I

I!
I
2
Table of Gontents
How iD UseThis Book andCD

andBasics
PARTI: Background

r hsramental Infomtiion
l-l TraDsPositio.
l-2 Rsg!s aDdSolndchda.tnstics

2 FundamenlalTools andTech.iqn!s

andDclayedAttack
22 Anticipation t7
2-3 Rehadonizing ApproachNotes

3l Five-Pnt Soli voicings

3 2 live-Pafi Spreads 28
3 3 FNe-Nolesoli voicinEs 32
3l

4-l Choid ScaleTheory

4-2 Foming a Chord S.ale 13

+4 Notationrnd Labelirgofchod Scalcs ,18

+5 Li( of TonalChod Scales
4-6 Lnt of Modal Chord Scdles
PARTlI: ModemJazzVoicings

5-1 '70
Five-?artVoicingsin Founhs 71
Fou-PanVoi.ingsin Founhs 76
ThreePartVoicinssin Fourths 80
85

93
94
6,3 95
91
6-5 99
103

vojcingqith UpperShcrure Triads

109
? 2 Six-PariUpler Strncrur!
Triads lll
? 3 FivePafi UpperStruchft Tnad. 113
?-4 FourPanUppe.StiuctnrcTrjadr
7-5 Thee'PanUppq StroctureTriads [5
7-6 Usesof Upp!rStdctuieTdads lt 6
ll9

8'l Bdic Sii-Pan Writing 123

8-2 Six PanSlMds 125
8-3 Six-PartTutti W.irins 1
8-4 Six-Panvoicingsin Fourths 127
8-5 Six-Notevoicingsin Fourths 128
8 6 Sii-PartSpreads wirhTo! FiveNotes t29
87 Six-PartClusters 130
131
lntroduetion
Fromthe Bis Bandsto rtd rJBi,e md Beyond
How do you get thatnrd.njz.: r,rnl? Thal is the questionadtlressedby this boo*. Tne
swer will be of gr!atider*t l,r nusic amnses and keyboardPlayes who vould llke
to addcharacter.color, md $phistication to lheir chordvoicinSs,as wel as to tbmry stu_
dents who wmt to lem abolt contenpordy j@ hmony. But beioft ve ansNertne
queslion,a hrle history is in ordei

Brct in t[e eely i 920s,whenjdz ,lmga suchasDon Rednan andFlelcherltendeBon

began@nging ibr bie bands,tiads md selenth chordr wee 1henp.indy hmonic
nateial. WhenDuke Ellington can! inlo his own in the lab 190s. he exploEd the nch_
ne$ ol iensions,681 ar the pimo and then with his dhstm. In lhe 1940sand 1950s,
Diz2y cill!spie, Cndlie Pe[d, Bld towell, Tlelonious Mont, and olhd bebop nusi-
ciansexprded the $e of nelodic dd hamonic te.sions.

Tne voicinss usd by ,il theseplay!^ md ma.gers shded onedhtinguis[ins chdrcier

istic: They wde dlcmbl!d ir intepals of a lhid. Io ortE Nords, nusicians lemed 1o
voice chords by slacLinglhem i. najor md ninor thjrds ( l-31-?-9- l l l 3). They conld
thenbuil{i $cn up frcn th!Mt or any other chord tone (for instance,I 3 5 ,7 o.3_5_?-
9). Or they could hog rben do*n below a nelody hole Gay. 1-t7 5 3 d 9+7-sJ3).

Byfic nid I950s,this systen-ometines called"lertian" or'ledial hmony, nsning

'!n thirdJ'-v6 vituauy u.ivesal injuz. Bebopplaye^ ai $e lin! alsoweE apdying
rhe conceptof chod rcales Gpecific setsof notescomqpondihglo Particuld chordsod
hmonic snualiont lo cr!aleinprovned solos.

Then. dDnls mosdy lo Miles Dlvis andBiU Evans,$o loicins of cnordslumed in a new
dir*rion. MiLes,a conposr lnd conceptualht as Nell as a Crqt 1rumlet Playet Pas
eiploring nodes andeitendedhdnonic rn)4nn sd fom. On his eninal 1959roding
&,1alrla., h!encoungedpiani$ Bill Eves io usevoicings in fourths and s4onds in
addition to lhe nde customtry voicings in lnids. Miles ielt thal foufths and seconds
would be noE compalibl!wilh nodol tun* such 4 So Whatl 'All Blues, md
'Flmenco Sk!tches,"and would mate a ditreEnt, conrenporarysound.

Since that time, jMz nusicims of all pflsuasions have embr&ed tlte noF modem md
sophislicatedsoundpossibilitiesrhat cone ftom voiciqs in founns ed voicinSs in sec
onds (also Efened to as "clusle^ ). Todays dmgeB and inprcliss also us upp!r
structuF triads, mother advancedvoicing lechnique,to ldd int!resl md @nplexity ro

Tbh b@k wiu help you bemne fluent in tbesetechniquesso fiat you will be ableio Ne
themefrecively to expressyour own nusic. Tttrougha siep-by{tep processa@ompmied
by exercisesdd rmrded exanples. the autho$ will guideyou tttrolgh $e intricaci!sof
ddiving .onrertid' voicings iion the nght .hord sals and alplying then 10 aclud'
nusical situalions.You wiu disovd how to avoidcomon nistakes md how to overcone
nmoni. anbiglity. You w lem how to seled appopriate harmo.ic le$ions And yon
will apply thes techoiqno!i. a vdiety of situaliorsr in s.li scctions,backFoun&, dd cli-
nd poi s, for exmplq dd for asfew s lhEe oi a nany assix pdls.
 r[T[00tgItor

W]lat YouNeedto Know

You shouldhavea wordihg howledge of basi. nusic theory,inctndingpitcb notarionir

treble od bas def, major and ninor s.al!s, inieNah, ed chord speningof tiads and
seventhchdds in rcot posirio.. lt w alsohelpifyou haveworkedwith l!adshets md/or
p,ano sneelnnsic, E\periene in amngins nusic ior winds and &ythn ection is nol
absolutelyn!.4sary, but of cou4e ir would bebeneficirl. pad r of tbis h@k coveN some
esemial pEtqDisiles lhd le$ experiencedamngois wii nnd usetul. For moe det its,
seethe rblLowingsecrio.. HoF to Usethh Book and CD...

Historyof Tbis Book

Chord scalc theory bas been tausht ol Berklec ColleSeor Music in o.e incmation or
anothersince the late 1950s.Pofessor Hetu poberoy, iho legendaryicacherof.,Line
wriring at Berkl@ iba dany yeds. trsedchod scaiethory md relatedinteryalic con-
ceps as the bask for nkh of his raching ofjazz mrnsing. Thc..Cbord Scalevojcilss
for Aransins" couse and irs onginat worltbooks{n which tbis book is bascd were
I oealed al Berklee by Pror!ssorTed Pasc ir rhe taE t96os ,s a prerequisiteto ..Line
Wnling. since then the .ouse has evolvedihmush classroon intera.rionsand the con
tributios of ndy talentedBer*le frculty nembe$. Over Lhepasl 30 ydi sone 7,s00
Bqkle stude.r have r*en $e cousq it h a rcquiEnent for najori.s in J-z

This edition wascompiled by Ken Pultig, chlir of the jez conposition deF,rmenti and
editedby ProfessorP!ase.Beruse ihis book h lncnded ror anerpandedaudiencebeyond
studentsetrolled ol Bdkec, it includessubsiantiatanounrsof newtext. Dan, new nusi
.dl exanples, solulionsto exenises,and ar accompanyingcD.

Ma.y thankslo ourc.lleaguesin theju compositiondepartme ror rhenidas andsus-

Greg
sestions: HopkiB. scor FEe, Jeff BobpilkinEton,
Friednan, Bilt Schm,Jackson
Schultz,md Dick Lowell.
x00EBrJAzzv0tcti6s

Ted Pease,distinguihed profes$r ofju comp$ition. has been a f&ulty nember at

Berlle Collegeof Mnsic since1964.Pof$sd Peffi is pastchaiipeno. of Bdlrlee\ pn-
fessionalwriting division md past chanpdson of the jazz conposilion and manging
dep{rnenls. In addition to this book, he hos aulhord severaldanging lexLsthat have
ben used11Berklee for noE thm 2s ye!6. He has@eived sEnts in jozz conpositior
fton the Nationol Endownenr for rhe Aas, Eighr of hjs composirionse fea$rd on his
CD BE Band Blaes Crlebrutiot He hasbeen dognized as !n exceptionalantu by the
Mssachlsets Crltural Council's Arrist Gnnti Proeian. He is a contiburirg eiter for
JazzPrdlzrmagazin..As a dromer eith .r0 yem of lrof!ssional exFrience, he ha pd-
fomed wirh Herb Pomemy.Ray Santisi,Ceols!Mraz, Iohn kPorta, Chdlie Mdano,
ToshikoAtioshi, Red Nono, Lee KoniE, CEs Hopkjns,Tony Loda, and Dick Jonnson.
}r'ofesso.P!aseis aho m dpdenced clinicis and adjudicator

Keh Pnlljg joined the faclliy of Berkleecollege or Music in 1975dd wd namedchan of

th!ju conposilion depanfrentin 1985.H!wasawardeda Massachuselr!Council oi rhe
Arts fellowship grdl in 1979ior his exiendenconposition, 'Snite No. 2 for Snall Jdz
Ensnble.' For many yem he led his lo-pice jazz ersenble Daa!!drcn in perfor-
manes drcushout New Engltrd. A free lancetompeler, he is Esularly fqtuEd with the
Cmbridge Synphonic B6s &senble. He nas lerfomed {ith Johnny Madis, Ray
Chrles, MeL Tmq tula MoEno, Dionne Wdic*, and many olhers. In @ent yeas,
Pofe$o tdlig has presentedclinics on jazz composilion md mmging in Frbcei
FinLard,ed Gemmy. In I997, he yas Bnestconducior/conposerwilh th!JazzCorpey
How to Use This
Book and GD
This book is orSanizedin tPo patls: tsmkgioud md Basics" ed Modm Jazz
Voicings.'If you ore a mvice amger. ve Eonnend you work tluough dE fn.danen
1al conce!,1sin the 6rst part b!forc tackling tne $phisticlted techniquesin lbe saond.
Even exp!rienceddlnge^ noy wdt a quick Hiew of the basicsjor they nay chooseto
jmp risht into part tNoj but us pdt one asa eferene secrion,consulrinsit as.eded to
ch4k lhe iop of de sopranosd r range,for instloce, or io rcmind thenselvesof the slm-
da.d sfialesiesfor hamonizing appro&h noGs.

