Pop ballad accompaniment (contd)

Now we will look at another way to 'comp' over the progression first seen in Fig. 11.1., this time using
arpeggios in the right hand. Again these arpeggios will bring rhythmic subdivision and forward motion to an
arrangement. We will base these next patterns on a new upper structure voiceleading variation in the right hand,
as follows:-

Fiuure 1 1.22. Upper structure voiceleadin variation #3 (based on progression in Fiu. 1 1.1 .)
(CASSETTE TAPEEXAMPLE 259)

We can compare and contrast this voiceleading example with the previous upper structure voiceleading
shown on the same progression in Figs. 11.2. and 11.13. The upper structures used are the same, however the
 POP BALLAD

Pop ballad accompaniment (contd)

inversions and voiceleading used are different in each case. Even while using the same set of upper structures,
there are numerous possibilities for which inversions to use, depending upon the voiceleading intention (static,
ascending, descending etc.) - you are encouraged to experiment! Generally speaking in mainstream contempor-
ary styles, you should first choose your upper structures for each chord and then voicelead within the resulting
restrictions. In the previous example (Fig. 11.22.) the upper structures have all been indicated (i.e. 1-3-5, b3-5-b7
etc). in a similar manner as for Fig. 11.2. Now we will look at this voiceleading used in a right-hand arpeggio
context, as follows:-

Fiqure 11.23. Pop ballad compin pattern #3 (right hand arpeauios, based on Fig. 11.22.
voiceleadinq (CASSETTE TAPEEXAMPLE
260)
G Ami7 Bmi7 C
Pop ballad accompaniment (contd)

Notice that in the previous Fig. 11.23., the left hand in addition to playing the roots of the chords at the
points of chord change (beats 1 & 3), is also playing some 8th-note 'pickups' into beat 3. In this example these
consist of the 5th of the chord on beat 2 and the root of the chord on the '& of 2'. This optional embellishment
leads effectively into beat 3 of each measure. Notice the relationship between the voiceleading in Figs. 11.22.
and 11.23. - the same upper structure inversions are used. The pattern in which the right hand arpeggiates these
upper structures can be varied arbitrarily, but may be influenced by such factors as the need to connect the arpeg-
giated line through the chord changes. For instance, in the previous example the last note of an arpeggiated chord
generally connected into the first note of the next arpeggiated chord by a half-step or whole-step interval. While
not always essential, this can certainly add fluency to an accompaniment. Let's now analyze the specific right
hand pattern used on each upper structure in the previous example (again using numbers to indicate which 'parts'
of the right hand upper structure are being arpeggiated, as first seen in Fig. 11.19.):-

- Measure 1 - On the G chord, the right hand is playing a 3-5-1-3 pattern within the basic 1-3-5 upper
structure. The pattern ended on the 3rd of the G chord in order to voicelead into the
root of the C triad (the b3-5-b7 upper structure on the next Ami7 chord) by half-step.
- On the Ami7 chord, the right hand is playing a 1-3-5-1 pattern within a C major triad,
which is in turn the b3-5-b7 upper structure of the overall Ami7 chord. The pattern ended
on the root of the upper C triad (3rd of the Ami7 chord) in order to voicelead into the root
of the D triad (the b3-5-b7 upper structure on the next Bmi7 chord) by whole-step.
- Measure 2 - On the Bmi7 chord, the right hand is again playing a 1-3-5-1 pattern within a D major
triad, which is in turn the b3-5-b7 upper structure of the overall Bmi7 chord. The pattern
ended on the root of the upper D triad (3rd of the overall Bmi7 chord) in order to voice-
lead into the 3rd of the next C major chord, by whole-step.
- On the C chord, the right hand is playing a 3-5-1-3 pattern within the basic 1-3-5 upper
structure. The pattern ended on the 3rd of the C chord in order to voicelead into the
5th of the next G major chord, by whole-step.
- Measure 3 - On the G chord, the right hand is playing a 5-1-3-5 pattern within the basic 1-3-5 upper
structure. The pattern ended on the 5th of the G chord in order to voicelead into the
3rd of the C triad (the b3-5-b7 upper structure on the next Ami7 chord) by whole-step.
- On the Ami7 chord, the right hand is playing a 3-5-1-3 pattern within a C major triad,
which is in turn the b3-5-b7 upper structure of the overall Ami7 chord. The pattern ended
on the 3rd of the upper C triad (5th of the Ami7 chord) in order to voicelead into the 3rd
of the D triad (the b3-5-b7 upper structure on the next Bmi7 chord) by whole-step.
- Measure 4 - On the Bmi7 chord, the right hand is again playing a 3-5-1-3 pattern within a D major
triad, which is in turn the b3-5-b7 upper structure of the overall Bmi7 chord. The pattern
ended on the 3rd of the upper D triad (5th of the overall Bmi7 chord) in order to voice-
lead into the 5th of the next C major chord, by half-step.
- On the C chord, the right hand is playing a 5-3-1-5 pattern within the basic 1-3-5 upper
structure. The pattern ended on the 5th of the C chord in order to voicelead into the
root of the A triad (the b3-5-b7 upper structure on the next F#mi7 chord) by whole-step.
- Measure 5 - On the F#mi7 chord, the right hand is playing a 1-5-3-1 pattern within an A major triad,
which is in turn the b3-5-b7 upper structure of the overall F#mi7 chord. The pattern
ended on the root of the upper A triad (3rd of the overall F#mi7 chord) in order to
voicelead into the root of the next 87 chord, by whole-step.
 POP BALLAD 1
Pop ballad accompaniment (contd)

