketing.” Assuming you already know and hear how to make the changes, advanced bracketing can expand your vocabulary and idea pallette over a variety of tunes.**
Tere are two chord-melody arrangements: 1. Stella By Starlight (diatonic/modal substitutions) 2. All Te Tings You Are (diatonic/modal substitutions)
Chord changes only, with diatonic/modal substitution options: 1. Giant Steps 2. Blue Bossa
It helps to play these with a loop pedal to fully grasp the sounds.
Some words of caution: 1. When soloing with this concept, be sure to make the real changes if the situation calls for it. 2. When comping, be sure to play the real changes if the situation calls for it... Which is almost always.
(Te frst rule of comping: "Do no harm.")
*For a primer on "Bracketing," See Dan Haerle's book, "Te Jazz Language." **George Russell's 1953 jazz theory work, "Lydian Chromatic Concept of Tonal Organization" favors the Lydian equivalent of any given harmony (except Harmonic Minor). Te "Advanced Bracketing" technique here is similar, in that it relates sounds to the parent scale, but doesn't favor Lydian - it allows all seven related sounds equally.
63 Voicing Modes VoicingDiatonic Modes Subs
Stella By Starlight (modal sub changes) Music by Victor Young (1944) Arrangement: Noel Johnston
7 13 9 B ma7(#11) E 7(#11) Fsus Fsus A @/C A @7 B sus G ma7(#5) b b b b 6 b b 5 5 6 3 3 3 2
bœ w œ œ œ bœ w œ œ 4 w ˙ œ œ œ œ & 4 Œ Ó Œ bw ˙ Œ
13 9 7(#5) (#5) 9 7 13( 9) 11 Fsus B ma Fma /C DÈ(4) D ma7 Csus Csus Csusb Cmi G @7 b # b b 6 3 2 5 4 6 8 8 6 8
œ. œ ˙ ˙ bœ ˙ œ. œ ˙ ˙ œ bœ œ œ œ ˙ œ bœ & œ œ bœ ˙ J Œ J Œ œ
7( 13) 7( 9) 7(#5) aeol G b Gsubs Gbma G 3 3 2
3 bœ bw œ bœ œ œ w œ bœ œ w œ & œ bœ œ bœ œ w ˙ Œ
aeol ( 6) 7( 9) Gmi9 F @ Fmi7 E sus b E mi7 A subs F2/A b 2 b b 8 8 6 6 4 4 5
w œ œ œ bœ w ˙ œ bw œ bœ œ œ w & Œ ∑
64 VoicingDiatonic Modes Subs
How to pick modal substitutions:
Te process of Diatonic/Modal reharmonization starts with fguring out the most correct sound the composer intended (or matching typical/conventional changes), and then substituting the chord for another tonally-related chord (another sound in the same key).
Let's take the bridge in Stella By Starlight as an example:
7(#5) 11 7(#11) 9 G Cmi Ab Bbma 3 3 3 5
3 bœ bw œ bœ œ w œ bœ w & œ œ œbœ œ œ bœ œ w ˙ Œ
Typical/conventional interpretation is: || G Phrygian-Dominant | C Aeolian | Ab Lydian-Dominant | Bb Ionian || (not fully-altered, because of the n5 in the melody) (More 1m sounding than Dorian) Tis interpretation yields these key centers/parent scales: || C Harmonic Minor | Eb Major | Eb Melodic Minor | Bb Major ||
Our choices then become any chords in these sounds (Just mix & match - pick a cool bassline or pedal tone and the amount of chordal color desired. Of course you want to make sure the melody sounds good with your choices:
1. || C Harmonic Minor | E Ionian b | Eb Melodic Minor | Bb Major ||
2. || D Locrian n6 | F Dorian | F Phrygian n6 | C Dorian ||
