Common Jazz Piano Voicings JB Dyas, PhD

Basic chord symbols are merely abbreviations for particular scales (the general horizontal sounds of the symbols) from which the player may select notes to construct chords and/or improvise. These scales are by no means the only ones that can be used for improvisation, however, they are the symbols’ most representative sounds. The most common basic symbols are C, C7, C-, CØ, Co, C-∆, C7b9, C7alt, and C7+, representing the general sounds of major, dominant, dorian minor, half-diminished, diminished, melodic minor, dominant 7 flat 9, dominant 7 altered, and whole tone, respectively.

The 3rd and 7th are the most representative notes of any chord or scale and “should” be included in every voicing (except for a “sus” chord where the 4th is substituted for the 3rd). Common voicings usually contain at least one other chord tone, extension, and/or alteration as well. Moreover, any or all notes from the related scale (except for avoid tones*) may be used in the pianist’s chord voicing, depending on the player and the musical situation. A typical C7 piano voicing, for instance, might be constructed Bb E A D G (b7 3 6 9 5) if the player is looking for a relatively evenly spread two-handed chord or, perhaps, E A Bb D (3 6 b7 9) if looking for a left-handed close voicing. Notice that all these notes come from C mixolydian, C7’s related chord scale. Also notice that the root is not included. As the root is primarily the bassist’s responsibility, pianists and guitarists often omit the root when comping to avoid redundancy. For unaccompanied solo piano playing, however, the root is included much more often and generally voiced as the lowest note of the chord.

“Alt,” short for altered, refers to the raised and/or lowered 5th and 9th. In other words, the dominant 7 altered chord contains no regular 5th and no regular 9th, but instead, a flat and/or sharp 5th and a flat and/or sharp 9th. The difference between the dominant 7 flat 9 sound and the dominant 7 altered sound is that the former includes the natural 5th and 6th while the latter does not. Thus, the related scale for C7b9 (half-whole diminished) is composed of the root, b9, #9, 3 #4, 5, 6, and b7: C Db D# E F# G A Bb C; the related scale for C7alt (super locrian) is composed of the root, b9, #9, 3 #4, #5, and b7: C Db D# E F# G# Bb C (this scale is often enharmonically spelled C Db Eb Fb Gb Ab Bb C, using the note names from its parent scale, Db melodic minor, of which C super locrian is the seventh mode). A C7b9 might be voiced Bb E G Db (b7 3 5 b9) while its C7alt counterpart would be voiced Bb E G# Db (b7 3 #5 b9). Again, exactly which notes to use from these scales when constructing the chord is left up to the player.

Ten Most Common Chord Scales Chord Symbol Scale Name Formula Scale Beginning On C

C∆ Major major scale C D E (F) G A B C

C7 Mixolydian major scale with a b7 C D E (F) G A Bb C

C- Dorian major scale with a b3 and b7 C D Eb F G A Bb C

CØ Locrian notes from major scale ½ step higher C (Db) Eb F Gb Ab Bb C

Co Diminished (W/H) W H W H W H W H C D Eb F Gb Ab A B C

C-∆ Melodic Minor major scale with a b3 C D Eb F G A B C

C7alt Super Locrian notes from melodic minor scale ½ step higher C Db Eb Fb Gb Ab Bb C

C7b9 Diminished (H/W) H W H W H W H W C Db Eb E F# G A Bb C

C7+ Whole Tone all whole steps C D E F# G# Bb C

C7 or C- Blues Scale 1 b3 4 b5 5 b7 1 C Eb F Gb G Bb C

* Certain scales have “avoid tones,” meaning they should not be included in the related chord. For example, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord. In the scales listed in the fourth column above, as well as those on pp. 6 & 7, the avoid tones are indicated in parenthesis. Piano Voicing Mnemonics

I. One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 3 7 9 E wB D Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice & w

C7 3 b7 9 E Bbw D Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice & bw

C- b3 b7 9 Eb Bbw D Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice & bbw

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 7 3 5 & B wE G Look at triad and lower root a half step w C7 b7 3 6 Bb E A Look at triad and “spread out” outer voices a whole step & w wbw C- b7 b3 5 Bb Eb G Look at minor triad and lower root a whole step & w bbw Common LH Chord Fingering: 5 2 1 Common RH Chord Fingering: 1 3 5 (exception -- category B dominant 7 voicing: 1 2 5) II. II V I Progression in Major

A. Chord Qualities 1. II chord is minor 7 (II-) 2. V chord is dominant 7 (V7) 3. I chord is major 7 (I∆)

B. Example in the key of C 1 2 3 4 5 6 7 1 1. C major scale: C D E F G A B C œ 1& 2 3 4 5 œ6 œ 7 œ 1 œ œ œ œ 2. II V I in the Key of C: D- G7 C∆

note: any 3 chords in a row progressing counterclockwise around the circle of 5ths is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.

C. Good voice-leading: 3rd to 7th and 7th to 3rd 1. the 7th moves down a half step to become the 3rd of the next chord 2. the 3rd stays on the same note to become the 7th of the next chord

Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd of the V7); the other two notes remain the same

2 Example 1: Category A to B to A KEY OF C

II- V7 I∆ D-D - G 7G7 C C∆ H W ± 9 6 W 9 E E W D w w H w b7 H 3 7 &Cw H w B w B b3 b7 H 3 F F H w E

KEY OF F - 7 II- V7 I∆ G-G C C7 F± F∆ W 9 6 W 9 A w H wA W G b7 H 3 7 &F w H wE H w E b3 b7 H 3 Bbwb wb Bb H w A ______

KEY OF Bb

II- V7 I∆ C- - F77 Bb∆ C F Bb W H ± 9 6 W 9 D D W C w w H w b7 H 3 7 &Bbb w H Aw w A b3 b7 H 3 Ebb w Ebwb H w D

______

Example 2: Category B to A to B KEY OF C - 7 II- V7 I∆ D-D G G7 C± C∆ 5 9 W 5 A A W W G H b3 b7 H 3 &F w H w F H w E b7 H 3 7 Cw H w B w B ______

KEY OF F

II- V7 I∆ G-G - C C77 F F∆ W ± 5 9 W 5 D D H W C bw H bw w b3 b7 H 3 &Bbw Bb H w A b7 H 3 7 F H wE w E ______

KEY OF Bb

II- V7 I∆ C- - F77 Bb∆ C F Bb± 5 9 W 5 G G W W F H b3 b7 H 3 &Ebb w H bEbw H w D b7 H 3 7 Bbb w H Aw w A

3 IV. One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

CØ b3 b5 b7 R Eb Gb w Bbw C m7b5 chord in first inversion (b3 on bottom, root on top) & bbbw C7alt 3 #5 b7 b9 E G# Bb Db think category A dominant 7 voicing, lower 9th (and add #5 which is a b bw whole step below the b7) & # w

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

CØ b7 R b3 b5 Bb C Eb Gb m7b5 chord in third inversion (b7 on bottom, “point” to root) & bw bb ww C7alt b7 b9 3 #5 Bb Db E G# think category B dominant 7 voicing, lower 6th (and add b9 which is a half & #w bb ww step above the root)

Common LH Chord Fingering: 5 3 2 1 Common RH Chord Fingering: 1 2 3 5 note: for Category B half diminished chord, use 5 4 2 1