HNever you miv! al part lwo's disu$ion of contenporary voicings. we suggestyou

larn the narerial in sevekl ways:

Lem the theory. For eacbloicins @hnique,de rext definesthe ihmretical

basisaswell a a sep-byste!' @ipe for hadonizing a givo nelody.hrciice
applyjnsde tecnniqne by workingdrcugh rheexercises.
we haveprovid!dp{-
tial solutionsto sianvou ir therilhr dimtion.

ftain your eaN. Many of th!musicolexampls piesehtedin lhe b@h aE demon,

slratedon tne acconpanyingCD. By cueing up $e tr&ks coresponding to the
wntiEn examples,yon cd actually /lc4r the efrecrof $e ditr@nt i enals in the
voicinss being illusratcd. (Look foi rhe CD srhbol t mdkins the$ recorded
denonstations.) Tne wrinm exmples alsolisr $e instronenr usedin the record-
ed ra.t, Knowing the hshnentation will help you appriate th!nnbrcs and
blehdsor vdious combiMtions. Lisien 10ech ddple at lest sv!nl imes io
oder to get it in your ea6. (Sone of the shorter!xamplesde playedtwice.) Train
your em funher by playjng the loicinss on the pimo md sinsins th!n. Cn!ckihe
soundor you conplebd !x!rcisesat the piano as w.ll. Ain to Fognize the dis-
tincl nusical inprcssions.@ted by cdrain voicinss.

Lisen l. tne r&ordinss of umgeB dd playes who us tfies voicings ro cftate

$en cha@terisric sounds.H!re d! a fee suegesions:

. Uccot rynr. t ade.l'lancnrrrBlr NokCDP , 34275,

. PhilW@dsLiftleBiGsand:R.,/ Ly'c(Chsly JD47)

. PhilWoodsUrdeBis Bmd:,v,ldon (ConccdJazzCCD4361)

. Blll Pe*ins Octer On Stasc@rci6cJaz 93163)

. MileeDt\is: sith ol7hp Cool,CJp'rl JUzCDP /92bo221

. MilesDavis:rr'nla/Blk (Columbia
CK4n579l
nlBr Jt 2YllBlES

Sa.rt arnrgi.g. Wner you fel @mJorlablewith a cei.in technique,apPlyit 10

pan of a fdilis sta.dard tun*ight 0o16 nesu!s is plenty at n6t Be sue !o
lick a tey in which the nelody falls withi! our suCgdtedleadrdees Ch4k for
spelling mist ls ({atch yor a@identah)and inadvedenllnienals of a ninor
nind. And avoidnuddy volcings (ke!! tte botlon nole of eachaoicins al or above
d b!lN tuiddle a unlcssit n the oot of the chdd.) If you @ usng a conpnld
prcgran, play back your nini afugdenr ro s* how it sounds ldeally, you
shouldwrne our partsandhavelive musicios play then,

Although this b@k concentdieson scoringfor wind insmnentsi you ce appiy the sane
conc!plsto orcbeshatingfor !ol@s, slri nes,euitars.andkeybodds YoushouLdalsoexpets
inert with unusudlcombinationsand hon-lraditionallligmenis. A Panicule tvepd
voicing playedon piano will sund very difeEnt then dayed by five sdes tiened from
top to botton d alto. aito, teno! tenor, md britoner or when scoEd for the sme nve
sdes alignedbditone. alto, alto,tenor,tenor or {hen scotd for violin, flute. nuied tun
pet,!nor sa& andacousticbass:or shen sungby a vocolgrcup nade up of lwo soPtuos,

As yotr sain confidence,apply inesevoicings10longd lonioB of a sel4ted tun! Since

vdiely is idponel ro sy successfuldmgeneni Memher b nix in olher leatuEs,
includins solo,lined, md contrapu al passages. Belorc lo.g, you *ill beproducingcon_
plele dd eflective ffiangen!nis for tve or six hms and a rhythn [email protected]
with a nature, conlenpordy dinensioda sopnislicatedsound.
PART T:
Background
and Basics
Re\ oq e"letrtialconcefl.h.o'" "\p onne .fe ad"" ncd \oicingmethoJ.:nPJnlL
'her
ctlllgl'"mental
lnformation
Ue the table below 10t.ansposethe concertpitch oi an inshm! (rhe pnch tnat aclull-
ly souMs and lhe note thal apFan on a conced score)to th. con!spondinsnote tlat is
snften on that insmnentis pari. For exdple, ih ordd ro navea Bt cl{inet play a concert
blar pnch, ]o! nn$ write rhe nole c on the ddinet pan a najor secondhighe! lban th!
actualconert pitch. For instronentsnot shownheE, consllt my repuiabletext on onhes-
tation or insl,anentation.

ThanspositionTable
 EA[ffiNOUflO

TnnspditodlrobcolMPibh
roDEntJAzv0rnics

TlnFidon'r.DcffiFtt

b;

Sonelin* tenorsusea speci.l c.clefi4

Lwhen $is n L*d, rentrssolnd4l ocLa\e lotre rhans- en
 BAI(GNOUO

An enger needs!o how dc rdges sirhin wnich insFunentalhrs 6 plly conforrabty

asweu a the qualitiesof de soundnon onedtreme to th!othd. The chan beloq sbows
the ov@1I le.hnical mse for eachinsirurenq de libits of thelnclical rdge {e maked
by vertical @wr pojnting to ddkened nole heds. Thoushofi lhe rmge, dle chdt also
describessonndqualiry andthe useablesope of dylmic levels.

Ra.se and SoundCharactsristic!Ch.rt

a-"=

;
--/'

i,'-=
lrz) \j.
-/
StBt Jtzt Yotclt6s

tr)
(q3)

I't fr F.tr
 PAn T || EAC( Gn 0 0
UAN IEA S |C

;-2.-E'

>b--to-bdl

!- e - /'
F- = -

/2

=-'/

hr--
tr

'.-t=-E-'
,= ,\;-
-h-
r,r.fi PPtr 'a tr tr
u00EntJAzzv0rflflEs

Ff p-tr P!

fuM&&l4dlld'a|}e(lsd'd

M d @ b b I k d s | d g 6 r y 4 F t {b 0 h 1

Geirb dsebo k, Fftiq

I
 PAflrI I 8A[|(GnoUltD
At![ EAS|IS

E ---o
f-1-,>;''=

Bdqhaoub&b?vBryhqh'|ol

;'
F&de ,DcFl6reudb@bo
r00mi JAzv0rflrEs

t:

w-6
Mosr nen aE bditones. They cansinga lowE. but thesound

Synthesizer
There de two resons for includin8 synthesiars ot sanples in an oicheslration.Fnst.
thouCl emulationofotherinsfiments,sy hesizdscanlaften anothetrise snall orches
rra.In thh case,you shouldwrite idiohatically." in a style appropriateto the tnsnamenl
yo! de emulating.S4bld, synthesizeBnay ofrer limbres you .ould no1otheNise flnd
Many synthesntechniquesde available,includins addilile, subtaclive, physicalnod!l_
lng, trd FM. If you de nol a proelffid md de unfmilir with slmth4is, woik close_
ly sith youi stnthesizerplayer to set rhe soud you wa . n:d'rdard Masazinend stmi
ld publicationsm good snrces of infornation,
cHllLla"mental
roots
and Techniques

TensioDs (9rhs.llrhs, md t3tht e the npp!.shuctueext!nsions of sevenrh chords.

They de called tensioN becanselhey cEate inreruali. dissondce. Itev Droducea rich-
er ror. kN qr'' i rhan-|arofJ oasicchordsound.sh cn rerie.,ticd\;n. bo,j bn*.
In order to voice choids efrativety in a va.ieiy of ways, @nges and playeE needto
unddstandthal only cenain non-chordaltonesquatitl, as ,,availablet!nsions.,,White cE-
atins dissonance,theseavailabletensionsdo nol chrnse th! tundmenrat oualitv of the
rhod or cFdretu rrplp"jins cia$. L erldaj. uy norea $rote rp ,ro,. , .h;,o .ne
is availabled a tension,vhile any noie a hallfstepabovea cnordroneoften k noi Nohbte
!x.eltrons m discused below.

It is ako impoliet to undentandrhelwo difr.rebrrctesfor tesions, tuelo.ticald hd-

nonic. 0n theexmlla belowsd eherheE in this bootr,thesynbot .,t ,designates a
tensionnote,6 in "T9." 15"n!ms scatetone,asin S4.)

Melodic Teisions

A m!lodicteNionls a non cnordto.e (9, I I, or

of d [email protected],

Non cho.dlon!slonserthana quanernote.

of ay dD6iion folioqed by a lqp.

u00tfl[ JAzvEtc|liEs

Ndn{hord roncson sbne bearsresolling a $cp do\ynro chordioneson sc.t beah

A harmonictcnsionis a non-chord bne (9, I l, or l3) usedasaninncrvoi.ewirhina voic,

ing EpEsentodby a sFcific clord symbol.When.ofrbinedvefticatywith chordrones,
erch hamonictcnsioncreatesa disrincrive sonorny.In tetus ofrblthnic dDmionaDd
cmPhais,hrmonic tenrbnsaE rearedthesanc aschordtones.tf hlrnonic rcnsjons e
prn ota sivenclod slmbol,Jioushouldincluderhenrnr drc writlenloicing.sinil,rty.
wher in.lDdingrensions in rhevolcilg,be sue to nrdicatethen x in the chod synbol
Ior lhe benelit 6f the rbytbm scrion.