3. || E Ionian 5 | G Phrygian b # | Gb Lydian-Augmented | D Phrygian || 4. || F Dorian 4 | A Lydian # b | Ab Lydian-Dominant | Eb Lydian || 5. || G Phrygian-Dominant | B Mixolydian b | Bb Mixolydian b6 | F Mixolydian || | C Aeolian 6. || Ab Lydian #2 | C Locrian n2 | G Aeolian || | D Locrian 7. || B Altered bb7 | D Altered | A Locrian ||
For performance examples: http://noeljohnston.com/voicingmodes.php
65 Voicing Modes VoicingDiatonic Modes subs
All the Things You Are (modal sub changes) Music by Jerome Kern (1939) Arrangement: Noel Johnston Key: A C b 9 aeol lyd 9 2 Ebsus F Db Dmi G /B
6 8 6 6 6
b˙. ˙ ˙ 4 bw bœ œ œ œ œ œ œ œ œ œ œ œ œ }wœ w & 4
E E Mel.Min G b b 9 aeol 7 lyd 9 2 Bbsus C D| Ab C| G /B 4 3 3 3 3 2
. œ bw b˙ bœ ˙ œbœ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ }wœ Œ œ
G Harm. Min. * (or E Harm-Maj) (G) or C Mel.Min. G G E D Mel.Min E Harm.Min b 9 7( 9) 13 phryg 7( 9) 13 7(#5) Dsus Dsubs Dsus B Bsubs Bsus Ema
8 8 5 7 7 7 7
œ. œ ˙ œ w œ œ. œ ˙ œ J œ bœ œ œ #w w & Œ Œ J Œ œ œ
D Mel.Min A C Harm.Min A A b b b b 9 aeol 7 7(#5) aeol 7(#5) 9 lyd Ebsus F G| Ema F Ebma Ebsus Db 6 8 2 4 8 6 6 8
b˙. ˙ b˙. bœ œ ˙ bw bœ œ œ œ œ œ œ w b˙. bœ bœ œ œ œ ˙ œ bœ œ bœ ˙ bw & œ
66 VoicingDiatonic Modes subs
* Most of the time, the tonality the composer intended is very clear and bracketing the correct key center is easy. Sometimes it's a struggle. A little note about that section at the end of the bridge:
Tis is a "minor ii-V to major I" progression and can be interpreted several ways.
0 ( 9) ∆ F#m7(b5) ii B7(b9) V7 b EMaj I 1. vii of G major V of E Harmonic Minor I of E Major 2. ii of E Harmonic Minor V of E Harmonic Minor I of E Major 3. vii of G Major VII of C Melodic Minor I of E Major 4. ii of E Harmonic Major V of E Harmonic Major I of E Harmonic Major (avoid maj 6) 5. vi of A Melodic Minor ii of A Melodic Minor (sus, avoid 3rd) V of A Melodic Minor (avoid maj 6 and maj7)
7( 5) 7( 9) 7 F#mi b B b Ema 10 1 7
œ. œ ˙ œ #w w & J Œ œ œ
Which one is the most correct? Context context context (Historical, Musical, Situational)
What did the composer intend? (Cole Porter may have loved option 4 above, but he didn't write this tune) What kinds of sounds did Jerome Kern write? What do the great recordings have? What does the chart say? Is the chart right? Does the melody allow a more advanced interpretation? What sounds good? Who are you playing with? What is the band expecting you to play? What is the audience expecting you to play? Is it ok to not do that? Is the band sensitive enough to hear/accompany you if you play the less common interpretation? Maybe the more advanced way IS easier. Are you good enough to play it convincingly?
Delivering tonality to an audience is an art.
You see how a looper pedal is really handy here?
For performance examples: http://noeljohnston.com/voicingmodes.php
67 Voicing Modes VoicingDiatonic Modes Subs
Giant Steps (original changes, and modal relatives) Giant Steps John Coltrane Composed by John Coltrane, 1959 Original Changes BJ D7 GJ B!7 E!J Amin7 D7 4 4 ’’’’ ’’’’ ’’’’ ’’’’ GJ B!7 E!JF#7 BJ Fmin7 B!7 ’’’’ ’’’’ ’’’’ ’’’’ E!J Amin7 D7 GJ C#min7 F#7 ’’’’ ’’’’ ’’’’ ’’’’ BJ Fmin7 B!7 E!J C#min7 F#7 ’’’’ ’’’’ ’’’’ ’’’’