V. II V I Progression in Minor

A. Chord Qualities 1. II chord is half diminished (IIØ) 2. V chord is dominant 7 altered (V7alt) 3. I chord is minor (I-)

B. Example in the key of C minor: DØ G7alt C-

C. Good voice-leading: 3rd to 7th and 7th to 3rd 1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step and the lower note moves down a half step (the other two notes remain the same), then you’re automatically on the V7 alt chord 2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step

4 Example 1: Category A to B to A KEY OF C MINOR

IIØ V7alt I- DDØ G 7 G7altalt C C-- H H ø H H R H b5 H 9 D w H #w D# H H w D bw b ww W bw b7 H 3 H b7 & Cw H w B H b w Bb b5 b9 H 5 Ab Ab H G b3 b7 W b3 F F W Eb

KEY OF G MINOR

IIØ V7alt I- AAØ D D7alt7alt G G-- H H R H b5 H 9 Aø HH A# H A w #w H w b7 H 3 H b7 & bGw H #b F#ww HW w F b5 b9 H 5 Ebw Ebw H wbw D b3 b7 W b3 C C W Bb

Example 2: Category B to A to B KEY OF C MINOR

IIØ V7alt I- DDØ G 7 G7altalt C C-- ø H b5 b9 H 5 Ab Ab W H G bw H bw H b3 b7 W b3 & Fw H w F H W bwEbw R H #5 H 9 Dw w H # w D# H b w D b7 H 3 H b7 C H B H Bb

KEY OF G MINOR

IIØ V7alt I- AØA D D7alt7alt G G-- H W b5 b9 H 5 bEbwø H b Ebw H H D w H w H bww b3 b7 W b3 & Cw w # Cw#w W w Bb R H #5 H 9 A H A# H A b7 H 3 H b7 G H F# H F

5 5 Common Two-Handed Piano Voicings (two notes in the LH, three notes in the RH)**