.,nr _,tq i
^.,:)/.3,.\,r!2,1o

-\r' \\,

T7 andTl3arcnol usulllyreco8rizod a harmonic te.slonsh d biadicsettinS.

As s@n!s
ih!] lre included with a lrild s cnord ronesro fonn a voicing, rhe chod sound.hangc!
eitlrer lo a m{or scvenrhchord (or ninorjnajor sevcnth.hord) or io ! major sixth .hord
(or nnor najor sixthchord).But'l? ddTl3.dr serveasDelodictensions whenpturor
an indetedentIeld nclodr noving aEainsr a sustainedriad sonnd.

t2
 PAflTI I BACKCB0UN0
AMoBAS|IS

Tbnsionsand Sixth Chords

T7 is not usuallt @ognized as a hamonic rensionin a sixtn chord sering. when on-
bined witb the clord tonesof a nljor or ninor sixth cho.d,T7 chdg!s the sononly frcm
i najor sixlh clord to a najor seventhchordor fron a minor sixlh chordto a ninor mljor
selenth chod. Dut T7 .an be heardasa nelodic tensionwnenrar of an independenltead
melody oovins aeainsra su$ainedsixlh chord. In no$ cases,nrjor seventhchoids de
interchaigeabtewilh n.jor sixrh chords. and ninoFnajor se{enrl cbords arc inte.
changeable wnh minorsixthchords.

Here is r detailed listins of available melodic dd htrmonic tensionsfor cach bdic

Msjorltiad T9. T{l1 whendiatonic to rhe key or in apprcpriareconlexl,

T7 andTI3,re possibleasindependenr leadn!todicte.sjonsonty.

T7 mdTl3 deDossibleasindependeteadnelodiclensionsonty.

T{ll wher dialonic b the key or r apprcpnatc

context.
T7 is possibleas independentlead
MOUEBN
JAZZVOICIIIIGS

T7 is po$ibleasindependent
leadmelodi.tensiononly.

Mrjor sevenrh T9, Trl l whendiatonicto thekeyo. in appropriale

contexiTl3,

Au& M4jorFv6d To, Tll t

Mino.-Major sercnrh T9. Trl, TI3

The sv!n$ of a major sevenlnor ninormajor sevenlhchod shouldpriMily be consid

cred a chord tone becausen deines tne sonority of the chod asparl of the | 3 5 ? loser
srucrup. Note, however,thar rhe dissonmi inreNal b!tweenthe root and $e major rv-
enthcreates thesane*ind of richness thalwe.ssociatewitb tensions.

Mino. $venth T9 if dirtonicto lne ket T11

In a tonal co.texr. dialonic ninor sevenihchordshaveeither a lonic (III ?, VI ?) or sub

doninmt (Il-?) function. T13 is not availableon [I-t or Vl.t b4ause 6 a non dialonic
noie it would dnton rhe tonic function. On the Il-7. the thifteenthis not available!s a len
sion becauseil cEatesa tdlone wilh chod tore b3,an interyal which dhtods or contuses
th!subdoninantfunction. When th!m.texl is modal (Dorian), T13 is availablebe.ause
il Drovidesthe chorcteristic soundof the Dodan mode.
 PANTI I BACKGn 0 U!t0
AN 0[A S tC

T9 lf diatonicto rhekey.Tl I , TtrS

Dominlntsv!oth Tl9,T9.T{9,Til t, Trs,Tlr3, Tt3

when choosinsanong the manydiilerenrtensioncolo6 availablofor dobinantseventh

chords,give c@ft1 considerxtlon
to hmonic tunctionandsrylisric.ontexr.Nomalyj
rhelo lowrC orecoTbilduo a e notrounJr Ine\dnF\o.! rg:
' '.
T9 wiih Tl9 0r T!9

T 3

l5

Tt l3 (TrI 3 usuBrly
ftpllces5)

Tr5 (A chord symbolrhat designates15inpties onining the naturar5.)

Auemented
swmth T9,Tl11

Domin.nrs!vdrh(sE4) T9,Ttl
rooEr JAz l0tcttEs

Note fie rcldsal of reles lhat dcus for rhe $iid and fouli! of rhe cnord. ln a Don?rh
(sus4),the fomer avoid note 54 beones chord rone4i the lowe! stluctuE sonority is l-
4-5-t1. The rhird b!con$ avoid nole 53. alhough in rde ces the rbid cd b!Feated
a Tl0 vhen soundin8abovechordrone4.

Any note a whole slep abovetry chmd tone is alailable. $'hich speclflc notesde usd,
hoNever,will dependon th!chord scaleapprcpriaieto the nusical contdt. (Se Cbapter
4: Chord Scales,page41.) No nunerical labelng is nsedto id.ntify teNions on dinin-
ished chordsbecauselbey all soundrhe sme. Eachtension@aies the eMci sme set of
tntervah with the chord tones.

Th!derailedlkting of availabletensionson th! pEedins posescan be sunmdzed as

folows. Aly nole a whole step above a chord tone h genoally available,vith rbese

1 Ti3 is not alailable on minor sevmtbchods having a ronic (IIl-?, vl-7) o.

suHomindt (li 7) tuoclion.

2. T9 i .ol availabl!on nI-?.

3. T9 n .ol availabl!on ninor seventh(t5) yhen not dialonic to the key.

4.TlII isno!availableonI majTut aqsasadrmaric!Iib.lformendingchoid.

4 n J n o t e a h dfsrep a b o \e a (ho td to neicCer enlltnatatatlabb.tr i.hr he.eflcep.r ons :

L rr9 is availableon Donine! seventn(r9) cbords.

levoth (rl3) chords.

2.1113is auilableonDominant

3. Modalcontexbauowlensionssuch6 T,l3 in Aeolianmd I!9 or Tt13 in

I6
 FASTI OAErcNOUNI
AiIOBASIC

Anticipaiion
Rlylhnic disll&erent of the melodyis a useful techriqle for adding inleBt to u
almeenenr A notethstvas originallyon the bst my be attackedbalJa beai(m eign6
mt!) trty-@ating d dticilation,

In soneuss of dticipalion. dre.oe my b!attaclredonly a quarterof a 6eat(a sixredrh

note)edly in othen,a tull beat

Whd the andcipatedn!lody notc "b!longs" to a specific chanee

chord in tbe chordprog6sior). the changeof n@ony nust alsobe
 Deliy!d A6ack
An afugd my atsodelay rheanrk of a metodv
aqwe' ora bedL notrmi i IiondPdownb!a'
b
a hdf& abe"'.; ; ;;iill#?:""
6d",.y"*_dr.
p*;;;;;; :J]ffil;:'ilfi fi1T:.:i,1filfJ;::
"

r3
 B A C| ( G NO UNO EASIC S

Whcnanalyzing r nelody ro dctDrninehowyon de goingro hamonizeit jn two,rli!ej

four, or nore pans, !o! need to dntinguish betwccnti{!r nocs ano appoach notcs.
Tdset noics (long or rcented nors in a pasase) & chord tonesand ensions thrr trc
hamonizedusinschordsound.Appromh notdsGhonnoresthaileadin $epwiremotion
t. rarselnotes)de Elramonired in a vdiery ot ways in orderro gile rhen .,undervojcet.
lines that de compatibleto the novenenr of the melody Chordsdi\ing liom dE rehu-
noni2rtionof alproachnotesdo nordisturbthcpnmaryharmonyol iheparsagebecnuse
they rcsolve quictl y bnckto tne ham ony of tbe iargernote The standtrdrehamonization
l!chniques discu$cdbelowdechtunatic,diaro c.pda|et, anddoniDanr,

Becanful *hen malyzingnelodiesbasedon leadsheers.Leadsheehoftcnhaveinaccu

EciesD borhtbemelodydd chofdstmbols.Playthroushthertrneasnoratedandcoftcr
ot obvrousnisrrkes.wlrcnindoubt,tisrnto a recording
or ask. pro.

Characteristics
of AppmschNot!s
I An appoachnot!is uslallya quMf noleor

2 An approachnote Esolves by stepto a rdgel

3 ApptuachnorePrnensinctudel
P,ssinstonesTbeseareapproach
noleslharconne.rrwonoresoi ditrerenr
pitchin stepvise
notion.

Au\itiarylones(alsocallcdneishbortones):An auxiliarytonenoveslwat
fron androtumsto rhesamcpirh by

UnpEpmd alproach notesiTheseare .ppoach noresth tue precededbt

lcap, a re$, or the samepitch.
IOOENTJAZMIEiGS

ReharnonizingSp!rificAppmach NotePa.tems

L ChrcnaticApprcach(ch)rwne. e approach notenoeesby a nalf siepto a cho.dtone

or t!n$onlargelnote,n is knownasa.hlmatic app.oach:
cttronalicapproacn noFs
m nsuall! nondiabnic.

Cnronaric Rehmonization: E&h voice novcs a hatf ste! i o the coftslo.ding nore
of the targetvoicing, in lhe sme dftclion s the mclody, as sh@n b!lN.

(86)
^

2. Scale Apprcach (S2, 54, St6, etc.): When an apprc&h nole noves by a diatonic
whole or halr steplo a chordlone or tensiontaJgetnote,it is kmen asa scaleappro&h.
(The 'S" IabelingEl at!sto ft! chord of tn!tars.t note.)

a
 BAC|(G80UM0

The voicingsin d. following exaEple qe@ @at!d using all ibe stddard t@hniqu6 for
ehmonizing approachnoles,In addirionto chrcmtic Ehmorizario4 rhese@:

. Doniodt Rehmrization: Tbe appoacnnote is voicedvith a donimr sevmrh

clotd, !ihe. ple or altered,sring aslhe V? of lne ttrget chord,Tle apprcrcnnote
nnst bea chordtoneof ilat V? or oneof it3 tesions.

