Style > Jazz

Intermediate Jazz - Putting it together

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Wolfram:
Okay, so you got the basics down, now what?  Here we try to learn how to apply it all in a faster paced, more practical way.  If you know how to read music and understand your basic chord theory you can pretty much hang here.  If you are struggling a bit, do sweat it, take a look at Jazz 101 and see if you can fill in the holes with something there and then hurry on back here so we can get you jamming. ;D

diverse379:

--- Quote from: Wolfram on June 26, 2008, 02:28:08 PM ---Okay, so you got the basics down, now what?  Here we try to learn how to apply it all in a faster paced, more practical way.  If you know how to read music and understand your basic chord theory you can pretty much hang here.  If you are struggling a bit, do sweat it, take a look at Jazz 101 and see if you can fill in the holes with something there and then hurry on back here so we can get you jamming. ;D

--- End quote ---

after you post your A/B voicings I would like to chime in with some left hand clusters and other combinations that can be used in conjunction with these voicings

I will wait my turn

Wolfram:
The first lesson we will look at here is based off of the II - V7 - I chord progression.  This is an extremely popular progression in jazz and modern music that uses the AABA form.  There are simple ways of thinking about setting yourself up for a basic comping pattern for these sort of tunes.  We can place these patterns into A patterns and B patterns

In the "A" Pattern, your inital left hand voicing will start on the third. (You use this pattern for chords between C and F)
In the "B" Pattern, your initial left hand voicing will start on the seventh. (You use this pattern for chords between F# and B)

examples:

A Pattern: In C:    II-9  =  b3, 5, b7, 9       D(-9)     F, A, C, E          remember that the bass is playing the D  (pedal) 
                         V13  =  b7, 9, 3, 13       G13        F, A, B, E          G is played by bass or by pedal
                         I 6/9 = 3, 5, 6, 9           C 6/9     E, G, A, D          C is played by bass or by pedal

B Pattern:  In Ab:  II-9  =  b3, 5, b7, 9       Ab(-9)   Gb, Bb, Cb, Eb    remember that the bass is playing the Ab  (pedal) 
                          V13  =  b7, 9, 3, 13       Db         F, Bb, Cb, Eb     Db is played by bass or by pedal
                          I 6/9 = 3, 5, 6, 9           Gb 6/9    Eb, Ab, Bb, Db   Gb is played by bass or by pedal


Here is a worksheet for you to practice these patterns with.  You will have to fill them in first :)...  Let me know how things go!!!

WQLF

musallio:
Wow!!!!

Finally things will be easier for me..
I thought I was just going to take a decade to learn all these jazz voicings, but this is really going to make this a fun & quick road for me to travel..

I have just written out the chords for exercises 54 & 55..Now I just have to practice them as regularly as possible.

So what's lesson #2 sir? :) 8)

musallio:
Those 2 exercises are going to do me wonders, thanks Wolfram 8)
The "correct" (or rather intended) voicing did take some brains to figure since the numbered voicings in the B Patterns were not in the "right"order.

I was going to post the other number system I use (which bases all the 3 voicings for the 2-5-1 on the key that 1 is playing in), but for the sake of not confusing people, I shall not.

However, I am posting the method I used to construct the particular voicings I'll start off with:


IE,

Formulae to apply to to A Pattern keys [C to F]

-From II to the V, you move the 3rd note from Left down by a HS [-H].
-From V to the I, move the lowest note down by a HS & the other 3 notes down by WSs each [-H,-W,-W,-W].

eg, in key of EM:

II9   F#(-9)   A,C#,E,G#
V13  B13      A,C#,D# [-H] ,G#
I6/9  E6/9    G# [-H] ,B,C#,F# [-W,-W,-W for other 3 notes]



Formulae to apply to to B Pattern keys [Gb/F# to Cb/B]

-From II to the V, you move the lowest note  down by a HS [-H].
-From V to the I, move the lowest  2 notes down by  WSs  each & the 3rd from left note down by a HS & the note on top down by a WS [-W,-W,-H,-W].


eg, in key of BbM

II9   C(-9)     Bb,D,Eb,G
V13  F13      A [-H],D,Eb,G
I6/9  Bb6/9    G [-W],C,D,F [-W,-H,-W for other 3 notes]





I hope this allows someone to have a systemmatic approach to viewing this.
I would also love to see which methods others used to identify the patterns.

Thanks.

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