Symbol Scale Name Scale Two-Hand Voicings* Mnemonic 5 A C Major C D E(F)G ACommon B C TwoA-Handed3 6 9 5 R (E Piano A DGC) Voicings RH pinky on the root, come down in 4ths (two notes in the LH, three notes in the RH)** avoid tone: 4th (F) R in both hands ( ) œ œ œ 5 & œ œ œ 9 w Symbol Scale Name Scaleavoidœ œ tone: 4th (F) Two&-Handw Voicings* Mnemonic A 36 957(EAw DGB) same as above - just lower top note � step5 6 C Major C D E(F)G A B C A 3 63 9w 5 R (E A DGC) RH pinky on the root, come down in 4ths Common TwoB-Handed?73 695(BEw Piano ADG) Voicings RH pinky on the 5th, come down in 4ths avoid tone: 4th (F) in both hands (two notes in the LH,A three notes in the RH)** in both hands A 36 957(EA DGB) same as above - just lower top note � step Symbol Scale Name Scale Two-Hand7 Voicings* Mnemonic 5 C7 Mixolydian CDE(F)GABb C A 3b79 95R(EBbw DGC) RH pinky on the root, come down in 4ths5 B &73 695(BEw ADG) RH pinky on the 5th, come down in 4ths C 5thMajor mode of maj avoidC D E(F)G tone: A4th B (F) C A 3 6 9w 5 R (E A DGC) inRH;3RH pinky &b7inLH on the root, come down in 4ths avoid tone: 4thCommon (F) Two-Handed6 Piano Voicings in both hands 3 w in both hands (two notes in theB LH,?b73 three 695(BbEw notes in ADG) the RH)** RH pinky on the 5th, come down in 4ths in RH; b7 & 3 in LH � 7 A 36B 957(EA DGB) same as above - just lower top note step5 SymbolC ScaleMixolydian Name ScaleCDE(F)GABb C TwoA 3b7-Hand 95R(EBb Voicings* DGC) MnemonicRH pinky on the root, come down in 4ths 5 5th mode of maj avoid tone: 4th (F) B 739 695(BE ADG) RHinRH;3 pinky &b7inLH on the 5th, come down in 4ths Common Two-Handed6 w Piano Voicings C- MajorDorian C D E(F)GEb F G A A B Bb C C A 3b3b7 6 9w 5 95R(EbBb R (E A DGC) DGC) inRH both pinky hands on the root, come down in 4ths (two notes in theB LH,b73 three 695(BbEw notes in ADG) the RH)** RH pinky on the 5th, come down in 4ths 2nd mode of maj avoid tone: 4th (F) & 3 ininRH;b3&b7inLH both hands 7 w in RH; b7 & 3 in LH Symbol Scale Name Scale Two-Handw Voicings* Mnemonic C7 Mixolydian CDE(F)GABb C AB ?3b736b7b3 957(EA 95R(EBb 5R4(BbEb DGB) DGC) GCF) RHsame“point” pinky as to above onR in the- RHjust root, and lower come goup top down a4th note in and� 4thsstep down a4th;b7 & b3 in LH C- DorianMajor5th mode of maj Cavoid D EbE(F)G tone: F G A4th A B Bb (F) C C A b3b73 6 9 5 95R(EbBb R (E A DGC) DGC) RHinRH;3 pinky &b7inLH on the root, come down in 4ths B 73 695(BE ADG) RH pinky on the 5th, come down in 4ths 2nd mode of maj avoid tone: 4th (F) in both hands 5 B b73 695(BbE ADG) RHininRH;b3&b7inLH both pinky hands on the 5th, come down in 4ths ø C Locrian C(Db)Eb F GbCommon Ab Bb C TwoRb5b7b3b6(CGbBbEbAb)-Handed Piano Voicings thinkin RH; A b7 voicing & 3 in of LH dominant 7 chord up a BA b7b336A 957(EA 5R4(BbEb DGB) GCF) “point”same as to above R inø - RHjust and lower goup top a4th note and� step 7th mode of maj avoid tone: b9th(two (Db) notes in the LH, three notes in the RH)** downraised a4th;b7 5th (C = & Ab7) b3 in LH C7 Mixolydian CDE(F)GABb C A 3b7 95R(EBb DGC) RH pinky on the root, come down in 4ths B 73R 695(BE ADG) RH pinky on the 5th, come down in 4ths C- 5thDorian mode of maj avoidC D Eb tone: F G( 4th ) A Bb (F)œ C œb œ A b3b75 95R(EbBb DGC) inRH;3RH pinky &b7inLH on the root, come down in 4ths5 Symbol Scale Name &Scale œ œ œ Twob5R-Hand 4b7b3(GbC9 w Voicings* FBbEb) inMnemonicthink both B hands voicing of dominant 7 chord up a 2nd mode of maj avoidœ œ tone: 4th (F) & w ø ø w inRH;b3&b7inLHraised 5th (C = Ab7) C Locrian C(Db)Eb F GbCommon Ab Bb C TwoBRb5b7b3b6(CGbBbEbAb)-Handedb73b7 695(BbE Piano ADG) Voicings RHthink pinky A voicing on the of 5th, dominant come down 7 chord in 4ths up a C Major C D E(F)G A B C A 3 63 9 5 R (E A DGC) RH pinky onø the root, come down in 4ths 7th mode of maj avoid tone: 4thb9th(two (F) (Db) notes in theB LH,b7b3 threeb 5R4(BbEbw notes in the GCF) RH)** “point”inraised RH; 5th b7 to &(CRin 3=in RH Ab7) LH and go up a4th and C7 Mixolydian CDE(F)GABb C A ?3b7 95R(EBbw DGC) RHin both pinky hands on the root, come down in 4ths o down a4th;b7 & b3 in LH SymbolC Scale5thDiminished mode Name of maj ScaleavoidCDEbFGbAbABC tone: 4th (F) b5RTwoa tritone-Hand 4b7b3(GbC in each Voicings* hand FBbEb) with a thinkMnemonicinRH;3start on B voicingany &b7inLH chord of tone dominant on the 7 bottom; chord up a (whole-half) minorA 36B 3rd 957(EA between DGB) hands playsame a as tritone aboveø above- just it, lower then top skip note a minor� step C- Dorian C D Eb F G A Bb C A b3b75 95R(EbBb DGC) RHraised pinky 5th on(C the= Ab7) root, come down in 4ths (e.g.,C Gb A Eb) 3rd between hands; then play a tritone in Cø 2ndMajor mode of maj C D E(F)G A B C AB 3b73 69 9 695(BbE 5w R (E A DGC) ADG) RH pinky on the 5th,root, come come down down in in 4ths 4ths C Locrian C(Db)Eb F Gb Ab Bb C BRb5b7b3b6(CGbBbEbAb)736 695(BE ADG) intheRHthinkinRH;b3&b7inLH RH; RH pinky A b7 voicing &on 3 thein of5th, LH dominant come down 7 chord in 4ths up a avoid tone: 4th (F) w in both handsø 7th mode of maj avoid tone: b9th (Db) w raisedin both 5th hands (C = Ab7) o & 3 C Diminished CDEbFGbAbABC aB tritoneb7b3b7 in 5R4(BbEb each hand with GCF) a start“point” on toany R chord in RH tone and ongo theup a4th bottom; and w � (whole-half) minorA 36 3rd 957(EA between DGB) hands playdownsame a as a4th;b7 tritone above above- &just b3 it, lower in then LH top skip note a minorstep C-7sus4 MixolydianDorian CD(E)FGABbC D Eb F G A Bb C C b74Ab5Rb3b7 695(BbF 4b7b3(GbC 95R(EbBbwb ADG) FBbEb) DGC) thinkRH pinky AB voicing on the of root, dominant minor come 7 chord down 7 chord up in aup4ths 5th a (e.g.,C? Gb A Eb) 3rd between hands;ø then play a tritone in C7 5thMixolydian2nd mode mode of of maj maj avoidCDE(F)GABb tone: 3rd (E) C A 3b7 95R(EBb DGC) RHraisedsus4 pinky 5th on(C the= Ab7) root, come down in 4ths B 73 695(BE ADG) the(C7RHinRH;b3&b7inLH RH pinky= on G-) the 5th, come down in 4ths ø 5th mode of maj avoid tone: 4th (F) ininRH;3 both hands &b7inLH C Locrian C(Db)Eb F Gb Ab Bb C Rb5b7b3b6(CGbBbEbAb) think A voicing of dominant 7 chord up a 4b7B b7b3 95R(FBb 5R4(BbEb DGC) GCF) think“point” B tovoicing R inø RH of minor and go 7 up chord a4th up anda 5th o 7th mode of maj avoid tone: b9th (Db) B b73 695(BbE ADG) RHraised pinky 5th on(C the= Ab7) 5th, come down in 4ths C7sus4 Diminished CDEbFGbAbABC a tritone in each hand with a (C7startdownsus4 on a4th;b7 any= G chord-) & b3 tone in on LH the bottom; C7 (wholeMixolydian-half) CD(E)FGABb C minorb74 695(BbF 3rd between ADG) hands playinthink RH; a A tritone b7 voicing & 3 abovein of LH minor it, then 7 chord skip a up minor a 5th C 5thMixolydian mode of maj avoidCDE(F)GABb tone: 3rd (E) C b5RA 3b7 4b7b3(GbC 95R(EBb FBbEb) DGC) thinkRHsus4 pinky B voicing on the of root, dominant come down 7 chord in up4ths a (e.g.,CA Gb A Eb) 3rd(C7 between= G- hands;) then play a tritone in ø 5th mode of maj avoid tone: 4th (F) raiinRH;3sed 5th &b7inLH (Cø = Ab7) C7b9C DiminishedLocrian CDbEbEF#GABbCC(Db)Eb F Gb Ab Bb C anyRb5b7b3b6(CGbBbEbAb) “diminished” voicing from startthinkthe RH on A anyvoicing chord of tone dominant but the 7 chordroot (i.e., up a C- Dorian C D Eb F G A Bb C 4b7A b3b7 95R(FBbR 95R(EbBb DGC) DGC) thinkRH pinky B voicing onø the of root, minor come 7 chord down up ina 4ths 5th (half7th mode-whole) of maj avoid tone: b9th (Db)œ œb œ anyB b73 chord5 695(BbE tone but the ADG) root 3,raisedRH 5, pinky b7, 5th or (Con b9); the= play Ab7) 5th, a come tritone