. Parall!lRetmoniation: T!]s @l]lod mlches the precie molion of the lad lo that of
ed[ voice below it.In oth!i wqds. eachundedoice no!s tne sme nmb!r of seni-
tonesinto ils note in th!largervoicing- l|is t chniqle tuy be usedto voi@ aoy kind of
ap!rcach aol+ituluding chmnatic approrct*, d disussed abov.-

. Diatohi. Rehmonizatiod: Eacb voi@ noves one djatonic slep inlo ihe corspondine
.ote in the tdg!r voicins. Thh wolks bestwhen both nelody andhmony m diatonic
to th!k!y or ro the cMent hmonic situatior 6 ounired by rhechod pog!ssion.

. .
t: r ' -! - rvr rt 3
G?(tc) G7(19)
L
-lN-'
(q)tg,t -^-
-
l I
M00t8tfJAzv0rfl as

l. DoubleCnrcmaticAppro&h:Wh@rwo notesof shortandequalduotion aFroach a

chordtoneor te.sionbrget noteby conscutivehalf steps the san!diredion, they
tbm a doublectnonalic alproachpattem. 'n

To loie doubleclnonaric a@roachnores,nsechmratic Ehamonizadoh wjrh voices

following rhe sde diration asth!n!lody.

lt

IndiMt Resolution(s s), (chch),(s chi, oi (chs)): when two rcles of short dd equal
dunlion lpprcacha choidroneor t!nsiontdger noteby stepwisemoiion fron opposile
di@tims. theyfom e indi@r rsltrtion paftem.

a
 PABT
I EAC(GffOUIIII
AIIOBASIIS

When hddlins indirect appro&h notes,rebmonize e&h apptu&h note independendy.

Ihe two notesmy be rchamonized usingdifimt nefiods, as in this exmde,

c ,tu 4^4
'
lt

IndependentLead

Tle i.depende.t lead tecnniqueis m altenative to Fhdnonizing approeh not!s.ln rhh

nethod. the yoies b!low the apprc&h noie sinply tuintain tn!prevailirg hmony: or,
in $de cas!s,the lowe. voicesiay resl lndepen.ientlead works well where a lss d.i-
viig feel ls aceflable, dd fo! plc(aps,
[tHLti"uoicings
one ofthe sinplesr ways!o ckte hamonired soth for nned insrJunemdtionis to hans,
-\o r d . o e . o \ a meo J hn e .sh o a rd for Flor evo' .r s...lniq,^,n.,ua. to*."i1
close,.lrop 2, drcp 3, and drop 2 + 4. We cm expandfie nMber of ptrts b nve by sin-
pJ doublr6 he Ie:d. olpl' dtinEh. retoJJ eid er M o.rd\- .bo\; or beo\ rne
-ead
voice. (rhroDgholt this boolq we will use ,.8v!, 10nean m octaveabovemd.,8vb ro
nean an octavebelou) Note tharalrhoughwe ae w.itins for tve instDments,we are sdl
dealingwilh loi.ings of ody four noies-thal is, four diffft.L prcn nmes.

Tne folloving examplesdenonsaaE the $anded fbDr-notevoicinss wnh rhe addition of

a doubledlead m oclale below rbe nelody

FulFqq do,. doubt eJls!b)

f
P
l
t -. c b't t- 2

2a
 BACKGNOUNO BASt[S

P" 2-

Wlre. 6e inst!rentation allows,youmightconsiderdonblingth!ta.r e ochvenigh*.

v
M 0 0En J A ZZ
V 0t t lt G S

Or &op 2 anddro! 2 + .1roicings, .railablc htrmonic tcnsionsmy bo usedin $e new"

secondvoicc to inprove sp&ina, addcolor. or provide bettervoice leading.

-- +a +a-

i:s],il3;}]:}t*lEi,&:i|,:ir'r'a'a!sq!!6:]!i&!gr.q!,l!;l]:6!ffii4q.5;}1

Tl'ltical Five-PartInstrumenralCombinations
 PAnT
| | BAC|(Gn0U[0
ANIsAstc

Lead Range

For any given conbination or instrume.B. the anangerftust be sensiriveb qnesrjonsof

blend dd balance,recognizing the tinirs of the tead nnge for each rype of loicins.
cons'der, for dmplq a four-wayclosedoublel!advoicing usins rrunper, alto sax,tenor
sd, tronbde, od bditone sfl. In lnis ce. your tead shoutdnol go betos niddte d in
order to keeprhe Funpei fron b!comingnuddy. If you went rp lo the I an ocravetrd a
fifth aboveniddle a the baritonesd aid tronbone qjsht be nnabteto play 1hennotes,
Even if 1neycould play rh!n, lhe notesmieht be 1oohigh in then legisten ro pbvid. a
well baianced.cont olled voici.s sound.Five ronbones would have a lowd lead lanse
cap(iry: fi\e nuF. or five hmpet. wouloe\orJ the rpperleadrMgF

The lad a.ge. rclaied bat&ce considehions, dd ihe needfor vdety in spacinE(ctose
veBus Aen) shouldhelp you d!t!mine which voicirg b choos!md for how tone. ]fou
al,o ho\e nex U-eene.r o. rtt vor.ineud d4rde rbeh..ir r, i-,r,.
'. "po."p"".
nusical nobent dd de no{ of rhe Dhrase.

The five pan exdple belov h s@ett for tmper, ulto sax,tenorsd, lronbone, andbari-
tohe sd, wiIh the fimbon! doubljns the rrunper leadm @tayelowei Thn is a soDhis-
t i c a r e o . on b i na tiooa
t nrro rheo*ic nechatu!r tvonilg..NoF hJw lhe\pa! g n
dre voicings chms!s, varyins th!textlhl flow and ibpaci of the pxsage, Onceyou re
confortable scorinenelodic passasesu6inge&b of dE 6ve-pan soli voicjng techniques,
hy oixrng dEn in lhis mannerb cHte norc vdiew in texLure.

E&h pd is shownsepmrelybetoq
l.00tnl JAzvfltliGs

SpEad voicings,sonednes ref!red to 6 pads,add bonon ' to tie soud of dre ensen_
ble, fiey m voicings pith rhe rcot of the chod on tbe botlon Ratherfie "nmsing '
cbord soundsbelow ibe lad .ole as in the stmdalt n!cnmical voicihS rcdrods (fod.
way clos. drcp 2, droP3, md drc! 2 + 4), sith spreadsyou stari al $e bo$on dd work
up. In choosingnotes,your PnlMy concemsshouldbe sp&ing od a balue or chord
sound.SpEodscd be Bed to hmonik iGctive or percussivenelodi*: thev alsoDake
efitrti!! b&kCrcnnds.WheE possible,useloice leading dth sPEads,conneclingsch
im!! voie to the n!xr thsugh srepwheoov.re or comon lon!s.

..........----.--<.

Characteristicr
Fiv!panspreadvoicinsssenerallyconsisror lhefollowingnotes.Eadinsfton ropto bot_

Themlody or led rcle (a chordlon!or t!i$od)

Supportingchordloneor hamodc tension
Guidelors 3 or 7 (or 5) or, ih sonecss, a htrmodc tension
Gui d !to.es 3d 7 ( o r 5 )

The niddle voiEs shouldplly both lhe third md $e evetrth,lhe $rong!stguid!tonesi

which define the chdd quality (mjor, nimt. dohi@nt seven/tr,etc.) fte lop voi@s
e$ane de chold soundw]$ additionalcno'd bnes or teNions Althongh a sp@d nav
iT,ude a dololinC,it to u.e lite difrerrl roL*
''pFfsdble
wlren coring spr.ads,be suretharrhe oor is a$i8!ed to a bassclef_soundirginsl nenl
such as bdit@e sdophde, bss trcmbon., or ey othd insttunent tbat cd plav @n
fortdly in $e holton of the bds-clef imge. as bonon' is th!fund@ntol ef4t of
spEads,the roor nusr be delivercdvith conviction ud tull conEol,

Her!ffi sone t pical fivslait spEads:

a
 BAT(EFOUIIO BASIC

AdjacentNoteSpacingand Sugg!saed
Rangesfor Spr!ads

lqe

)
M00E8tJAzzV0tCtitGS

Usesof SpreadVoicings

1, To hmonla sustaihedor pwu$ive melody noies:

916 cTOrO c?(19.r'

2, Foi backeruunds: To avoidlhe weighimd nonolonyof a sries of wholetote spEad

voicings,enb!llishrhesustainedpitcnesof innd voic*. As h lle r*o ermPls below.
tnis crear!s
a moe eidated textft.

a. Iive.pan spreadbac*Cound

l.

:|0
t eAnT| | BACKGn0Uit0
AN0BAStEi

b. For-pd spEadbactground
M00tn JAzzv0tcNGs

In ceiain snuadons.insteadof @ating a fifth pft by donbllng rhe nelody nole anoctale
lower. a, manger nay cioose a hamonic !nsion or chord tone,cEatins a ncheFsound_
ins voicins of five difieEnt pitches (nol neFly liv! rarrr). Pccisly which notesnay
subslilutefd the doubledlead de!!nds on wh!therlhe nelody note is a chord tone or a
temion aswell !s on the qual y of the prevailingchod.

Chord Tone [email protected][ension Substitut!

whe. the melodynot!is a chordlone, a hmonic le.sion nay be lsed jn pllce or Lhe3vb
doubins.Thepo.ible sub.tirLrion.G.ho{n beou.

