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Voicing Modes Ebook 3.0 Updates 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.
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    NBER WORKING PAPER SERIES FROM "WHITE CHRISTMAS" TO SGT. PEPPER: THE CONCEPTUAL REVOLUTION IN POPULAR MUSIC David Galenson Working Paper 13308 http://www.nber.org/papers/w13308 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 August 2007 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. © 2007 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. From "White Christmas" to Sgt. Pepper: The Conceptual Revolution in Popular Music David Galenson NBER Working Paper No. 13308 August 2007 JEL No. J01 ABSTRACT Irving Berlin, Cole Porter, and other songwriters of the Golden Era wrote popular songs that treated common topics clearly and simply. During the mid-1960s Bob Dylan, John Lennon, and Paul McCartney created a new kind of popular music that was personal and often obscure. This shift, which transformed popular music from an experimental into a conceptual art, produced a distinct change in the creative life cycles of songwriters. Golden Era songwriters were generally at their best during their 30s and 40s, whereas since the mid-'60s popular songwriters have consistently done their best work during their 20s. The revolution in popular music occurred at a time when young innovators were making similar transformations in other arts: Jean-Luc Godard and his fellow New Wave directors created a conceptual revolution in film in the early '60s, just as Andy Warhol and other Pop artists made painting a conceptual activity.
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