Parent Keys: I chords (Ionian) BG E! G 4 4 ’’’’ ’’’’ ’’’’ ’’’’ E! B E! ’’’’ ’’’’ ’’’’ ’’’’ G B ’’’’ ’’’’ ’’’’ ’’’’ E! B ’’’’ ’’’’ ’’’’ ’’’’
68 VoicingDiatonic Modes Subs
Try this "Modal Mothers" example with ANY of the previous Giant Steps chordal examples. Does it sound like it makes the changes? "Modal Mothers" Etude: Giant Steps using the 1- 2-4-5 / 1-3-#4-7 / 1-2-5- 6 / 1-4- 5- 7 interval set appropriate to the key center "Phrygian"b / "Lydian" / "Aeolian"b / "Locrian"b b
Options: B = D# Phr, E Lyd, G# Aeol, A# Loc G = B Phry, C Lyd, E Aeol, F# Loc Eb = G Phry, Ab Lyd, C Aeol, D Loc
œ #œ œ œ bœ œ #œ œ 4 œ œ œ œ œ œ œ œ & œ œ #œ bœ œ œ #œ 4 #œ #œ #œ œ œ œ bœ œ œ Keys: B Major ...... G Major ...... Eb Major ...... G Major ...... | 7 8 4 7 12 T 5 7 8 7 4 5 7 5 9 A 4 6 5 9 10 6 7 3 7 5 5 7 9 B 4 6 8 4 8
œ œ œ #œ #œ œ œ œ bœ #œ #œ œ #œ œ œ bœ & œ œ bœ œ #œ #œ œ bœ œ œ #œ #œ œ œ œ œ Keys: (G Major) ...... Eb Major ...... B Major ...... Eb Major ...... | 7 8 10 11 6 T 7 8 9 9 8 9 9 7 9 8 7 A 10 10 8 6 10 10 11 7 6 6 7 10 11 B 6 8 10
œ œ œ œ œ œ bœ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ #œ & œ œ œ #œ #œ #œ œ œ #œ #œ œ Keys: (Eb Major) ...... G Major ...... B Major ...... | 8 10 8 8 12 8 T 9 8 9 8 12 12 12 11 7 9 11 11 9 11 13 A 9 10 13 14 9 11 13 B 8 12 11 12
œ #œ œ œ œ œ œ œ #œ #œ #œ œ œ œ bœ œ œ œ œ bœ #œ #œ œ #œ & œ bœ œ bœ œ #œ #œ Keys: (B Major) ...... Eb Major ...... B Major...... œ. . . . .| 11 12 11 15 11 T 11 11 15 13 13 15 11 13 13 13 12 12 13 13 A 14 12 12 14 13 15 11 11 15 13 11 B 15 0
73 Voicing Modes VoicingOther ModesScales
Lullaby in Harmonic Major Original melody by Brahms arr: Noel Johnston ã80 (freely, rubato ballad) 13( 9) F b
intro: œ bœ œ œ bœ U bœ bœ œ Aœ œ bœ œ w œ œ & 4 œ œ bœ œ bœ œ Aœ bww 3 4 bœ œ œ 4 13 11 10 8 w1 T 11 10 7 3 11 8 10 8 7 5 2 A 10 7 8 7 4 4 9 6 B 8 5 1
7( 6) 7 ( 6) 7 ( ) 2 Bbmaj b A` b Ebmin Bbma /D Eb` J Bb /D 4 8 8 6 5
j ˙ ˙ œ bbœ œ. Aœ bœ œ 3 ˙ œ œ ˙ œ bœ œ. œ bœœ œ œ 4& #˙ #˙ b œ bœ 4 b ˙ ˙ œ. œ 1 T 3 3 3 6 3 6 11 10 7 7 6 2 5 11 10 7 5 5 7 A 4 4 8 8 7 8 1 6 5 B 5 11 10
7 ( ) ( ) 7(#9) 7(add 4) 6 Fsus Eb` J Gb` J D F Gb J(omit5) 8 4 4 4 8 6
œ œ b ˙ b˙ œ b˙˙ œ œ bœ œ bœ b ˙˙ bœ œ œ & b ˙ œ ˙ œ bœ œ b œ b b ˙ bœbœ œ œ œ 8 ˙ b˙ #œ nœ bœ œ bœ bœ 5 6 1 T 4 4 6 7 6 10 6 4 4 8 5 7 7 5 5 5 8 8 3 3 3 3 A 8 7 4 4 8 8 1 3 4 8 6 5 8 9 1 B 2
166 VoicingOther ModesScales
2 7 7(#9) 7(#5) 7 7(#9) ( ) Bb /D C| D Gbma C| D Eb` J Dmin Bb/D 10 7 4 4 6 2 3
b˙ ˙ b bœ #˙ œ bœ œ #œ ˙ . & ˙ b œ œ ˙ bœ œ bb œ œ œ œ bœ œ œ 13 ˙ #˙ n œ #œ bœ œ bœ œ œ ˙. 1 T 11 7 6 3 4 6 7 10 8 5 3 3 3 5 7 2 3 3 3 A 10 8 8 4 3 4 4 7 5 3 5 6 5 B 10 8 2
7(omit5) 7(#5) 7(#9) 7 ( 6) 7(#5) 7( 9) ( 9) Cmin Bbma D A` b Gbma Fsubs Bb/F Fsubs Bb/F 8 6 4 4
U b˙ U b ˙ #œ œ ˙ œ bœ œ œ & b˙ œ bœ œ bb œ œ 5thb· str. harm. 17 #œ˙ n œ œ ˙. ˙ bœ œ bœ ˙ œ b˙. T 11 7 6 3 4 3 1 8 7 7 5 3 3 3 3 A 8 7 4 3 4 3 4 0 5 1 13 B 8 6 5 2 1 1 1 O
167