(lf I is in theleadoi a najo. seventh

cnod, cnmsethechordto a mjor
snth chord.when leadnote6 h conpledwith naj?, rhechoidtyle
changes to a najm seventhcbord.)

M,norsir$ (or minoFmajo,rv!dh)

(r I is in theleadof a miooFmajorR wnth chord,chJngefte.hord toa

ninor sixthcbord.)

9 ror l, (j ) (excepton ill'7),

ufoiae)

l3 f o r5 ( i)

L ! L ! I
,
 PAnT
| | BAC|(Gn0UN0
AN0EASTC

TbnsionLead/ChordTon!Subslitule

Wh!ntne m!lodynotc is a tcDion, a rclat!dcnordtonenay be usedin placeof the

t-

1 !9 ! !!

T!nsionLead/RelatedTensionSubstitute

Altenatively,{nen lhe nelody noteis a tension,a re]lt!dteNion nay beusedin place

L.

a lJ !!

Nevdrheless.in nosr casesvneE a t!nsionis in the nelody, the standdd 8vb doublins
is srill prererable.It senemllycreats stlongd slpport ed enphais of fie nelody wbne
einforcihg the inlervallic dissonanceoi *E lension. TheE is litile d no appreciable
changein richnss wben sucha voicing is comparedto ! 6ve-notevoiciry conlainingthe
chod tone or tensionsubsriule, as snownbelow

DTde)

E t2 *!1

The f&1oB that influen@naking rhe torecf choie m a

oEtsralion, muical context,and pdsonoliate. Experience
d!ncemd matuiry necessaryto matesucnsubdedeisiors.
M 00 Ef l Ji l A ZZV 0T C n G S

Comparingthe Techniques

Tte followingexmples compdefouFponNntug, five-pln wntug nsihga doubleldd

8vb,ed five-panwriting sing bolb doubleleadandfive-notesoli voicings.

1V L!--.1-.1
l-l !-'
-

FiveParr(drcp2-doublelead8vb)

FrvePm idrop 2-noubl.l.ad8\b di\ed wirh Ine noree[ !oicin$,

- "r rr
lr -
ft{*r#*tr !f,
-.tlj,!lt:
I :
 FABII I EAC|GE0UI Ailo BAS|IS

BewareMinor Ninths

Wh@ yon wot a well fods.d cnoid soundthat cm b. hdd clealy. .!o nat in )de 6e
interal of a nind nihth in lhe voici.g. Eve ualty, as yon gain natery of the wiou
voicins t!cbniqu!snd associaledinstrunental applicatioN, you misht wor io !xpen-
nenr vith 1hedisentuce and hmonic mbigli9 that ninor ninrhsFovide. In lhe nghl
conte*, such dissomne can be very expre$ive md ch tissd a shons enotio.al
Bponse ia the lntaei Bui tust, concentraleon connolling ile lraditidal "in," befot
pursuingthe not s taditio.al onr.

Wilhi. !achcnord q?e sbownbelov, the iollowing note conbinations cfut! m inleFai
of a nind dnth. Avoid thd.

chord l}?.

d7

fi

_! E !: !l

In a few situations,lowev!r, minor .intbs

given chord synbol, as shownbelow

jd 3d
 PABT
I ] SAE{ GBOUNOA
O B A S IC S

t, Hmonia the folloNing exmple usins drcp 2-doublel!adfor meaures one thrcu8!
six, anddrcp 2 + 4double l!adfor n!su$ sevendrcu8n

2, Hmo 1ia d,eexMp e belowustrglivrpan spEddvoicing..a In 42aof pdSer0.

P A E TI I B A IX GN OU ID A XIAI S I I S

3. write a lou-pd spreadback8rornd b rho nclody civen belo\ usins *2b on page3 I

3B
 PABTr I BACKGn0U[0
A[[ EASTIS

I. SLpplva li\ rnoE votrinsrie.. with no dolbring)fo' thegi.en melodi.rndtnons

t9 L

D7(re,le,t13)
Br7oe,{e)

!1
IBI J|.A YOIEIIES

5 Follo*in-s tbe sdple nalk up in ihe fi.$ dree neasures.alalyze $n e ne exmple

a. Typesofvoicirgs. (Ma rhosesections$at ucespreads,drop 2+4, independent

lead. dd oth!r rechniques.)
b. Useof hm.nic lensionsto reptace8vb doubtingof the leadnote. (Label the
l3 jnplaceof 5. fdrinsrance,souldbe5/13.)
substitutions;
c. Rehmonizarions. (Identifi wbai chdds{lher thff thosenrked-de bein8
Ned to hamoni4lhe metody.ores.)

"l rt.-
(D9 )E 9 F 7 O 9B
) lT O r)

o o @

@ o @
ctlHioruscales
A .hoid scaleis a et of sbpwis!piichesassisnedto a chord syqbol to pmlide a suppty
of mrd conpati6le with that chord\ soun.tdd ir tonll or nodai iuncnon.

Frcn on a@ngert poini Di view, chord scalese tbe nN mtEnol ro be use.tin Nnrins
cledly denned\ oiciosrfiar 4 cod,ntenrtr if a gFenfamoni. !rd metodk. oirqr ;
the chaptemrharfoloe, we wilt esularly Efer to rheappmprjatechordscatesasw!bDild
advmcedvoicingsusins fouril!, sco.ds, md npFr shucturciriads. Chordscatesm atso
nseful for Miiing melo<iiesfld for inproyisils wiihin a specifictonal o. modal contdt.

Characteristics
A chordscaleis nod!up of chordtones(r-3-5 in tnc caseof triads,l_3_5_6 for sixth
chords,ondI 3 5 7 for sevdth cnods)ed thepssine tones,usuaiy diatonic,thatoccur

Th!cnordlonesid!ntift tberypeof chord(tiad, nxth chord,seventh

chordjmljor, ninor,
doninmr sdenth,etc.),Ihe passingtoneshelpto chify theronatd modatcontexrand
by extension
lo deterninewhichlensionsde available.

ln lhis exmple, lne chordronestl3-5-r7 (dy'a c) definea minot seve.rh (D-7).The

passinstonesd s-r. derivedftom lhe ket escblishrhecontexiosI ? in thel!y ot C.
Theory asstablhhed by cobmonpractice.thendetedin6 yhiclr of the DNir! b6
4 avdilabletu r.n.io0sffo qh.h ue limko roth. roteot Jpprcsond6
Etffit JAZV0TCTiGS

cortain serendifiercnl notesdd lse tdincenl intervalsof whole or half

Masr !nod sca,les
$eps in uryine pattems.The, re refered lo asheplalonicscales

ThereN also eigh.nolo (oclalonic) scalesasociated qith dininishedchordssd sone

doninmt sevend chords,six-note (he$toiic) sales such s the vhole ione scale,lnd
nvsnore (pentatonic)scales.
 B A [ ( G NO UND BASTCS

Tonalor MoalslContext
ninor mad, ns1 indicate rhe chord lones I b3 5-l:

Then,basedon theronal/nodal contqt,deieminethepssinglon!s. rf1hekeyis Bt, th

the chod furctioning asII-, the pa$ing toneswould be l,J d, andr't r. (Noricethat u]e
rcsulting sale is B! najor, sl{ling oi .)

is Er, with ihe cnordfunctionines VI-, lhe passingtoneswouldbe 4

(Nolicethatthe Esultjngs.aleis Eboajor,

How TensionsAffect Cho.d Scales

Undenlandinsrheprcmiling tonal or nodal contdt is imponmt, bul il is not the only fa.-
ror involved wnen d!rivins the passingtones.The cnoice of Passingtoles is ako deteF
nined by whatev!rtensionsde included in the cho.d synbol.

when the chod syhbol dcsignatestemions,as in Bt 7 (9/1I ), romine the chord scaleis
simplified. After indicaringthe cnod tones,include all desigmledlensions.
5trBt JAZY0tEtt65

'I!e4 6.!!d!d, completethe scalewith appmpnatePassingtonesbasedon rhe to.al or

nod:l o.text. For exmple, ir the key is Alnajor, sith lhe cbord lunciioning as It-?. th!
pdsina lone betwee./and alar would be 3.

with rho chord tunciionina asVl-?, the plssing ton!bes*n J md

How MelodyAftecb Chod Scal!s

Ihe passinglonesof a chordscalede alsodennedby lhe delody. All melodynolesplayed

duins the chord (other thm chrcnatic approaches)dust be inclnded in lhe chod sale
(eep thls in nind whe. amlyzinB a l!ad sheello detefrine shai chord scaleto uselor a
.l-ord.e pe.ral') trhen,hechord.Jnboldoe'n'includ. ren'iotu
 PANT
I EACKGNOU
ANNO
DB A S IC

Cho.d Scale!for Non-Dia.otrlcChords(Modal Interhange)

Some pmgn$ions o.tain "modal interchange"chords that de boroved teDpordily
frcn a tonaliry or nodaliry other than tbat of the key sismturc. In order io choosethe
apprcpriarecho.d salei you hdst be able10r!cognire rhis implied "key of the noment.'
The chordscalefor a modalinbrcbangechordh basedon |he node ftun which the nodal
interchdge chdd is ddived.

In the followihg dmplq Nnere a.on-diatonic F major @e.1h (tnnaj?) lpp!d in th!
key of E. two of the pssinc ron6 k-shary nd dahary) ptD\ided by the ionic key (E
najot sould co.nnt wih de notul chord soundof tne F najor seve.rlr.The mn0icl
would ocar ifyou rciricalize'the chord scde, neatins dre passirg tonesasrhe c[od\
uppersnlctue9-1113,andcone upwitn 1 3 5 7 {9'111{13(17).Th!19and{13(r?)de
no ni m:lb r\ailJbler h..or. ro d najor r\enrh lhord.