- Measure 5 (contd) - On the B7 chord, the right hand is playing a 1-5-3-5 pattern, just using 3 notes from the
1-3-5-b7 upper structure. On this occasion there is a minor 3rd interval between the
ending note of the pattern (F#, the 5th of the chord) and the first note on the next chord.
- Measure 6 - On the F#mi7 chord, the right hand is playing a 1-3-5-3 pattern within an A major triad,
which is in turn the b3-5-b7 upper structure of the overall F#mi7 chord. On this occasion
there is a perfect 4th interval between the ending note of the pattern (C#, the 5th of the
overall F#mi7 chord) and the first note on the next chord.
- On the 3!J chord, the right hand is playing a 5-3-7-5 pattern, again just using 3 notes
from the 1-3-5-b7 (4-part) upper structure. The pattern ended on the 5th of the B7 chord
in order to voicelead into the root of the G triad (the b3-5-b7 upper structure on the next
Emi7 chord) by half-step.
Measure 7 - On the E m chord, the right hand is playing a 1-3-5-3 pattern within a G major triad,
which is in turn the b3-5-b7 upper structure of the overall Emi7 chord. The pattern
ended on the 3rd of the upper G triad (5th of the overall Emi7 chord) in order to voice-
lead into the root of the C triad (the b3-5-b7 upper structure on the next Ami7 chord) by
half-step.
- On the Ami7 chord, the right hand is playing a 1-3-5-3 pattern within a C major triad,
which is in turn the b3-5-b7 upper structure of the overall Ami7 chord. The arpeggiation
of the C triad continues into the next measure.
- Measure 8 - On the Ami7 chord, the right hand is playing a 1-5-3-5 pattern within a C major triad,
which is in turn the b3-5-b7 upper structure of the overall Ami7 chord. The pattern
ended on the 5th of the upper C triad (7th of the overall Ami7 chord) in order to voice-
lead into the 3rd of the next D major chord, by half-step.
- On the D chord, the right hand is playing a 3-1-3-5 pattern within the basic 1-3-5 upper
structure.

Now we will vary the previous comping pattern #3 in various ways. The first variation consists of applying
an interval coupling on the 2nd beat of each chord change i.e. in this case on beats 2 and 4 of each measure:-

Fiuure 11.24. Pop ballad compinq pattern #3 variation #1 (addinu 6th interval couplinus)
(CASSETTE TAPEEXAMPLE 261)

Refer to Fig. 11.16. and accompanying text for discussion of 'parallel intervals' - here we have 5-3 and
3-1 interval couplings within the upper structure triads, on beats 2 & 4. This gives a broader and fuller effect to the
accompaniment. (The left hand has reverted to a basic dotted quarter-eighth-half note pattern using the roots
of the chords). Now we'll look at a variation using 'added 9 t h ~within
' the right hand arpeggios. Typically the 9th
Pop ballad accompaniment (conta

can be added as an embellishment tone within upper structure major triads. Note that we are talking about the 9th
t the upner triad - this of course may represent some other extension of the overall chord (as we
with r e s ~ e cto
saw in Chapter 8, Figs 8.14. & 8.16). Often within the upper triad, the 9th will move down to the root or up to the
3rd, as in the following example:-

Fiqure 11.25. Pop ballad compinq pattern #3 variation #2 (added 9ths in riaht hand arpegaios)
(CASSETTE TAPEEXAMPLE 262)

