In Chapter 5 of The Essentials, we examined various 3-note RH shapes to be played over a LH shell. This time, we will be building on top of guide tones, creating a need for slightly different 3-note RH shapes. Because the GTs are often already contained in the LH, these chord tones should be avoided in the RH. In this section we will examine two of the most quintessential 3-note shapes (and their inversions) that work well over guide tones: triads and fourths.
It should be noted, however, that since we are now working with 5-note shapes that are a bit more substantial compared to the 4-note shapes from the last chapter, we are able to get away with a limited amount of doubling of guide tones in the RH.
Below are a few examples of triads over GTs of greater or lesser degrees of effectiveness due to the number of infractions committed.
Because of the m9th present, this voicing does not work well.
FIG. 1
Since no infractions are committed in the following case, this voicing is highly effective.
FIG. 2
It can be helpful to examine the intervals within the chord. A colorful satisfying voicing often contains a mixture of 7ths, 9ths (2nds), and 4ths. Traditional staid voicings have more 3rds. To me the first voicing (F13) is more successful than the second voicing (F9).
Notice the 9th between the bottom voice and the middle voice in the RH. In the F9 voic-ing the interval between the bottom voice and middle voice in the RH is a 10th(3rd). If you lower the RH middle voice a half step producing an F9(#11) listen to the difference.
In the end, both voicings are not ideal since they contain doubled guide tones, but are certainly used effectively in many situations by many pianists.
Triads/GTs and MGTs
Let’s now investigate triadic shapes over guide tones (GTs) and modified guide tones (MGTs) for various chords. The easiest way to generate potential triads is to examine the parent chord scales for each chord in question. Then, we can try different triads gener-ated from the chord scales and measure their effectiveness considering any infractions against the chord voicing from the above list.
Below is a table of chord names, chord scales, triads/GTs (MGTs) and RH triadic shapes in general terms categorized in terms of chord quality. When describing RH triadic shapes ∆=major, m=minor, o=diminished, +=augmented, and t=triad. Keep in mind that this is not an encyclopedic list of all possible chords, but just a compilation of some of the important ones.
The triads and GTs are very manageable, and can be inverted separately in each hand.
Again, roman numerals are used if there is a preferred inversion for the LH GTs or MGTs.
If no roman numeral is indicated, the GTs or MGTs may be freely inverted.
Try to have no more than a 4th between your hands so that the voicing sounds like one sound instead of two separate entities. Avoid doubling the lowest voice. Doubling the highest voice is possible, although not ideal.
I’ve included only the triads that yielded voicings with the least amount of infractions and/or sounded the best. Often, if two or more infractions were found, the voicing was
Major Chords: Cmaj9(#11) Lydian D/C∆7, D/C6 (I), Bm/
C6 (I) ∆t off the M2,
∆t off the M2, mt off the M7 For major 6/9 avoid having a P5 between the bottom two voices. Usually, having the 3rd on the bottom works the best.
Dominant Chords:
Chord Name Chord Scale Triads/GTs General Terms
C7(13) Mixolydian Am/C7 mt off the M6
C13(#11) Lydian Dominant D/C7, F#o/C7, ∆t off the M2, ot off the A4,
C7(#5#9) Altered Ab∆/C7, Gb∆7/C7 ∆t off the m6
∆t off the d5
7sus Chords
Use any of the minor chord voicings containing m7 GTs or MGTs listed under “Minor Chords” transposed a P5 higher. For example, for C7sus you can use Gm7(13) or Gm7(11)
Chord Name Chord Scale Triads/GTs (MGTs) General Terms
* – Always keep the big musical picture in mind when adding tensions. If you are play-ing Cm7 in context of a ii7 –V goplay-ing to Bb major, the 13th is usually omitted because it confuses the movement to the V7 chord.
Half-diminished Chords: To generate rootless half-diminished chords think of them as dominant chords built on the bVI. The voicing for Cm7b5 is identical to the rootless voicing for Ab13.
Simply find the dominant chord a M3 below and build a rootless voicing using the guide tones belonging to the dominant chord. Cm7b5 is very similar to Ab7/C.
Since the GTs of the bVI7 contain the root of the half-diminished chord, all choices have at least one infraction.
Due to the volume of acceptable diminished voicings, only a select few were selected.
We now need to apply these chords to a real situation.
Comping Exercise #14: Using Triads/GTs (MGTs) to Comp through Rhythm Chang-es. Complete a chorus of Rhythm Changes using Triads/GTs. The first eight bars are done for you. Feel free to use your own chord changes and/or extensions.
Use Track 3 and/or 4.