Howeler. {hen you apply rhe ibplied nodality ol E Phrygian,the sourceoi the F major
evenlh hodal lntdchangechord,the lassins tonesb!con!s md 4 which ,lo.g wnn die
, conbinc vitn lhe chord toneslo cEaie a norc fmilid chod scalerhat does not con
flict Nith lhe expecledsoundof the chord.The & D,od I provi.le the F Lydian scaledd
the te.sions 9, t1 l, and 13, phich are tmditionally aaailablefor a majot scvcnrhchord, d

'lote: 1nso.e ,,i,qfio,s, rfe conr"o,,15we,l Ltorr./

.!c..ters a rasJf
ffu s1ot.lorn rrerif dc'ineC4: o, ct
-L,ltah.l I

u"" tc:. 4 tt,a oLlrl 5.

Etrar JA.4VotUtiEs

, .u::,dtr ,i^ r ho.rpJf r e

bni.,, d .hor d{ ".e ha,41or
:ilil;i:;';Jr,::
*:,1:.,;i ,::::::..'
;:*l.:.i:fi_Y:
il:':J;;."n1",:il:l,x
.on or i h echu d fu n d Of,"",t.."r ,.

:';i"
I":;'#:r:l:frl";
;:irld*li:'iimf
r:l,rd*i*:
"r ""."",a.",.'

A\oidnoresre hed metndild,ty

"""^', - ,"r.'*,*" ,"0"',.;;:;il;;.
in bnatsirauons.burnnlv
j:T:il ;:,:"j:;;:11'
" -:11::l^'
adddss!d*an4/oehm!($)

Ii',y"
 BACI(tfl0uttl0 BASTCS

The cballengingandironic conhdiction concenins avoidnotesn that in nodal conrexls

they can actualy be welcomeaddidonsto a cbord.Consider.for exmple, !9 on a ninor
sdenih chord.Whenlis nscdon E ninor ? in rhe key ol C major Geebelo*), it doesnl

Bul when/is usedon E minor? (functioningasI ?) in E Phrygia.mode,it

Contei h rhe deteminine factor Experinentltio{ expenence,md matu.it! will help

you undesrmd lhe sp4ifics and subtlelis oi avoid not lneory
tql JAiarotEttEs

Cho.d tonesand rensionsaE nolol!dwir! open .oieheads(o). Ambic nunb!is describe

rhcir inreflal disuhccs fion the rcot of ihe chord. Tedions de nunteEd as ff ulper
structureextension(9- I l - l 3l of Lhechord lnd Drecededwirh T. '

Avoidno!s e nohr!dwnh closedno!heads(.). Arabicnuobersdesribe theinteryal

diskncesfron thercot,h rhelowcrsliucnle {l rnough?).Avoidnolesa@preceded
with
an S to indicatethe sqle aDDoach"tunclio..

For ennplq dE chordscalefor C7 in tnel(eyof F haschordtonesI (.), 3 (e),5 (s), md

17(b,lari tensio.sT9 (4 md rr 3 (a); 3ndtbeavoid.ote (scaleapproaoh) s4 (r:

Thelabelscanbevritien below&e nole,asr! havedonein lhepecedingpages,or atove

thenote,asnisht be t[e caseifyou werealsoqiting voicingsbeloweachsale deere.
v{herevouolacethelabelsis not cnrical.

Whar is lmponant ]s Ecoenizing enat the labelsdescribq the chord lones {d availabl!
teBions of a given chord along sith dy Fssirg tones that help 10define the btul or
nod.l contextof tte choid. As you look over the sanple chord scal!sbelou be sup thai
you unde.standthe label dd conelponding tunciio. of erch note.
 eAnT| | BAC|(6fl0Ui0
Ar[ 0ASTC

The folloNing pageslht the chord scalescomorny appli.d for the indicared.hord tunc-
tions. Chord synbols and Romm numeBl functions plale lo niddlc . as the principal
Ditchdis unlessotheNne indicated,

Nore thd while chord scalesae tiowh by then nodal namesfor convenienceithls in no
wa] implies thar1heperailing pirh dis is in a nodal orientltion. For example,the coF
red chord scalelor D 7. whcn functioningasI-7 in the k!y ol C, is D Donan. Thls does
not nean we tre in D-Dodff node, sfierc D 7 would be designateda I'7. Ir sinply
meansse re usirs t[e D-Donan sole (a C najor sca]estanin8on d) for that Il-7 chord

CHORD SCALES IN TONIC MAJOR

tr 7 nr r rvn"j7 vl

t_L
M00tni JAzzv0tflf,Gs

M4rdq @. (red 4 n4o e sr

50
 PANII 8AC(G[[UtoAio0AStEi

CFOR.DSCALESTNTONIC MINOR

In ronicninor, chordsdctures dd scal!se ddiv!d fton thefolowing rbr!escal6.

Natural Minor (Aeolian)

rl7l5 lmmj? N.7 !.? rvx?
'wmt

I
L" t t__
_< -| l, . il l "T r l l l % | . r y

Jszz Minor (AscendinsMelodicMinor)

r-6 n7 ,rn+n47rv7 v? vr?t5 w7

rl
I L
;

Ha.monic Minor

Iroj? n.715ltrr+uj7rv-7 v7 rvrm.tTvnq?

I
t,.." tL
L0[tFt JAzzV0tCtxGs

a.d cho.d scalesusednost

 PANII BAI(GNOUNO
AIN SASIIS

MODAL INIERCIIANCL CTIORDSCAIES USED I]\ MAJOR

Mo<lalinrerchdgechordsdd rheirchord scal!sde "bo@qed fton a pdallel tonaliry

(onehavingthesme pitchdis) ror us jn L'repnmdy to.ality.
M 00E n J A Z Z V o l f l f l G S

CI'ORD SCALES FOR TIIE V? CEORD (PRIMARY DOMINANT SEVENIH)

Trlde e nmy drtr@nt chdd scatesavailablefor V7, $e ,,pnD,ry,, doninant

sevemh
cnord(fd instaee, c? in rbet<eyof C). Tbe appiopnaiechoiceis d!tetuin!d by lensions
listcd in the chord symbol, neiody .ores. ousical context,n! pesonar b$e.

drordi@lre f 3)dMeydai ce, !m)

 BAC|(Gn0U[0 BASIC

SECONDARY DOMINANT SE'I'ENII CEORD SCAI-ES

a "secodary" doninoi seveothchord movesdl@dy ro a diatonic chdd o&er ftan the

I chord (i.!., Vm, V?/nI, v7.4Y V7/V V7,ryD.when tbe srg!t .hord containsa najor
3rd, the second!, doni.dt sevendrchord gen.rally ul!s Mixolydim a a chod sale.
Wled rheurgel chord onraim a minor 3rd, the s4ondary dominanrseventnchord tak4
a chord sc6l!containins 1$13, The following scodary doninmt seventhchod snua-
rions all Elate lo C najor as hon!:

. a E1d@l
--

----- --
-Fft)tbea

--,b@,

:= =-a.1h\^
u00E8iJAzv0tcti6s

Doniret seventh clords reelvins downa lErfet ffth to ninor iargeB cd alvays take
Hmonic Minor (ofthetarg.t) 5 5 asa chod &ale.Ihis sale coincid! ally h6 the sde
nors asMnolydid 09, 113).Therefor!,baauserr-? is a ninor ttSet v?/tr oftentales
Mixolydim (!9, t13) iistesd ofMnolrdid (tnatuBll 9, ,1 3 ) ,

D Hadc hhr (65r . MDrdm re,

^ .: =-d.1b4a

It is possibleto 'fiil in" theauemenred

seold intervatbetveen-$9 ed 3 by addingTl9
a! a dialonicpa$ing lone(spele.lcnlmdicaly astne ni@. !!i!d). This Hults in e

This eighrnote sele prcvides! sM!r iesouce for dis$nsce md fie lotenrial for
snooih!rGl!pwise)nelodic notion belwen TL9and3, asshom below.

56
 PABT
I EAC(GNOUflO
AXO8A!I[S

SUBSTITUTEDOMTNANTSEVENTII CIIORD SCALES

All snbvT\, thosedomlndt selenth chordsrcsohins down half a stepto a diatonic t r-

set, tat Lydid !? asa chord scale. (Renenbd, C najor is -honet,)

<_4?bd

:-h",?bE"'

SPECLqIfI ]\CTIONDOMII\ANT5E\ C\TIT CHORDS

Thes non-resolvins doninmt selenthsdon,tgo downa half slepor perfectfifth ro a t r-

get.Theyfl! "colorchodt' usuanyrou l in a btuescontexlmd oftennove diecrlx or
d pan of a Pattm, ro theI chord.
IVIODEN
N JAZZVOITINGS

ryddDt a,lD r;,. E joarJ.,

53
 PAF I ANOSA S IC
BACr cNOUND

EXTENDED DOMINANT SEVEN'I]IS

wheh a chord functions as m qtended donhdt (one ln a seriesof doninnt s*emh

chordsresolvingdom a perfecl fifth), il s!nedlly talcs a Mixolydian chord scale But
bsed on contexr,d.siEnatedtosions, desnedvoice leadilg, ed the inagination of the
writer, ay dominml selenthchord scaleis possible

S11ITMETRIC DIMINTSHED SCALE

sonerin!sEfenedto aslhe tonbination dininisled" or "doubledininisn!d sclle,dis

chordscale,in its half step-wlolestep"one ation,is oftennsedfor dominantsevemhs
withTt9 dd Tl3 in a blu!sv co e.

