In the following section we concentrate on a beautiful and rather delicate voicing–one that contains the two guide tones (GTs) or closely related shape in the LH and a small 2-note shape in the right. By this point, being able to play the guide tones of a given chord should be relatively quick and easy. If we can have our left hand quickly find the 3rd and 7th without thinking about it, we can focus our attention on the right hand and weave chromatic melodies that also function as the upper extensions of the chord.
Being able to discern the GTs clearly in the left hand is important. They serve as the principle identifier of the rootless voicing. When playing with bass and drums, being clear with what rootless voicing you are playing is essential. For now, only playing the 3rd and 7th (6th) in the LH is one simple way to accomplish this. Later, when we add more notes to our LH rootless voicings, it is my hope that the GTs will still be clear and easy to hear.
Below, practice through the A section of rhythm changes with only the two guide tones in the LH. Next add a voice in the RH no more than a fourth away from the top note of the LH. As you move to each subsequent chord, move the RH voice to a tension or chord tone close by, thinking of the horizontal line. See example below.
FIG. 1
sions must by a b13 (#5) in order to give the altered chord its characteristic sound. For this exercise, however, you can choose b9, #9, b5, or b13 for the RH voice.
Compared to the more massive rootless voicings containing TV’s in the LH (to be dis-cussed later in this chapter) or rooted spread voicings from Chapter 5 of the Essentials, these transparent, smaller voicings are more negatively affected by doubled notes and other offenses listed later in this section. They are, in a sense, more fragile. As we con-tinue to explore more comping transcriptions and see traditional jazz piano voicing rules being broken left and right, we realize that trying to pin down voicings to a set of rules is fruitless. There are, however, some voicings that seem to pop, and others that are weak and milquetoast-like. It’s worth it to try to come up with some reasons why this is the case.
Imagine a spectrum of voicings consisting of 2 and 3-note shapes over guide tones. On one side you have voicings that are completely dissonant, and unusable in many tradi-tional situations. On the other side of the spectrum, you have chords that don’t sound hideous, but still lack something. Many of these chords sound empty, or have a plain quality. In the middle you have chord voicings that are clean and defined with a certain sonorous richness. What are the reasons for the differences in sound?
It may be because of certain clashes, spacing problems, or doubling within the voicing.
Below is a list of potential crimes you can commit against 2 or 3-note shapes/GTs. These have a cumulative effect; the more of these infractions you commit and the more serious they are, the weaker the overall sound of the voicing. Of course, sometimes the infrac-tions can add a bluesy or distinctive character and can therefore be desirable. Plenty of beautiful and iconic voicings played by Thelonious Monk contain many of these so-called infractions. Nonetheless, generally speaking, certain things should be avoided to ensure an effective voicing. The infractions (in approximate order from most severe to mildly offensive) include:
• Creating a m9th somewhere in the voicing (except in certain modal contexts)
• Having a half step under the top voice
• Doubling an octave above the bottom voice
• Having a P5 in the LH when the bottom note is not a 3rd or 7th
• Having a space between the hands of more than a fourth
• Doubling one of the GT’s in the RH
• Having a natural fifth in the alto voice when creating 4-note dominant chords
• Playing the root somewhere in the voicing other than in the melody
• Having a P5 in the LH
categories. The top two rows refer to the RH, the bottom to the LH. When building these voicings make sure you have one note from each category. The quality of chord and choice of tensions will determine which note from each category you choose. Keep in mind, the RH and/or LH could be inverted.
Root Category: R, 9, #9, b9 (or ∆7 if GTs contain the 6) 5th Category: 5, b5, #11, 11, #5 (b13), 13
7th Category: ∆7, b7, bb7, 6 3rd Category: 3, b3, or 4
Comping Exercise #11: Working with 2-note Shapes/GTs Through Rhythm Chang-es. Navigate through an entire chorus of rhythm changes using 2 notes over GTs. The first eight bars are done for you. As you play through the next example, strive to hear the horizontal motion between the voices. First focus on horizontal lines generated by 3–7 and 7–3 motion in the LH. Then see if you can hum the alto voice. Finally, hum the soprano line while playing the alto line and vice versa.
Use Track 3 and/or 4. Always listen to the bass player for the harmony. There may be some slight differences from what is printed below.