down above in 4thsit, 2nd mode of maj & œb œ œ 9 w sus4 œ œ e.g.,3b7& b95(EBbw Db G) thenin(C7inRH;b3&b7inLH RH; skip b7= a & G minor- 3) in LH 3rd between hands; then 7sus4o C MixolydianDiminished CD(E)FGABbCDEbFGbAbABC C b5Rb74a tritone 695(BbF 4b7b3(GbCb7 in eachw hand ADG) FBbEb) with a playthinkstart ona BA tritone voicingany chord in ofthe tone dominant minor RH on 7 the chord 7 bottom; chord up aup 5th a (whole-half) minorB b7b3 3rdb3 5R4(BbEb between hands GCF) play“point” a tritone to R inø above RH and it, then go up skip a4th a minor and 5th mode of maj avoid tone: 3rd (E) bw (C7raisedsus4 5th= (C G-)= Ab7) CC7b9- DorianDiminished CCDbEbEF#GABbC D Eb F G A Bb C Aany(e.g.,C?b3b7 “diminished” Gbb 95R(EbBb Aw Eb) voicing DGC) from RHstart3rddown betweenpinky on a4th;b7 any on chord hands; the & root, b3 tone then in come but LHplay the down a root tritone in (i.e., 4ths in (half-whole) any chord tone but the root 3,the 5, RH b7, or b9); play a tritone above it, C7alt Super2nd mode Locrian of maj CDbEbFbGbAbBbC A4b73b7#9#5b9(EBbD# 95R(FBb DGC) G#Db) thinkinRH;b3&b7inLH AB voicing of minordominant 7 chord 7 chord up a and 5th e.g.,3b7B b95(EBb Db G) then skip a minor 3rd between hands; then Cøo Diminished7th mode of mel min CDEbFGbAbABC a tritone in each hand with a (C7start�����sus4 onRH any= up G chord-�) step tone on the bottom; C Locrian C(Db)Eb F Gb Ab Bb C Rb5b7b3b6(CGbBbEbAb)4 thinkplay a A tritone voicing in ofthe dominant RH 7 chord up a (whole-half) minorB b7b3 3rdR 5R4(BbEb between hands GCF) play“point” a tritone to root above in RH it, and then go skip up a a 4th minor and 7sus4 7th mode of maj avoid tone: b9th (Db) w raised 5th (Cø = Ab7) C Mixolydian CD(E)FGABb C (e.g.,CBb74b7 695(BbF 35 #5Gb b9 Aw b5 Eb)(Bb ADG) EG# Db Gb) 3rdthinkdown between BA a4th;b7 voicing hands; & of b3 dominant minor then in LHplay 7 chord 7 a chord tritone up a and 5thin 5th mode of maj avoid tone: 3rd (E) sus4 � C7b9 Diminished CDbEbEF#GABbC any& “diminished”b3 w voicing from startthe(C7����� RH onRH any= down G chord-) tonestep but the root (i.e., 7alt b5R 4b7b3(GbCb7 FBbEb) think B voicing of dominant 7 chord up a Note:C In the Jamey(halfSuper-whole) Locrian Aebersold booksCDbEbFbGbAbBbC and in ������ �������, C7+9anyA =3b7#9#5b9(EBbD# C7alt chord tonebw but the root G#Db) 3,think 5, b7, A voicing or b9);play of dominant a tritone 7 above chord it, and ø 7th mode of mel min b w �����raisedRH 5th up (C�ø =step Ab7) C Locrian C(Db)Eb F Gb Ab Bb C e.g.,3b7Rb5b7b3b6(CGbBbEbAb)4b7? 95R(FBb b95(EBb DGC) Db G) thenthink skip AB voicing a minor of 3rd minordominant between 7 chord 7 hands;chord up a up then 5th a sus4 ø C7sus4 Mixolydian7th mode of maj CD(E)FGABbavoid tone: b9th (Db) C b74 695(BbF ADG) thinkraised(C7play a A 5thtritone voicing= (C G-) in= oftheAb7) minor RH 7 chord up a 5th *“Category A” chords have the 3rd in the lowest voice; “CategoryB Bb7” chords 3 #5 b9 have b5 (Bb the EG#7th in Db the Gb) lowest voice.think B voicing of dominant 7 chord and o 5th mode of maj avoid tone: 3rd (E) �����(C7sus4RH= down G-) � step C** All voicingsDiminished have five notes withCDEbFGbAbABC the exception of the diminishedb5Ra tritone and 4b7b3(GbC dominant in each 7b9 hand voicings FBbEb) with a which havethinkstart four on B (two voicingany notes chord of in tone dominant each on hand) the 7 bottom; chord up a Note:7alt In the Jamey(whole Aebersold-half) books and in ������ �������, C7+9minor = C7alt 3rd between hands play a tritoneø above it, then skip a minor CC7b9 SuperDiminished Locrian CDbEbFbGbAbBbCCDbEbEF#GABbC 4b7Aany3b7#9#5b9(EBbD# “diminished” 95R(FBb voicing DGC) from G#Db) thinkraistartsed on BA 5th voicingany (C chord= ofAb7) tone minordominant but 7 chordthe 7 chordroot up (i.e.,a and 5th (e.g.,C Gb A Eb) 3rd between hands; then play a tritone in 7th(half mode-whole) of mel min any chord tone but the root �����3, 5,sus4 b7,RH or up b9);� step play a tritone above it, e.g.,3b76 b95(EBb Db G) thenthe(C7 RH skip= a G minor-) 3rd between hands; then *“Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. play a tritone in the RH C**o All voicingsDiminished have five notes withCDEbFGbAbABC the exception of the diminishedaB tritone andb7 3 dominant #5 in b9 each b5 7b9 hand(Bb voicings EG# with a Db which Gb) havestartthink four on B (two anyvoicing notes chord of in tone dominant each on hand) the 7 bottom; chord and ����� RH down � step C7b97sus4 Diminished(whole-half) CDbEbEF#GABbC anyminor “diminished” 3rd between voicing hands from startplay ona tritone any chord above tone it, then but the skip root a minor (i.e., CNote: In the JameyMixolydian Aebersold booksCD(E)FGABb and in ������ ������� C , C7+9(e.g.,Cb74 = C7alt 695(BbF Gb A Eb) ADG) 3rdthink between A voicing hands; of minor then play 7 chord a tritone up a 5thin 7alt (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, C Super5th mode Locrian of maj CDbEbFbGbAbBbCavoid tone: 3rd (E) A 3b7#9#5b9(EBbD# G#Db) the(C7think RHsus4 A voicing= G-) of dominant 7 chord and e.g.,3b7 b95(EBb Db G) then skip a minor� 3rd between hands; then 7th mode of mel min play����� aRH tritone up instep the RH *“Category A” chords have the 3rd in the lowest voice; “Category4b7 B” chords95R(FBb have the DGC) 7th in the lowest voice.think B voicing of minor 7 chord up a 5th ** All voicings have five notes with the exception of the diminishedB andb7 3 dominant #5 b9 b5 7b9(Bb voicings EG# Db which Gb) havethink four B (two voicing notes of in dominant each hand) 7 chord and C7sus4 Mixolydian CD(E)FGABb C b74 695(BbF ADG) think(C7sus4 A voicing= G-) of minor 7 chord up a 5th ����� RH down � step 7alt 5th mode of maj avoid tone: 3rd (E) sus4 Note:C In the JameySuper Locrian Aebersold booksCDbEbFbGbAbBbC and in ������ �������, C7+9A =3b7#9#5b9(EBbD# C7alt G#Db) (C7think A voicing= G-) of dominant 7 chord and 7th mode of mel min ����� RH up � step C7b9 Diminished CDbEbEF#GABbC 4b7any “diminished” 95R(FBb voicing DGC) from thinkstart on B voicingany chord of tone minor but 7 chordthe root up (i.e.,a 5th (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, *“Category A” chords have the 3rd in the lowest voice; “CategoryB Bb7” chords 3 #5 b9 have b5 (Bb the EG#7th in Db the Gb) lowest voice.(C7thinksus4 B voicing= G-) of dominant 7 chord and e.g.,3b7 b95(EBb Db G) then skip a minor� 3rd between hands; then ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have����� fourRH (two down notes instep each hand) Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt play a tritone in the RH C7b9 Diminished CDbEbEF#GABbC any “diminished” voicing from start on any chord tone but the root (i.e., 7alt (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, C*“CategorySuper A” chords Locrian have the 3rdCDbEbFbGbAbBbC in the lowest voice; “Categorye.g.,3b7A B3b7#9#5b9(EBbD#” chords b95(EBb have the 7th Db inG) G#Db) the lowest voice.thenthink skip A voicing a minor of 3rd dominant between 7 hands;chord and then � ** All voicings7th have mode five of notesmel min with the exception of the diminished and dominant 7b9 voicings which haveplay����� four aRH tritone(two up notes instep the in RH each hand) B b7 3 #5 b9 b5 (Bb EG# Db Gb) think B voicing of dominant 7 chord and � 7alt ����� RH down step Note:C In the JameySuper Locrian Aebersold booksCDbEbFbGbAbBbC and in ������ �������, C7+9A =3b7#9#5b9(EBbD# C7alt G#Db) think A voicing of dominant 7 chord and 7th mode of mel min ����� RH up � step