FIG. 4
4th Shapes/GTs and MGTs
Another very important 3-note shape that can be placed over guide tones or modified guide tones is the fourth shape (two fourths stacked on top of each other). Following the same list of infractions to avoid, we can come up with several fourth shapes that work well over GTs (MGTs).
Again, we can select chord scales to accompany different chord qualities and see what 4th shape derived from the scale works. Below is a table reflecting chord name, chord scale, related 4th shape/GTs (MGTs) and RH shape described in general terms for several different chord qualities. Note that the 4th shapes are described starting from the top
Chord Name Chord Scale 4th Shapes/GTs General Terms
Cmaj9(13) Major G-D-A/C∆7 from P5
C69 Major C-G-D/C6 (I) from R
Dominant Chords
C7(#11) Lydian Dominant F#-C-G/C7 from A4
C13(b9#11) Half-Whole
Half-Diminished Chords Let’s return to our Rhythm Changes example and apply these 4th shapes/GTs. Remem-ber that inverting the 4th shape is ok as long as the spacing between the hands remains relatively consistent.
Comping Exercise #15: Using 4th Shapes/GTs and MGTs to Comp Through Rhythm Changes. Complete a chorus of Rhythm Changes using 4th shapes/GTs. The first 8 bars are done for you. Observe the inverted 4th shapes. Feel free to use your own extensions.
Use Track 3 and/or 4.
FIG. 5
shape up a whole step to generate the following colorful voicings.
FIG. 6
In the following figure, the middle voice of the RH moves around yielding interesting voicings containing 4th shapes/GTs with plenty of inner movement.
Comping Exercise #16: Using 4th shapes/GTs with a Moving Middle Voice in the RH.
Practice the following progressions through the keys.
FIG. 7
Comping Exercise #17: Synthesizing Both Types of 3-note Shapes/GTs. Returning to our original modified I-VI-ii-V progression from the last section in which we impro-vised a melody and countermelody, use any of the above 3-note shapes/GTs to create a beautiful progression over the C pedal, paying attention to the voice leading between the inner voices. You can use any inversion of triads, 4th shapes, or modified 4th shapes.
The example below utilizes most of the original melody and countermelody, and places a new melody above. The C pedal pattern is slightly adapted to make it easier to play the voicings. For those with small hands, omit the bass figure, and play with a bass player, or recording of yourself playing the bass figure. This is meant as a rubato intro to a ballad, so go slowly. Go for this kind of counterpoint when making your progression.
As you have probably noticed, combining triads (especially in 2nd or 3rd inversion) or 4th shapes with GTs or MGTs often yields a voicing that could be labeled as a 4th voicing, i.e.
a voicing that predominantly consists of 4th intervals. This is true because of the fact that an inverted triad contains a fourth, the spacing between your hands is often a 4th, and the GT is often a 4th. As we will see later, comping using 4th voicings is critical to modern jazz piano. Wynton Kelly, Hank Jones, Bill Evans, McCoy Tyner, and Herbie Hancock all make excellent use out of this iconic sound.
Below is a quick reference guide to some of the most important 4th voicings presented as five ii-V-I progressions. The guide shows three unique voicings for tonic major; three voicings for m7(11); five dominant voicings including 9(13), 13b9, and 7alt; two half-di-minished voicings; and three voicings for tonic minor.
The voicings for G13, G13b9, and G7alt can be used for Db7alt, Db7#9, and Db13(#11) just as the voicing for G13b9 can also work for Abo7 or Do7. After all, these chords share the same guide tones. For the half-diminished voicing in m. 10, the natural 9 can be substituted with the b3 if the natural 9 clashes with the melody played by the horn player or singer.
Comping Exercise #18: ii-V-I with 4th Voicings. Experiment by choosing one voicing from each column to create a variety of major and minor ii–V–I voicings. Strive for good voice leading especially between V and I(i). Transpose and apply to standards of
FIG. 9
dropped from the root; “Mt–P5” refers to the RH being a major triad built off the perfect fifth. Most RH shapes are placed above GTs. MGTs are indicated when necessary. The as-terisk refers to modifying the 4th shape by moving the middle voice up a whole step.
Comping Exercise #19: Applying 4th Voicings to standards.
Drawing from the extensive library of 3-note Shapes/GTs (MGTs) that we have assem-bled, play through the changes to “On Green Dolphin Street” using half notes. Below is one possible solution. Comp along with Track 14.
FIG. 10
Go back through FIG. 10 and indicate the triads or 4th shapes in the RH over the GTs or MGTs in the LH. Create your own chart listing some of your favorite 3-note shapes over GTs/MGTs for different chord qualities. Apply these voicings to several standard tunes.