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Author Topic: How About an Organized Thread of Different Ways of Voicing Chord Porgressions?  (Read 1325 times)

Offline outstretchedarm

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hi all,

I've been thinking of getting a thread started here at LGM about different ways to voice different chord progressions. Well here it is.

The idea is that we can start with a chord progression, starting with simple ones, then people can chime in with different ways to voice that one.

I'll start, and if anyone is interested, jump in the thread and add your two cents.

Offline outstretchedarm

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Voicings for IIm7 -  V7 - I

Here's how I generally voice this progression, in the style of Bill Evans rootless  voicings:


Chord:  LH  / RH 

Dm7 :  D-D  /  C-E-F-A
G7:     G-G  /   B-D-F-A
Cmaj7: C-C /  B-D-E-G

on the G7, I might drop the top A to Ab, to make it a G7b9, if I want a more angular sound.  if it fits the song.

also, on those octaves I play in the LH, I also throw int eh 5th sometimes to add rhythm

How are the rest of you playing a simply II-V-I cadence

Offline JemaineC

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Hi there. I have been working on an article to cover the 2-5-1on my blog. So here is my 2 cents:

By the way...this is for playing with a bass player

LH/RH

2: F A C E/G C E, A C F (Rotate RH)

5: Repeat same chords or F A B E/G B D or F Ab B D/Ab B E and invert E chord on RH or F Ab C D/F Ab C D and invert RH

1: E G B D/G B D or E G B C/G B D or C E Bb/A D F# A

piano-playing.blogspot.com

Offline jonesl78

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The jazz tune "Satin Doll" has a interesting twist on the 2-5-1.   In one of the music phrases, it does a 2-5 in Gb and then resolves in C.

    Abm7 - Db7 - CM7

Picked this up from Jamal Hartwell. This is probably more of a 5-1 progression.     
 
     G7#5 #9 - G7b5 b9 - CM9

F B/ Eb G Bb  -     F B/ Db F Ab - CEA/ DGC


Offline outstretchedarm

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Quote
The jazz tune "Satin Doll" has a interesting twist on the 2-5-1.   In one of the music phrases, it does a 2-5 in Gb and then resolves in C.

    Abm7 - Db7 - CM7

A few people in Jazz (Conrad Cork, John Elliot) refer to this as the "Dizzy Cadence," because it shows up pretty often in Gillespie's material.  Its considered a standard variant on the 2-5-1, and Jazz musicians should know it in all twelve keys.

The reason why it works is that the Abm7 is a bartok substitution of Dm7, and the the Db7 is a Bartok sub of G7

if you like that one, you'd probably also like what they call the Yardbird substitution:

Fm7 >  Bb7 > Cmaj7

Cool that we're getting into Bartok subs so early in the conversation
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