8 Matching Annotations
- Sep 2023
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The Chord-Scale Theory and Jazz Harmomny Netles & Graf 1997 (not searchable)
blues progressions - p 101
Tags
- phd-blues-harmony-progressions
- reharmonisation-diatonic
- source:nettles-graf
- chord-voicing
- sequential-V
- nonfunctional-harmony
- blues-harmony
- substitute-V
- chord-symbols-voicing-specific
- blues
- chord-scale-theory
- voicing
- polychords
- minor-key-harmony
- cliches
- modes
- harmony
- sequential-substitute-V
- modal-harmony
Annotators
URL
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- Jul 2023
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www.dropbox.com www.dropbox.com
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PROCEDURE FOR CHORD CONSTRUCTION The priori~y order dIe is not set up cornplecely by rhe &crates ~Facoustics. There are adjust- ments made to the table thar are more reflective of"c~rnrnon pracrice." That is, taking prefer- ence in the order of notes chat emphasize the modal quality of a primary mne or sel~cting notes that conform to documented use in recordings or printed music. It will be explained in each example when an adjuscrnent is made. Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use of a11 spacings. 1. Select che general tessitura and soar of rhe chord. 2. Select the kind of spacing. 3. Place the primary color tone somewhere within the seIecced ressitura. 4. FiIl inJ up or dawn, the remaining coIar cones wirhin the specified incervaI of che selected spacing to the number of notes desired in the chord (four or five plus root is ypical). 5. Keep in mind the rules of supporr and balance if good support and balance are desired. One should be abIe to create a balanced chord on assignment. 6. If constructing mixed spacings, try co create balanced chords first, then experiment with exotic (imbalanced) spacings. Some of them sound surprisingly good. 7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing- 8. Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example. At this time it should be pointed out hat there is a problem with rhe standardization ofmodal chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples are a compilation ofsuggestions that I have received from the many studerm I have had from all parts of the world. These suggested symbols work, but are open ro criticism
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- Jun 2023
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docdrop.org docdrop.org
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Dorian Family of Voicings
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Chapter 14 discusses three types of voicing chord, upper-structure triads, rootlessformations and incomplete voicings, and explores their harmonic and voice-leadingpotential
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In jazz terminology, the term “voicing” refers to the arrangement of notes within a chord.That arrangement can be either close or open. In a close voicing the arrangement ofnotes is the most packed possible. In an open voicing, the arrangement of notes is
intervallically more diverse. The most common method of generating an open voicing is to drop certain notes from a close-position chord down an octave. In a “drop 2” voicing, the second note, counting from the top note, is dropped down an octave. “Drop 2” refers to voicings above the bass in which the bass note is not counted as one of the voices being “dropped.” Each chord in Figure 4.15 includes three “drop 2” voicings because the three notes above the bass can be rotated three times.
see figure 4.15 on p 47
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docdrop.org docdrop.org
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JAZZ VOICINGS
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Typical Jazz Voicing
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musictheory.pugetsound.edu musictheory.pugetsound.edu
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Jazz Chord Voicings
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