FIG. 2
countermelody using 2 notes over GTs while keeping the C pedal. The first four bars are done for you. Find a melody and countermelody that works with the chords. Then, experiment with your own chord changes.
FIG. 3
Each four-note voicing above contains one note from each category (root, 3rd, 5th, and 7th). For example, Fmaj9 contains a C (from the 5th category); a G (from the root catego-ry); an E (from the 7th category); and an A (from the 3rd category). Note the use of ∆7 as a tension for Fo7 fulfilling the root category.
Having a P5 in the LH can upset the delicate balance of these 4-note voicings. The per-fect fifth interval, like the octave, can sometimes overpower the sound of the voicing.
When inverting the guide tones of maj7, min7, min7b5, and 6 a P5 is created. Be careful of using this inversion too much. In fact, the inversion of the major sixth guide tones (with the 6th as the bottom note) should be avoided all together. A P4 or A4 is more de-sirable than the P5 when creating these types of voicings.
Modified Guide Tones
Occasionally it is necessary to modify the guide tones in the LH to create the versatile 4th interval. Modified Guide Tones (MGTs) can be defined as two notes that function like guide tones but are not 3rd and 7th (6th). For example, when constructing minor chords, instead of the normal GTs, you can use MGTs (1-4) or (4-b7). For half-diminished and di-minished you can use MGTs (1-b5) or (b5-1). Note that in these cases, the root is played in the voicing.
MGTs (1-4) and (4-b7) should not be inverted. Their inversions, (4-1), and (b7-4) are both P5s. As we have pointed out, this is an undesirable interval for your LH especially when the bottom note is not the 3rd. Also, when using MGTs, the rule regarding having one note from each category does not apply.
Below is a chart outlining some useful 4-note chord voicings. To build the chord, play the 2-note shape in the RH over the guide tones of the chord symbol. MGTs are indicated when necessary.
Be careful that the RH interval or the space between hands does not become too wide.
Also, be aware of other infractions such as having the root under the melody, having a P5 in LH when the bottom note is not a 3rd, or having a natural 5th in the alto voice for dominant chords.
A roman numeral next to the GTs or MGTs indicates the preferred inversion. (I)=the LH shape should be used in the non-inverted form. If there is no roman numeral indicated, the LH shape may be inverted freely.
Major Chords:
Chord Name 2-note shapes/GTs or MGTs
C6/9 9 & 5/C6 (I)
Cmaj7 9 & (5 or 13)/Cmaj7
Cmaj7(#11) 9 & #11/Cmaj7
Dominant Chords:
Chord Name 2-note shapes/GTs
Any type of C7 containing 0, 1, or 2 tensions (R, 9, #9, or b9) & (#11, 5, #5 or 13)/C7
Chord Name 2-note shapes/GTs or MGTs
Cm7 (R or 9) & (5 or 11)/Cm7
b7 & b3/MGTs (1-4) (I) b3 & 5/MGTs (4-b7) (I)
Cm6/9 (R,9, or ∆7) & (5 or 11)/Cm6
You can create rootless m6/9 voicings by thinking of them as dominant chords built on the IV. The rootless voicing for Cm6/9 is the same as the rootless voicing for F13.
Half-diminished Chords:
Chord Name 2-note shapes/GTs or MGTs
Cm7b5 (R or 9) & b5/Cm7b5
(b7 or b13) & (b3, 9, or 11)/MGTs (1-b5) Alternatively, you can generate half-diminished voicings by thinking of them as domi-nant chords built on the bVI. The 4-note voicing for Cm7b5 using MGT (1-b5) or (b5-1) is identical to the rootless voicing for Ab13.
Diminished Chords:
Chord Name 2-note shapes/GTs or MGTs
Co7 (R, 9, or ∆7) & (b5, 11, or b13)/Co7
(bb7, ∆7, or b13) & (b3,11, 9)/MGTs (1-b5) By thinking in terms of related diminished chords, you can quickly create other dimin-ished voicings. Co7, Ao7, Gbo7, and Ebo7 are considered related since they share the same chord tones. Therefore the guide tones for Ao7 are the same as the MGTs for Co7.
Once you generate one diminished voicing, simply transpose it up or down a m3 to ac-cess the other voicings.
We now need to apply these chords to a real situation.
Comping Exercise #13: Comping through Standards Using 2-note Shapes/GTs or MGTs: Experiment by comping through your favorite standard using these 2-note shapes/GTs or MGTs.