Here the added 9ths were used within the upper triads as follows:-

- Measure 1 - On the G chord the 9th of the 1-3-5upper G triad (A) is placed on beat 1, resolving to the 3rd
of the triad (B) on the '& of 1'.
- On the Ami7 chord the 9th of the b3-5-b7 upper C triad (D) is placed on beat 3, resolving to the
3rd of the triad (E) on the '& of 3'. Note that this represents an '11 to 5' movement within the
overall Ami7 chord.
- Measure 2 - On the Bmi7 chord the 9th of the b3-5-b7 upper D triad (E) is placed on beat 2, resolving to the
3rd of the triad (F#) on the '& of 2'. Note that this again represents an '11 to 5' movement within
the overall Bmi7 chord.
- On the C chord the 9th of the 1-3-5 upper C triad (D) is placed on beat 4, resolving to the root
of the triad (C) on the '& of 4'.

Again there are numerous ways that the 9th of an upper triad can be combined together with the other triad
tones, and you are encouraged to experiment. Now we will see an example combining some 'added 9th' ideas with
16th-note embellishments, as follows:-

Fiqure 11.26. Pop ballad compinq pattern #3 variation #3 (added 9ths with 16th-notes)
(CASSETTE TAPEEXAMPLE 263)
 POP BALLAD

Pop ballad accompaniment (contd]

In the previous Fig.11.26., the added 9ths and 16th-notes were used within the upper triads as follows:-

- Measure 1 - On the G chord the 9th of the 1-3-5 upper G triad (A) is now placed between the 3rd
and 5th of the chord, which in turn fall on beats 1 & 2 respectively. Two 16th-notes
(using the 3rd & 5th of the chord) begin on the '& of 2' and lead into beat 3.
- On the Ami7 chord the 9th of the b3-5-b7 upper C triad (D) is now placed on beat 4,
resolving to the root of the triad (C) on the '& of 4'. Note that this represents an '11 to 3'
movement within the overall Ami7 chord (see Fig. 8.14.).
- Measure 2 - On the Bmi7 chord the 9th of the b3-5-b7 upper D triad (E) is part of the 16th-note
embellishment, landing on the '& of 3' and resolving to the root of the triad (D) on the
last 16th note of beat 4. Note that this again represents an '11 to 3' movement within
the overall Bmi7 chord.
- On the C chord the 9th of the 1-3-5 upper C triad (D) is now placed between the root
and 5th of the chord, this time landing on beat 4.

Now the next variation is using 8th-note anticipations within the arpeggiated pattern, in the right hand.
Again we are using different inversions of the same upper structures (1-3-5on the G and C chords, b3-5-b7 on
the Ami7 and Bmi7 chords) as follows:-

Fiqure 11.27. Pop ballad comping pattern #3 variation #4 (8th-note anticii~ations)

Notice in measure 1 that the note E (3rd of the b3-5-b7 upper C triad on the Ami7 chord) falls on the
'& of 2' and is tied over to beat 3. This note effectively 'belonqs' to the next chord even though it came before
beat 3. Similarly in measure 2 the note G (5th of the 1-3-5 upper C triad on the C major chord) falls on the '& of 2'
again anticipating beat 3. Notice that the root however still landed on the downbeat in each case (i.e. on beat 3).
Anticipations in the right hand while landing on downbeats in the left hand, is typical of many contemporary
applications. Review Fig. 2.43. and accompanying text as necessary for discussion of eighth-note anticipation
concepts.

Now we will put many of these patterns and variations into practice as we construct a comping pattern
for the following 32-measure progression (taken from a well-known pop ballad!). First of all we'll look at the
leadsheet, showing the basic form and the chord symbols, which is the typical starting point in contemporary
situations - see following page:-
Pop ballad accompaniment (contd)

Fiuure 11.28. Pop ballad leadsheet example (32 measures)

Notice the overall form consists of an 8-measure A section followed by an 8-measure B section, and then
we repeat back to the top and go through the A and B sections one more time, giving 32 measures in total. One
way to keep track of this form is to label the sections A l , 6 1 , A2 and B2 respectively, which is what I have done
on the subsequent comping solution. Notice how each section of the following example uses the various patterns
and devices discussed to build the energy level of the arrangement from beginning to end, as follows:-

Figure 11.29. Pop ballad accompaniment solution for Fiu. 11.28. leadsheet
(CASSETTE TAPEEXAMPLE 265)
G Ami7 F
Pop ballad accompaniment (contd)
Pop ballad accompaniment (contd)
 POP BALLAD

Pop ballad accompaniment (conta

We will now analyse the devices used in the above accompaniment example as follows:-

- A1 section Here we start off with an arpeggiated right hand against a simple left hand (playing the roots of
(measures the chords using half-notes on each chord change) - see Fig. 11.23. The right hand is using
simple 1-3-5 upper triad structures, except for the Ami7 chord where a b3-5-b7 (C triad) upper
structure has been used. Again notice that the arpeggiated tones at the point of chord change,
Pop ballad accompaniment (contd)

Analvsis of Fig. 11.29. contd.