Note rbat lhh eighl-.ole $ale contaiB four ninor sconds (inveited,thev becone najor
seventht. 11is nsed whd a ndimun dounl of potenlid dnsnance h dcsiEd Also
note that fie fou iilones includedcan Drclide u.ique neLodicpatteds

ln its "wholestep'halfde?" ondtatjo., thisscaleis oftenusedondlninisnedchords.See

'AunIdy Dininished"beloN.
 V0rflr6s
HOOEniJAZZ

DIMINISIIED SEI'ENTII CTIORDSCAT-ES

PassingDiminished

Chmmatic Diminished

-_ >--.3. . . -- -

Auxilhry Diminished

30
 BA[(6n0UN0
A[0 BASTC

tn nodal contdts tlrft de no avoid notes,In$ead, there @ lhe so-caltedcndacterisric

notesof e&h node, whicl shouldbe Ned freely. In the list that fotlows, th6e chdmtcr-
istc notes@ indicat!dwnh a circled mow

IlE diaronicchordsoi my node. $ejr Rome Nmdal function, md rhei. chord scales
m denvedin the sme nmner asd!scribedfor their tonal counteparrs.

Fo. the traditional nodes b!low, the iesulting scal* Nill be rhe sane as found in rhe
rclative mjor scale. For eimple, in C Dorian, F7 (1V7) takes a Mixotydi& score
(C Donan. 4 4)i nr Bl Major (the r!lative Dajd), F7 (v7) btes ! Mirclydim scale
(Bl Major,5 5).

The folowing I choldsprovidethe pirch dis md chtrlctenstic color a$ociaredwith each

of the comnon modesbelo*.
 PAEI I BAIrcNOUNO
ANOBASITS

IONAL SITUATIONS

l, Indicatethe hmonlc nrncrionof eachcho.d,basedon lhe ley sigmtuE. Then wdt!in

rhe cold chord scal!fd !acbsituation,

A.7(r5) F?(t5)incmiior GbnajT

somi JAzv0lcliEs

2. Analyd the follNins pmgrcssion,tho write llle appropijatechordeales in $e slafr

64
 eAnT| | BACKGn0Ui0
Ar0 BtStES

3. write oui rheiollowingdoninmt ev!nlh chordscales,Lisr $e availabletensionsto

rotrfBr IAzu0tctiGs

33
 PANT
I BAI(GflOUNO
AIIOBASIT

MODAL SITUATTONS

4. thdicat tte keysignatN for thegi@ node,IlEn write outde scalesuing counesy
PART IT:
Modern tazz
Uoicings
Followthis guideto cete voicingsusing&e conrenpddy sob.ls of fouds, cluste$,
anduDr structureEisds.
ctllllLl"inss
in Fourths
h thse voicings,thepEvailinginrervdberwen adj&e not$ is a perf!clfourd, Being
ercnly spcd and digndy oD!n.tbey e very rcsondt md dcate a nildty dj$on;

Tle foiwing exmple conptr s rwo traditionatfive,porisoti voicings(four Nay clca

dolbl!lerd dd drop2 doublelad) ro a voicingin fourins.

AuSmentedFounhs

Whenaugnentedfolrlbs (diminishedfinhs) @ irctudedin loicings in rourths,ihe dis

sonmceincreNg Not only is rheanone(dCmenkdfounh or diminbh.d fifih) a dcher
rtenal but wne. adj&ed b a perfet foufh, n rdns a najor sdoth i,tenat, asshown
belo%crcatingslron8di$ono@-
 PAFr I t/t00E8N
JAz7VoTCT

1od"f, J firc pd vorrng In tourrh'

1. A.alyze the chordfunctiot ad sel4t the appropriatechdd $ale

2. voicedownfron ltte melodyusinsavailablesca]enotesspaceda foud apad.lf nec_

e$dy. us a {E!di 6& or ilsnE@L&sth-

3.

Try to havefiv!ditrercntnotesevenir a non-fouilninteftal nust be

Aloid donblings.
used.Doublinsthe lead(8vb)of a fourpan voicingin fourtnswill 6ll in oneof the
lourrhsed lessenlhe ev6 spacinssd open$und of thevoicing.Doublinge inner
voiceG sonetinespossible.burlhis nay crcarea balde Prcbl!n.

5. Avoid ninor .inth inte(als, excefl ? on Don?t9 and in sohe modalconiexts

6. Be sure1oimlude the trilone in all doninant seventhchord voicings.exc!pl

DonT(sus4).

7. Intoml contexts,avoid notesnay notbe used ln nodal co e!ts, avoid nots, inteF
Dreteds ch@ctdistic loles, nav !e inciuded-
#-

Exmple,
M00tni JAZZ
v0rflIEs

Lead Range

Five-parivoicingsin fourlhsvork well if thel!adnoreis in thr mge shoM bels. Ite

panicuh instnmtation will als help.te6ft theleid rmge.

Ftve-Pslt f,xamplesUsingAll Adjacent Fourths

Ihe folMilg li$ showsthE po$ible rypesof wicirgs vher a[ adjacentintdats e

r. Five-nobvoicinesin vhjch a[ adjacentinlervalsde perfecror ausnentedfolnhs

(sonEtins spelld eDh@nically s dininilhe.t fiih9 .nd th!chordsud is con-
ple!, @nrainingthetnird dd serenrh.

.:

t+
 PAnIll I r/l00EnN
JAzzv0rcnG

in *hicn all adjacenrinteoals e perf4t o! augmentedfourths,but

inconplel. becaus lnc third or sve h n missirg.

i*

in wbich ,ll adjent intedals m perfecror ausnentedfounhs,but

mbigno$ becauseboth the third

voicingstbai lmt s! third e(vor theseventhre mosretrerive Nn!nadj{enr vojcinss

cledly definethechordsund aodnsical co ext.With five noteyoicings,n is sone
tines beter to sive up a fofrh in f,vd of chordsound.as shoM below aslons as tne
najodty of adjacentintenalsm founhs.

('s rrei 4 h rm, d dod sud)

M00tflt JAzv0tfl[Es

Voicingsin Fourthsas s Soli Technique

Beause voicingsin founnsm widely sp&ed,th!yNoik bst m

or p!rcussive.
tively sustaioed
F:----------tE.
It.I'"

Oe6iohal apprcach notes pr*ft no prcblen md shouldbe hedled *itb pdallel

approacbrchmonization, chs@tic apprcrch@hmonization,or independ!nr
lqd-

I
e
-e
PaahAFrcach
(pooid*bdd G6dd6hdhs)

MusicalExanples

Nob: Exmples 3l .nd 32 @ gruged for the sme instronental combinalionusins lhe
som relody md chord cnanges. However,the rwo examplesdiffd in th.t exmple 3l
us$ adjacentfourths lhnughont whil! dsple 32 sadiices aI fotr.ths' for conplele
chord color in neasues 2 md 3 (ro& rhe a@ws).

"*! c
-^-

,._, L
"$r
 PAnT
lt I M00tnN
JAZZV0TC
GS

Elmplq 3l &d 34 rcpeatthe abovecompdisonwith a dififtnt inrtrundtal codbination.

-r)
C)r4

o--_,,*" e

In thefoUowingve$ion,&e lumger tas don!a mild rehmonization ro crealechronaric

colq v4iation whileat $e sanetine nainkining thc co$lste ue of voici.gsin fonnhs.
Twoditrftnt ihsrnnentalconbimtions@ used,

'^' "Se C

I
,l? ?
'^-
M00tnIJAzzv0tetIGs

To cEate a fouqart voicins in fourths,follos the s.ne procedue s with nve pans,and

l. Il possihle,all adjaft intdvals shouldbe per{ector ausnentedtounhs. Renember

draraugme.r!dfourths de ofte. spelledenhdmonicaUyasdiminishedtiins.

2. If absolutely n!!ssary,you nay usea major third beNeen rhe iop tNo voicesandslill
nai ain a recogniuble rcicins in fourtht sound.

3. Thesevdicingsnay be inconplete aslong as dle basiccbord soundis cledly inplled.

.1. Aloid inr!fr!ls of a ninor nindr.

5 ln tonal contexts,aloid notesnay not be used.ln nodal conrexls,lheymy.

Examples

73
 M 0 0 En IJAZZV0TC T

L!ad Renge

FouFpartvoicingsin lounhsworkwell
will glsohelp
ldticuld inslrumentatlon

Four-Part ExamplesUsingAll Adlac!ntFourths

The following list sbowstn@ possibletypesol voicings when all adjacentinreftats aE

1 Four-notevoicjngs in which all adjacentinreMls re perlcr or auanente.dfounhs

(sometins sp!lledenhmonically as dininished fiftht andrhe chord soundis con,
plete,ontaining the thid and serenth:

in whlch aUadjace intenals m ped4t or augmeltediourr,s, DuL

inconplete becrusethe tlird or seventl is nnsing:
M00tni JAzv0tflltGs

3. il *hich a[ adFcenrinl!Nals de pedet or augnentedfoudns. but

anbiguous b!caus borb the third

voicings that lack d! third md seventharc mst efi4live shen adjeent to tompl!te
voicine! thal contai. then md cl@ly esablbh the nusical corteit definedby lle cbord

Invert!d FouFPart Voicingsb Fourths

INdions ol rcicings in founhs eund g@d i. mniexl witn voicingsthat co.tain all adjs

Ir tneexanpl!tharfolows. four-parivoicirgsin 1hereble clef polide coloroverde bss

clef m!lodyconcludinsin a nveparrvoicinsin fouilhs.

t-

In lhe aboveexmplq tlretst two ohordse voicedin fonhs, but witn $re mtes dis-
pl&ed an @tav!. cMting ihv!rtd voicings,asdescribed
below
BE.1

:l+osade.:#

7S
 M00tnI v0tflNG

CoNtant Structurc FourthsOeer a P!dalPoint

ConsrantstmctuEfourrns5 o d fd g reao\e' ,peddlpor n'8e.o{

. ,blue,lictover adorF
indt pedalis hdmo.iz.d wirh consrdt sruc$p pe.fectfoufih!,

In therollowinsexmple, voicingsin fouirnsarcusedwhile raklngIiberryyith bolh lne

chod scaleesourceandcbordsomd cldity. Suchrreedonis possibled tmg asstntc
gicallyplmed@npleiechod soundvoicinssclerly naintainthehmonic condt. Note
the useof three-lanvoicingsin fouftns(doubleled) for slacins co.rad andconrial
notion inlo the.onsht slflct!@ founhs.