*“Category A” chords have the 3rd in the lowest voice; “CategoryB Bb7” chords 3 #5 b9 have b5 (Bb the EG#7th in Db the Gb) lowest voice.think B voicing of dominant 7 chord and � ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have����� fourRH (two down notes instep each hand) Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt

*“Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) 5 Common Two-Handed Piano Voicings (two notes in the LH, three notes in the RH)** 5 Symbol Scale Name Scale Two-Hand Voicings* Mnemonic Common Two-Handed Piano Voicings C Major C D E(F)G A B C A 3 6 9 5 R (E A DGC) RH pinky on the root, come down in 4ths (two notes in the LH, three notes in the RH)** 5 avoid tone: 4th (F) in both hands Symbol Scale Name Scale Two-Hand Voicings* Mnemonic Common TwoA-Handed36 957(EA Piano DGB) Voicings same as above - just lower top note � step5 (two notes in the LH, three notes in the RH)** C Major C D E(F)G A B C A 3 6 9 5 R (E A DGC) RH pinky on the root, come down in 4ths Common TwoB-Handed73 695(BE Piano ADG) Voicings RH pinky on the 5th, come down in 4ths avoid tone: 4th (F) in both hands Symbol Scale Name Scale (two notes in theTwo LH,-Hand three Voicings* notes in the RH)** inMnemonic both hands A 36 957(EA DGB) same as above - just lower top note � step SymbolC ScaleMajor Name ScaleC D E(F)G A B C TwoA 3- 6Hand 9 5 R Voicings* (E A DGC) MnemonicRH pinky on the root, come down in 4ths5 7 avoid tone: 4th (F) in both hands C Mixolydian CDE(F)GABb C BA 733b7 695(BE 95R(EBb ADG) DGC) RH pinky on the 5th,root, come come down down in in 4ths 4ths C Major C D E(F)G ACommon B C TwoA-Handed3 6 9 5 R (E Piano A DGC) Voicings RH pinky on the root, come down in 4ths 5th mode of maj avoid tone: 4th (F) ininRH;3 both hands &b7inLH avoid tone: 4th(two (F) notes in theA LH,36 three 957(EA notes DGB) in the RH)** same as above - just lower top note � step in both hands 5 B b73 695(BbE ADG) RH pinky on the 5th, come down in 4ths Symbol Scale Name Scale TwoB 73-Hand 695(BE Voicings* ADG) MnemonicRH pinky on the 5th, come down in 4ths 7 A 36 957(EA DGB) samein RH; as b7 above & 3 in- just LH lower top note � step C Mixolydian CDE(F)GABbCommon C TwoA-Handed3b7 95R(EBb Piano DGC) Voicings inRH both pinky hands on the root, come down in 4ths5 5th mode of maj avoid tone: 4th(two (F) notes in the LH, three notes in the RH)** inRH;3 &b7inLH C Major C D E(F)G A B C BA 733 6 695(BE9 5 R (E A ADG)DGC) RH pinky on the 5th,root, come come down down in in 4ths 4ths C- Dorian Cavoid D Eb tone: F G 4th ACommon Bb (F) C TwoA-Handedb3b7 95R(EbBb Piano Voicings DGC) inRH both pinky hands on the root, come down in 4ths B b73 695(BbE ADG) RHin both pinky hands on the 5th, come down in 4ths CSymbol7 2ndMixolydianScale mode Name of maj CDE(F)GABbScale (two C notes in theATwo LH,3b7-Hand three 95R(EBb Voicings* notes in DGC) the RH)** RHMnemonic pinky on the root, come down in 4ths ininRH;b3&b7inLH RH; b7 & 3 in LH 5th mode of maj avoid tone: 4th (F) A 36 957(EA DGB) sameinRH;3 as above &b7inLH- just lower top note � step SymbolC ScaleMajor Name ScaleC D E(F)G A B C TwoA 3- 6Hand 9 5 R Voicings* (E A DGC) MnemonicRH pinky on the root, come down in 4ths5 C7 Mixolydian CDE(F)GABb C AB 3b7b7b3 95R(EBb 5R4(BbEb DGC) GCF) RH“point” pinky to onR in the RH root, and come go up down a4th in and 4ths avoid tone: 4th (F) B 73b73 695(BE 695(BbE ADG) ADG) RHin both pinky hands on the 5th, come down in 4ths C- Dorian5th mode of maj Cavoid D Eb tone: F G 4th A Bb (F) C A b3b7 95R(EbBb DGC) RHinRH;3down pinky a4th;b7 &b7inLH on the & root, b3 in come LH down in 4ths C Major C D E(F)G ACommon B C TwoA-Handed3 6 9 5 R (E Piano A DGC) Voicings inRH RH; pinky b7 &on 3 theinroot, LH come down in 4ths in both hands 5 2nd mode of maj avoid tone: 4th(two (F) notes in theA LH,36 three 957(EA notes DGB) in the RH)** sameinRH;b3&b7inLH as above - just lower top note � step B b73 695(BbE ADG) RHin both pinky hands on the 5th, come down in 4ths ø C Locrian C(Db)Eb FCommon Gb Ab Bb C Two-Rb5b7b3b6(CGbBbEbAb)Handed Piano Voicings thinkin RH; A b7 voicing & 3 in of LH dominant 7 chord up a CSymbol7- DorianScale Name CScale D Eb F G A Bb C ABTwo36b3b773b7b3-Hand 957(EA695(BE 95R(EbBb5R4(BbEb Voicings* ADG)DGB) DGC)GCF) sameRHMnemonic“point” pinky as to above onR in the- RHjust 5th,root, and lower come come goup top down down a4th note in in and� 4ths 4thsstep C Mixolydian CDE(F)GABb( ) C œb œ A 3b7b6 95R(EBb DGC) RH pinky onø the root, come down in 4ths 2nd7th mode mode of of maj maj &avoid tone:œ(two b9thœb (Db) notesœb in the LH, threeb3 notes in the RH)** indownraised both a4th;b7 5th hands (C = & Ab7) b3 in LH 5th mode of maj avoidavoidœ œb tone: tone:œb b9th 4th (Db) (F) bw inRH;3inRH;b3&b7inLH &b7inLH C Major C D E(F)G A B C A 3& 6 9b7 5b R (Ew A DGC) RH pinky on the root, come down in 4ths C- Dorian C D Eb F G A Bb C AB b3b773 695(BE 95R(EbBb ADG) DGC) RH pinky on the 5th,root, come come down down in in 4ths 4ths Symbol Scale Name Scaleavoid tone: 4th (F) Twob5R-Hand 4b7b3(GbCb5 Voicings*wb FBbEb) Mnemonicthink B voicing of dominant 7 chord up a B b73b7b3 695(BbE 5R4(BbEb ADG) GCF) RH“point”in both pinky hands to onR inø the RH 5th, and come go up down a4th in and 4ths ø 2nd mode of maj R raiinRH;b3&b7inLHsed 5th (C = Ab7) C7 MixolydianLocrian CDE(F)GABbC(Db)Eb F Gb Ab C Bb C ARb5b7b3b6(CGbBbEbAb)3b7? 95R(EBbbw DGC) indownRHthink RH; pinky A a4th;b7 b7 voicing &on 3 thein & ofroot, LH b3 dominant in come LH down 7 chord in 4thsup a C Major C D E(F)G A B C A 3 6 9 5 R (Ew A DGC) RH pinky on theø root, come down in 4ths 5th7th mode of maj avoid tone: 4thb9th (F) (Db) A 36 957(EA DGB) inRH;3raisedsame as 5th above &b7inLH (C =- Ab7)just lower top note � step avoid tone: 4th (F) B b7b3 5R4(BbEb GCF) in“point” both hands to R in RH and go up a4th and C7 Mixolydian CDE(F)GABb C A 3b7 95R(EBb DGC) RH pinky on the root, come down in 4ths øo b3 down a4th;b7 & b3 in LH C- 5thDorianDiminished mode of maj avoidCCDEbFGbAbABC D Eb tone: F G 4th A Bb (F) C Ab5RBa tritoneb3b7b7373 4b7b3(GbC 695(BEb7 695(BbEin 95R(EbBb each hand ADG) ADG)FBbEb) with DGC) a inRH;3RHthinkstart pinky on B voicingany &b7inLH on chord the of 5th,root, tone dominant come come on the down down 7 bottom; chord in in 4ths up4ths a C Locrian C(Db)Eb F Gb Ab Bb C Rb5b7b3b6(CGbBbEbAb) think A voicingø of dominant 7 chord� up a (whole-half) Aminor36 957(EA3rd4 betweenbw DGB) hands sameinplay RH;both asa tritone b7above hands &ø 3 above-injust LH lower it, then top skip note a minorstep 7th2nd mode mode of of maj maj avoid tone: b9th (Db) b w raisedinRH;b3&b7inLHraised 5th (C = Ab7) (e.g.,C& Gb Aw Eb) 3rd between hands; then play a tritone in ø B b73R 695(BbE ADG) RH pinky on the 5th, come down in 4ths C Locrian C(Db)Eb F Gb Ab Bb C BRb5b7b3b6(CGbBbEbAb)73 695(BEb5 ADG) RHthethink pinky RH A voicing on the5th, of dominant come down 7 chord in 4ths up a b5RB b7b3 4b7b3(GbC 5R4(BbEb FBbEb) GCF) think“point”in RH; B b7 tovoicing &Rinø 3 in RH of LH dominant and go up 7 a4th chord and up a C-7 Dorian7th mode of maj Cavoid D Eb tone: F G b9th A Bb (Db) C A b3b7 95R(EbBbw DGC) inRHraised both pinky 5thhands on(C the= Ab7) root, come down in 4ths Co DiminishedMixolydian CDEbFGbAbABCCDE(F)GABb C aA tritone3b7? 