- A 1 section are generally connecting by half-step or whole-step. Note that the 9th of the upper C triad on the
[contd) Ami7 chord is used on the '& of 2' in measure 2, to connect into the 5th (C) of the next chord. As
a variation, for the C chord in measure 4 the 1-3-5triad is played on beat 3, followed by a '9 to 1'
embellishment using 8th-notes. In measures 5 - 8 we are using a coupling-based variation of
the right hand arpeggios, as in Fig. 11.24. We are using 1-5, 3-1 or 5-3 couplings (within each
upper triad) on beats 2 & 4. As a variation there is a 9-5 coupling on the F chord in measure 8
(beat 2), with the 9th resolving to the root on the '& of 2'. In this section the left hand is now using
a dotted half-eighth-half note pattern using the roots of the chords. As a variation we have two
quarter-note chords on beats 3 & 4 of measure 8. The additional G/B chord is a harmonic embell-
ishment, providing a descending bass line to lead into the next Ami7 chord.
- 6 1 section Now we are using a 1-5-b3-5 and 1-5-3-5 arpeggiated patterns in the left hand, below half-note
[measures upper structure triads in the right hand, as in Fig. 11.13. Additionally we have a '9 to 1' embellish-
9 - 16) ment on the F chord in measure 12. In measures 13 -16 we are using some 'parallel interval'
couplings within the right hand upper structures, as in Fig. 11.17. Again different combinations
of 3-1, 1-5 and 5-3 couplings are being used, within these upper structure triads.
- A2 section Now we have a right-hand comping pattern using a 'rocking' motion back and forth (see Fig. 11.3.
[measures and accompanying text). Within the upper structure inversion chosen, the right hand is playing all
17 - 24) of the notes except for the bottom one, on the downbeats - and then playing the bottom note of
the upper structure with the thumb on the upbeats. Initially in measures 17 - 20 the right hand
is playing 2 notes on each downbeat, increasing to 3 notes during measures 21 - 24 as the top
note of each upper triad inversion is now doubled with the thumb. The left hand meanwhile
initially reverts back to a dotted quarter-eighth-half note pattern playing the roots of the chords.
In measures 21 - 24 the left hand is building more intensity by using some octaves (measures
21 & 23), using eighth-notes on the '& of 2' and the '& of 4' (as in measure 22), and using conn-
ecting tones into the root of the next chord (as in measures 23 & 24). The right hand is also doing
some '9 to 1' resolutions within the upper triads, on the F chord (measures 18 & 20), and within
the upper C triad used on the C chord (measure 21) and the Ami7 chord (measure 22). Again
some embellishment chords have been added to the original leadsheet. The F/G chord on beat
4 of measure 20 is a suspended dominant (see Fig. 5.2.) leading back to the following C major
chord. The G/B chord on beat 4 of measure 24 is again connecting between the C chord and the
following Ami7 - see previous comments on measure 8.
- 8 2 section Now starting in measure 25 the right hand is using a combination of quarter-note triads with top-
[measures note doubled (see Fig. 11.14.), 16th-note arpeggiated embellishments (see Fig. 11.20.), '9 to 1'
-
25 32) upper triad resolutions (see Fig. 11.18.) and 'parallel interval' couplings (see Fig. 11.17). Together
with the arpeggiated pattern resuming in the left hand, this again serves to build the energy level.
From measure 29 the right hand resumes the 'rocking back and forth' eigth-note pattern with 3
notes on each downbeat (see Fig. 11.6.) together with some 16th-note embellishments. Here the
left hand is using a variation of the arpeggiated pattern - playing the root-5th of each chord at the
points of chord change, and arpeggiating chord tones during beats 2 & 4. In measure 31 we have
some harmonic embellishments - the additional C/E and F chords giving a strong bass line move-
ment into the following G chord. Notice at this point that the arrangement is at maximum intensity
due to the use of these various devices!