These seven models of harmonic realization get progressively more advanced, but eventhe initial ones—provided that they are performed in time and with a good rhythmicfeel—can convincingly express the majority of jazz progressions. As you get morecomfortable at realizing harmonic progressions using these models, experiment withdifferent metric placements and variations of the Charleston rhythm

The ability to realize harmonic progressions on the keyboard is an essential skill for thecontemporary jazz musician, regardless of her/his primary instrument. The forthcomingmodels of keyboard playing will help to accomplish this objective

invertible potential of the guide tones.

Various chords realized in “chorale style” with equal distribution of notes in bothhands.Model VII uses two voices per hand and employs different four-, five- and larger-partharmonic structures. Since this model uses only four-voice textures, larger formations needto be reduced to their essential harmonic frameworks. In reducing chords to their four-part frameworks certain notes are retained and others omitted. Typically, the root isretained, the 5th is omitted, and—depending on the context—the remaining three voicesare selected from the related guide tones, pitch alterations, or extensions. Figure 12.7demonstrates different Model VII realizations of the II–V–I progression. The selectionof chords differs from one realization to the next and depends both on the voicing of theopening chord and on the voice-leading forces initiated by the initial two chords

Rootless five-part chords in the R.H. realized with good voice leading.• Roots, thirds, or fifths in the L.H. in 2:1 ratio with the R.H.The motion between chords in Model VI shown in Figure 12.6 is controlled by theprinciples of good voice leading

Rootless five-part chords in the R.H. (NO voice-leading considerations.)• Roots of chords in the L.H. in 1:1 ratio with the R.H.Broadly speaking, so-called rootless formations omit the root of the chord from theirstructure. With rootless five-part chords, the upper four-part structure is placed in theR.H. and the root in the L.H. Some of the R.H. shapes should look, sound, and feelfamiliar, since they have already been encountered in the four-part chords in the contextof Model III and Model IV. Similar to Model III, we will first acquaint ourselves withfour rotations of the rootless formation. Figure 12.5 provides four Model V realizationsof the major and minor versions of the II–V–I progression, with each realization beginningon a different R.H. shape

Root position and inversions of four-part chords in the R.H. (NO voice-leadingconsiderations.)• Roots of chords in the L.H. in 1:1 ratio with the R.H.The focus of Model III, shown in Figure 12.3, is to explore only one position or inversionof the four-part chord throughout the progression

Root position and inversions in the R.H. realized with good voice leading.• Roots, 3rds, or 5ths in the L.H. in 2:1 ratio with the R.H

Guide-tone lines in the right hand (R.H.).• Roots of chords in the left hand (L.H.) in 1:1 ratio with the R.H.Figure 12.1 demonstrates Model I using the major and minor versions of the II–V–Iprogression. Notice that the R.H. explores the invertible potential of the guide tones

Rhythmicized guide tones in the R.H.• Roots, thirds or fifths in the L.H. in 2:1 ratio with the R.H.Figure 12.2 illustrates the use of Model II. The R.H. distributes the Charleston rhythmat different locations within the measure