95R(EBbin eachwb hand DGC) with a raistartdownRHsed pinky on a4th;b7 5th any on(C chordø the= & Ab7) root, b3 tone in come on LH the down bottom; in 4ths 2nd mode of maj (whole5th mode-half) of maj avoid tone: 4th (F) minor 3rd between hands playinRH;b3&b7inLHinRH;3 a tritone &b7inLH above it, then skip a minor C-7sus4 Dorian C D Eb F G A Bb C Ab5Rb3b7 4b7b3(GbC 95R(EbBb FBbEb) DGC) RHthink pinky B voicing on the of root, dominant come down 7 chord in up4ths a C Mixolydian CD(E)FGABb C (e.g.,Cb74 695(BbF Gb A Eb) ADG) 3rdthink between A voicing hands;ø of minor then play 7 chord a tritone up a 5thin C7 Mixolydian CDE(F)GABb C A 3b7 95R(EBb DGC) RHraised pinky 5th on (C the= root,Ab7) come down in 4ths ø 5th2nd mode mode of of maj maj avoid tone: 3rd (E) B b7b3b73 695(BbE 5R4(BbEb ADG) GCF) theinRH;b3&b7inLH“point”RH RHsus4 pinky to onR in the RH 5th, and come go up down a4th in and 4ths Co DiminishedLocrian CDEbFGbAbABCC(Db)Eb F Gb Ab Bb C aRb5b7b3b6(CGbBbEbAb) tritone in each hand with a startthink(C7 on A anyvoicing= G chord-) of tone dominant on the 7 bottom; chord up a 5th mode of maj avoid tone: 4th (F) inRH;3downin RH; a4th;b7 b7 &b7inLH &ø 3 in & LH b3 in LH (whole7th mode-half) of maj avoid tone: b9thœb (Db) œn œ œ minor 3rd between hands playraised a 5thtritone (C above= Ab7) it, then skip a minor & œb œ œb 4b7B b7b3 95R(FBb 5R4(BbEb DGC) GCF) think“point” B tovoicing R in RH of minor and go 7 up chord a4th up anda 5th o œ œ B(e.g.,Cb73& 695(BbE Gb A Eb) ADG) RH3rd pinky between on the hands; 5th, then comeplay down a tritone in 4ths in C7sus4 MixolydianDiminished CD(E)FGABbCDEbFGbAbABC C b74a tritone 695(BbFb inw each hand ADG) with a thinkdownstartsus4 on A a4th;b7 anyvoicing chord & of b3 tone minor in on LH 7 the chord bottom; up a 5th C-ø Dorian C D Eb F G A Bb C Ab5Rb3b7 4b7b3(GbCw 95R(EbBb FBbEb) DGC) inRHthethink(C7 RH; RH pinky B b7 voicing= & on G 3-) thein of LH root, dominant come down 7 chord in up4ths a C 5thLocrian(whole mode-half) of maj avoidC(Db)Eb tone: F 3rdGb Ab (E) Bb C Rb5b7b3b6(CGbBbEbAb)minor 3rd between hands thinkplaysus4 a A tritone voicingø above of dominant it, then skip 7 chord a minor up a 2nd mode of maj (C7raised 5th= (C G-ø)= Ab7) 7th mode of maj avoid tone: b9th (Db) (e.g.,C? b Gbw A Eb) raisedinRH;b3&b7inLH3rd between 5th (C hands;= Ab7) then play a tritone in ø w the RH CC7b9C-7sus4 DorianDiminishedLocrian CCDbEbEF#GABbCC(Db)Eb D Eb F G F AGb Bb Ab C Bb C A4b7anyRb5b7b3b6(CGbBbEbAb)b3b7 “diminished” 95R(FBb 95R(EbBb voicing DGC) DGC) from RHthinkstart pinky on BA voicingany on chordthe ofroot, tone minordominant come but 7 chordthedown 7 chordroot upin (i.e., 4thsa up 5th a C Mixolydian CD(E)FGABb C Bb74b7b3 695(BbF 5R4(BbEb ADG) GCF) “point”think Ato voicing R inø RH of minor and go 7 up chord a4th up and a 5th o 2nd7th(half mode mode-whole) of of maj maj avoid tone: b9th (Db) anyb5R chord 4b7b3(GbC tone but the FBbEb) root raised3,think 5, b7, B 5th voicing or (C b9);= playof Ab7) dominant a tritone 7 above chord it, up a C Diminished5th mode of maj CDEbFGbAbABCavoid tone: 3rd (E) a tritone in each hand with a inRH;b3&b7inLH(C7startsus4 on any= G chord-ø) tone on the bottom; e.g.,3b7 b95(EBb Db G) thenrai(C7downsed skip a4th;b7 5th= a (C G minor-)= & Ab7) 3rdb3 in between LH hands; then 7sus4 (whole-half) minor 3rd5 between hands play a tritone above it, then skip a minor C Mixolydian CD(E)FGABb C b5Rb74 695(BbF 4b7b3(GbC9 ADG) FBbEb) thinkplay a BA tritone voicing in ofthe dominant minor RH 7 chord 7 chord up aup 5th a ( ) œb œ B(e.g.,Cb7b36 Gb 5R4(BbEbw A Eb) GCF) “point”3rd between to R in hands;ø RH and then goplay up a4th a tritone and in 5th mode of maj &avoid tone:œ 3rdœ (E)œ 4b7 95R(FBbw DGC) (C7raithinksedsus4 B 5th voicing= (C G-)= ofAb7) minor 7 chord up a 5th C7b9ø Diminished CDbEbEF#GABbCavoidœ œ tone:œ 3rd (E) any “diminished” voicing from downstartthe RH on a4th;b7 any chord & b3 tone in LH but the root (i.e., Co Locrian C(Db)Eb F Gb Ab Bb C Rb5b7b3b6(CGbBbEbAb)& 4 w (C7thinksus4 A voicing= G-) of dominant 7 chord up a C (halfDiminished-whole) CDEbFGbAbABC anya tritone chord in tone each but hand the with root a 3,start 5, onb7, any or b9); chord play tone a tritone on the above bottom; it, 7alt 7th mode of maj avoid tone: b9th (Db) 4b7 95R(FBbb7 w DGC) thinkraised B 5th voicing (Cø = ofAb7) minor 7 chord up a 5th C (wholeSuper Locrian-half) CDbEbFbGbAbBbC e.g.,3b7minorA 3b7#9#5b9(EBbD# 3rd b95(EBbbetween hands Db G) G#Db) thenplaythink skipa A tritone voicing a minor above of 3rd dominant it, between then skip 7 hands;chord a minor and then wb sus4 Cø7sus4o Diminished7th mode of mel min CDEbFGbAbABC a(e.g.,C tritone? Gb in each A Eb) hand with a startplay(C73rd����� between onaRH tritone any= up G chord-� hands;) instep the tone RHthen onplay the a bottom; tritone in CC7b9C LocrianDiminishedMixolydian C(Db)EbCDbEbEF#GABbCCD(E)FGABb F Gb Ab C Bb C Rb5b7b3b6(CGbBbEbAb)b5Ranyb74 “diminished” 695(BbF 4b7b3(GbC voicingADG) FBbEb) from thinkthinkstart Aon BA voicing voicingany chord of of dominant tone dominant minor but 7 thechord 7 7 chord chord root up (i.e., up aup 5th a a (whole-half) minor 3rd between hands playthe RH a tritoneø above it, then skip a minor 7th(half5th mode mode-whole) of of maj maj avoidavoid tone: tone: b9th 3rd (E)(Db) any chord tone but the root raised(C73, 5,sus4 b7, 5th or= (C G b9);-ø=) Ab7) play a tritone above it, (e.g.,CB b7 3 #5Gb b9 A b5 Eb)(Bb EG# Db Gb) 3rdthinkraised between B 5th voicing (C hands;= ofAb7) dominant then play 7 a chord tritone and in C7b9 Diminished CDbEbEF#GABbC anye.g.,3b7 “diminished” b95(EBb voicing Db G) from start�����then onskipRH any a down minor chord� 3rd tonestep between but the hands;root (i.e., then C7alt Super Locrian CDbEbFbGbAbBbC b5RA 3b7#9#5b9(EBbD# 4b7b3(GbC FBbEb) G#Db) thinkthinkthe RH B A voicing voicing of of dominant dominant 7 7 chord chord up and a Note:7sus4 In the Jamey(half-whole) Aebersold books and in ������ �������, C7+9any4b7 = C7alt chord 95R(FBbR tone but DGC) the root 3,thinkplay 5, b7,a B tritone voicing or b9); in playof the minor RH a tritone 7 chord above up it,a 5th C 7thMixolydian mode of mel min CD(E)FGABb C b74 695(BbF5 ADG) rai�����thinksed 5thRH A voicing (C upø�=step Ab7) of minor 7 chord up a 5th o e.g.,3b79 b95(EBbw Db G) then(C7sus4 skip= a G minor-) 3rd between hands; then C 5thDiminished mode of maj avoidCDEbFGbAbABC tone: 3rd (E) a tritone& in eachw hand with a (C7startsus4 on any= G chord-) tone on the bottom; 7sus4 (whole-half) minor 3rdb7 betweenw hands play a tritone abovein the RH it, then skip a minor C7alt Mixolydian CD(E)FGABb C b74B b7 695(BbF 3 #54 b9 b5 (Bb ADG) EG# Db Gb) think AB voicing of dominant minor 7 chord 7 chord up a and 5th *“C CategorySuper A” chords Locrian have the 3rdCDbEbFbGbAbBbC in the lowest voice; “Category(e.g.,CA B3b7#9#5b9(EBbD#” chords Gb A have Eb) the 7th in G#Db) the lowest voice.3rdthink between A voicing hands; of� dominant then play 7 a chord tritone and in o 5th mode of maj avoid tone: 3rd (E) 4b7 95R(FBbbw DGC) (C7think�����sus4 BRH voicing= down G-�) of minorstep 7 chord up a 5th CC7b9** All voicingsDiminishedDiminished7th have mode five of notesmel min withCDEbFGbAbABCCDbEbEF#GABbC the exception of the diminishedaany tritone and? “diminished” dominant in eachw hand 7b9 voicing voicings with afrom which havestartthestart����� four RH on onRH(two any any up chord notes chordstep tone in tone each on but hand)the the bottom; root (i.e., Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt (C7sus4 = G-) C7alt (wholeSuper(half-whole)- Locrianhalf) CDbEbFbGbAbBbC minorAany3b7#9#5b9(EBbD# chord 3rd between tone but hands the root G#Db) playthink3, 5, a b7,tritone A voicing or b9); aboveplay of dominant it, a then tritone skip 7 above chord a minor it, and (e.g.,Ce.g.,3b7B4b7b7 95R(FBb 3 Gb #5 b95(EBb b9A Eb) b5 (Bb DGC) EG# Db G) Db Gb) 3rdthenthink between skip B voicing a minor hands;� of 3rd dominantminorthen betweenplay 7 chord a7tritone chordhands; up a and in then 5th 7th mode of mel min �����sus4RH up step� 7sus4 the(C7play����� RH aRH tritone= down G-) in thestep RH C7b9C*“CategoryDiminishedMixolydian A” chords have the 3rdCDbEbEF#GABbCCD(E)FGABb in the lowest voice; C “Categoryanyb74 B” “diminished” chords695(BbF have thevoicingADG) 7th in from the lowest voice.startthink on A anyvoicing chord of tone minor but 7 thechord root up (i.e., a 5th Note: In the Jamey Aebersold books and in ������ �������, C7+9B =b7 C7alt 3 #5 b9 b5 (Bb EG# Db Gb) think B voicing of dominant 7 chord and ** All voicings(half5th have mode-whole) five of notesmaj with&avoid the exception tone: 3rd (E)ofœ theœ œb diminishedœ any and chord dominant5 tone but 7b9 the voicings root which have3,(C7 four 5,sus4 b7, (two or= G b9); notes-) play in each a tritone hand) above it, œ œb œb œn œ# b9 ����� RH down � step C7b97sus47alt Diminished CDbEbEF#GABbC anye.g.,3b7& “diminished” b95(EBbw voicing Db G) from startthen onskip any a minor chord 3rd tone between but the hands;root (i.e., then CNote:C In theMixolydian JameySuper Locrian Aebersold booksCD(E)FGABbCDbEbFbGbAbBbC and in ������ C�������, C7+9b74A =3b7#9#5b9(EBbD# C7alt 695(BbFb7 wb ADG) G#Db) thinkthink A A voicing voicing of of minor dominant 7 chord 7 chord up a and 5th *“Category(half A” chords-whole) have the 3rd in the lowest voice; “Categoryany4b7 B” chord chords95R(FBb tone have but the DGC) the 7th root in the lowest voice.3,playthink 5, b7,a B tritone voicing or b9);� in playof the minor RH a tritone 7 chord above up it,a 5th 5th7th mode mode of of maj mel minavoid tone: 3rd (E) 3 bw (C7�����sus4RH= upG-) step ** All voicings have five notes with the exception of the diminishede.g.,3b7 and? dominant b95(EBbw 7b9 voicings Db G) which have(C7then foursus4 skip (two= a G minor notes-) in 3rd each between hand) hands; then play a tritone in the RH *“Category A” chords have the 3rd in the lowest voice; “Category4b7B Bb7” 95R(FBb chords 3 #5 b9 have b5 (Bb DGC) the EG#7th in Db the Gb) lowest voice.thinkthink B B voicing voicing of of minor dominant 7 chord 7 chord up a and 5th 7alt � **C All voicingsSuper have Locrian five notes withCDbEbFbGbAbBbC the exception of the diminishedA and3b7#9#5b9(EBbD# dominant 7b9 voicings G#Db) which have�����think foursus4 ARH (two voicing down notes of in dominantstep each hand) 7 chord and Note:C7b9 In the Jamey7thDiminished mode Aebersold of mel min booksCDbEbEF#GABbC and in ������ �������, C7+9any = C7alt “diminished”A voicing from (C7�����start onRH= any upG- chord)� step tone but the root (i.e., 7alt C Super(half-whole) Locrian CDbEbFbGbAbBbC Aany3b7#9#5b9(EBbD# chordb9 tone but the root G#Db) think3, 5, b7, A voicing or b9);play of dominant a tritone 7 above chord it, and 7th mode of mel min & œb œb œb œ Be.g.,3b7b7 3 #5 b95(EBb b9 b5 (Bb EG# Db G) Db Gb) �����thinkthen skipRH B voicing aup minor� step of 3rd dominant between 7 chordhands; and then C7b9 Diminished CDbEbEF#GABbCœb œb œb any “diminished”#9 bw voicing from start on any chord tone but the root (i.e., *“Category A” chords have the 3rd inœ the lowest voice; “Category B&” chords# havew the 7th in the lowest voice.�����play aRH tritone down in the� step RH (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, **Note: All Invoicings the Jamey have Aebersold five notes books with the and exception in ������ of ������� the diminished, C7+9B = andb7 C7alt 3 dominant #5b7 b9w# b5 7b9(Bb voicings EG# Db which Gb) havethink four B (two voicing notes of in dominant each hand) 7 chord and e.g.,3b7 b95(EBb Db G) then skip a minor 3rd between hands; then 3 bw ����� RH down � step play a tritone in the RH CNote:7alt In the JameySuper Locrian Aebersold booksCDbEbFbGbAbBbC and in ������ �������, C7+9A =3b7#9#5b9(EBbD# C7alt? w G#Db) think A voicing of dominant 7 chord and *“Category7th A” chordsmode of have mel the min 3rd in the lowest voice; “Category B”B chords have the 7th in the lowest voice.����� RH up � step ** All voicings have five notes with the exception of the diminished and dominantb5 7b9 voicings which have four (two notes in each hand) C7alt Super Locrian CDbEbFbGbAbBbC A 3b7#9#5b9(EBbD#b9 bw G#Db) think A voicing of dominant 7 chord and *“Category A” chords have the 3rd in the lowest voice; “CategoryB Bb7” chords 3 #5b b9 havew b5 (Bb the EG#7th in Db the Gb) lowest voice.think B voicing of dominant 7 chord and ** All voicings7th havemode five of mel notes min with the exception of the diminished and dominant 7b9 voicings which have���������� fourRHRH (two up down� notesstep� instep each hand) & 3 w# Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7altb7 B b7 3 #5 b9 b5wbw (Bb EG# Db Gb) think B voicing of dominant 7 chord and ? ����� RH down � step Note:*“Category In the Jamey A” chords Aebersold have the books 3rd and in the in ������ lowest voice;������� “Category, C7+9 = BC7alt” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) * “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)

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Jazz Piano Pedagogy Voicings Teaching/Learning Sequence *

I. Major A. One-Hand Voicings 1. Category A: LH root / RH chord 2. Category B: LH root / RH chord 3. Alternate A-B beginning with A: LH root / RH chord 4. Alternate B-A beginning with B: LH root / RH chord 5. All of the above: chord in LH (RH tacit) B. Two-Hand Voicings 1. Category A 2. Category B 3. Alternate A-B beginning with A 4. Alternate B-A beginning with B II. Dominant 7 A. Repeat I with dominant chords B. Play Bb Blues (first alone, then with play-along recording) 1. LH root / RH chord (start with both A and B; use best voice leading) 2. Chords in LH (RH tacit) 3. Chords in LH / head in RH 4. Two-Handed Voicings (start with both A and B; use best voice leading) 5. Chords in LH / related chord scales in RH (not in tempo) 6. Chords in LH / improvise in RH C. Play Watermelon Man: follow steps II B 1-6 above III. Minor A. Repeat I with minor chords B. Play Song for My Father: follow steps II B 1-6 above C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing) D. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure) E. Play Maiden Voyage: follow steps II B 1-6 above IV. II V I in Major (II- V7 I) A. Alternate A-B-A beginning with A: LH root / RH chord B. Alternate B-A-B beginning with B: LH root / RH chord C. A and B above: chord in LH (RH tacit) D. A and B above: two-handed voicings E. Play Satin Doll: follow steps II B 1-6 above V. Half-Diminished - Repeat I with half-diminished chords VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords VII. II V I in Minor ( IIø V7alt I-) A. repeat IV A-D with minor II V I B. Play Blue Bossa: follow steps II B 1-6 above C. Play Summertime: follow steps II B 1-6 above D. Play Footprints: follow steps II B 1-6 above E. Play Autumn Leaves: follow steps II B 1-6 above VIII. Diminished A. Repeat I with diminished chords B. Play Doxy: follow steps II B 1-6 above IX. Dominant 7b9 A. Repeat I with dominant 7b9 chords B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-) C. Play F Blues: follow steps II B 1-6 above

* All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54 (“Maiden Voyage”) and can be ordered from www.jazzbooks.com

JB Dyas, PhD • [email protected] • 310-206-9501

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