,,tat re^a: rb

3# ,d @ h a fu '

.---/-...--l
r|0[t8i JAzzvolcrrGs

To createa rhEe paft voicins in founhs, folow lhe su! prcceduE as wid fou md five
pds. but observelhe foUowing:

l. AU adja@nlint!ryals ol]rt be perfect or augmeniediounhs, wirh only two adjeenr

inleMls, a tn@-part micing ca.not be hedd as a voicing i. fonins Dnlessbo& inter-
vals re fourths.

2. These voicings may be 'incomplere" s lors as the basic chord sound is cledy

3. Avoidintrvals of a mino hin$.

4. ln toMl cortexts, arcid notesnay not be nsen.In nodal conlexts,lney may.

rMrli! 3d +4h f5)

The voicings labeledasunsucesstul abovefnil bdause one oftne two adjmenl iniemls
is a thid. Theseliadic sl,rclu!s sonhd fine, but rney do trot cledly cEare rhe dntinct
sononty of a rcicing in fourtns.

E@

L!ad Range

Ttree-pan loicings in fourths work Nell if tne bad nole h in the mge shovn below.Tle
particularinsnunentltion pill ako neb define lhe lsd ranee.
 PAn T [ | M 0 DF 8 JAZ
r { ZV0TC Ii IG

Thrc!-Parttrxampl!sUsingAI AdacentFouths
The followinglisl stws the lossiblet ?es of voicingsphen a[ .dj&ent ihiefl,ls m

L fte-nole yoioinssin *hich !I adjeen. inienals ft perf!clor augmented

foultls
Gonetimesspeledohmonically a dininished6nht {d the cbordsoundis com-
pleoe,containingthelnud bd sveftn:

2. Irre-nole voicinss in which all adjmcnt inlenah m perf!cl or angnentedfourlhs,

bul the chordsoud ]s inconpl.te b!caus the thnd or svenlh is missins:

3. Itue notevoicincsin vhich all adjrcenti enak de perfeclor augnent!dfourlhs,

blt lhe chord3oundk dbiguous b!cause boththethird md seEnthre nissing:
M Ol]ENIJA ZZV OI[IN GS

voi.iss thrt lacl the third and seventhaE nro$ edlctic whc. adjlcenr !o conpleE..
voicings that do conl,in then d cledly establishthe musical contexi defined by tbe

Inv!raedThree-PartVoicingsin Fourths

OneconDrontlree-pan voicins usesadjrcent inbrvll\ of a founh anda second.Alrhougb

suchloicinssdonorconrainllladjacentaouihs.rheydeinve$ionsofvoicingsintbunns
,nd theElore compadblewitb the voicing in ronnhs sound

Thme-Ptrl VoicingsWirh a PerfectFourlh and a Major Second

I n rh ro l oq ',r'*np l e.r\evor .' n..InI,r nh. I' e\oi., led to iN!ned voicingsin
i o u \. -o n r rgJn ...q ..oun' d"l,m J, .er o1o\o.e ma1the majorse.ondcanbe
$ '
lne upperor loNcr int!rvd.

Fori?({r1) Mm]?({r1) !!+n!j7Eoq? Er.nd

 PAflTII MOOFBN
JAZZVOIBIIIGS

Three-PartVoicingsWith an Augmentedlourlh and a Minor Second

The followi.e exmple .leDonstralestto vdiatio.s on voice leading rom a closd

(inveded) voicins in fourds (co ainidg an inteF l of a seond and d inlenal or a
founh) b m "op!n voicing (conuining two inte(ah of afounh). i. the fiBl case,snown
in l]re fisr tvo neasws, the exaclintervalsin eachof the ciosedvoicinssre a ninor sec-
ond (o! rhe bonos) andd augm.t!d fourd! or ritone, on the 1op.The openvoicingsio
the iNr two nedures conrainintenals of a F.rf*t fourth md a titone, cElti.g a najor
sdenth rrcm rhe bonon note ro rhe top. Both ol thesevoicingsare noe dissodt that
their connteryartsin the third andfourth n@su!s. There,the closedvoi.ing consisisor a
najor scond anda Fdst foufth, while rherwo openloicings containtwo perlectfourths
ecn. Conpm the lwel ofdis$nance in the two s@tionss you ltlen 10the Ecordine.

Fr!? chrj?({ l1) Fmsj?(}

11)

Three-PartVoicingsin FourthsOver PedalPoints

In therodal blucsbclo{ tn!melodyis hamoniad Nith voicinssin foufthsoverrhesus

t r4 a

'4. 7:2f

a ' 7=
 PABT I l/t0[tnNJAZZV0TCNE

L WnE out.hecoIM rdle lorerhhmodc situation.

Thenhmoto/e ech scEleoole
with a fivetan voicingin fourths.

--
M0[tnI JAzzv0tclt{Gs
 PAnrfl | t/t0[[nNJAzzv0lclllEs

B,ro5)

:
M00$[ JAZZV0rfl[GS

3N
 PABIII t\it00EnN
JAzzv0r[|Ncs

G-705)
M 0 0EnIJ A ZZV 0T C U G S

2. W e out the cored chord scalefor each hamonic situation.theo hmonize each
scaled!sEe with a fou-pa voicing in founhs.

B-7(b5)

00
 PAfT I t 00Enfl
JAZZV0tCtN

3. wnle out the cot@t cnord scalefor e@nhmonic situarion. Then, h@onire mch
scaledesreesith a lbE-part voicins in foufths.

c6,9
cutltffir r
UOTGTN3|S TN
Secon-dslGlustersl
Clusteh m voicinss il which lhe psailirs irtEflat betqen adjlcent notesis a s@ond.
This tightly sped voicing cEaresa thick, dhsonantetrct. voicinss tbal co ain all sc-
onds crcate the ndinnm lael of density.As other inteflals de inchded, the voicing
ope.s up and lhe densirydedeases.B!causea ninor seond inrenal is boF dissonml
tn.n a Mjor smhd, voicingsrhatconlainat leaslonemimr seond will havemoe bite'
than thos!tnat conlain only najor s*onds.

The [email protected] exmple compd!sa troditioml four-wayclose doubleleadvoicing. a voic-

ing in tbunhs, dd lhe ditreEnt clust!! choices.
M00tn JAzzv0lclrlGs

To creaiea five-p.d clustd:

L Analyr the chord tu clion dd selat rhe apProprialecnord scale.

2. Voicedownfron the m!lodynsing availahle$ale not6 spaceda scond apari.In tonal

context6,avoid notesnay .ot be !sed; usea third whenn4ssary' h nodal co.t!xk,
avoid notes,inteQiebd s chmct!risdc aoles. nay b!incln.ted-

3. Tnemlody nob my be sepdatedfrcn lhe Est of the loicing bv a third or fourth. This
is especiaUyIrue when trying to enphdize nelodic cleitv

4. Avoid a minor s4ond inbr!r beiweenthe $p two voices so as .ol to obscue $e

5. Try to include ar le6t onenitur sond Otrt not betten the top two !oic*) in orde!
to cEale a high l!v!l of dissonance,

Lead Rangefor Fiv!-PartVoicings

Fiv!-pdt clusterswort well if ltte lead hole is in the rsg! shownbelow The pan]culr
instuhentatjon wil alsohelp define fte leadidge

! #rr*ry

Low Int!rval Limits

Check that your voicings don t go belw th! low intemal limit for najor md minor

s4
 P A f lTI I I I I O O I NN
J A Z Z VOIC IN

ExanDlesof Five-ParaClust!rVoicings

To cEatea fou-pan cluster,follow the sme prccedre s sith five'pd voicings,b!!

i . Try to ule intervalsol a econd exclusively. BmalselheE re onlythreeadjacent

iirer
vah (nottl'e fou fonndin a nve-panvolclne),anyDonsecondwil .oticeablylessn

2. lf necessarr.
usea third tetw*n tte toptvo voices.Thh wiUconpronisethedensiry
but allowrhenelody noteto be cledly heald.
3. Thevoicingtuy beinonplete (nisine a t]lnd o. sevend)d long 6 rhechordsound
u00EEiJAz v0tctiEs

L!ad Raneefor Four-Part Voicin8s

FoEpan chsterssork well if the leadnoleis in rnemee shoNnbeloN.Th!pani.ular
iBtrunentationwill ale help.leine tneleadrange.

Similar SoundingFour-Part Voicings

Fourpan voicincs contdnins tso [email protected] and one hon secondlact rhe compacteacing
or troe cluste$, which useall seconds.Howev!r,whenadjacenlto oF.ly speed loicings,
they sill cEale an inpftssion sinilar to lnat of clustes. Whe. used in rhe sme pnmse
with clust!s. lhey pmvide contat in spacingdensity.Suchvoicings also allow for con-
tary notion, which ce Bult in a no! inleEtins flw oi line fld texture.

l=rt
ffiff];H

$6
 PANT
II I\' IOOENN
JAZ ZVOIC IN C S

To crearethree-parrclust!s, follow the san!procedue a with fou and nle pais, but

L All adjace intenals nust be s4onds. With only rqo intervds. the chdelerislic d!.-
sily of cluste canbe achid!d only if both

2. Theseloicines nay be inconplere(ni$ing dle third or ev!nlh) a lonS as the chod

L!ad Rangefor Tlrc!-Part Voicines

Thiee-pd clusreBwork w!ll if the leadnote is in tfie rangeshownbelow the pardcult
lnstrun!nralion will dso belp defihe lhe leadnose.

Sinilar SoundinsThreo-PartVoicings

Tbre p,a voicings spmdng les than an octavedd containingonly one secondcleale
disson&ce6inild to lhat of clusleB. Altboughthe chmcterislic dosity Esulting from all
secondsis abse.t, the one seconds uniquc and notic!abledhsonancedoes stmd out. A
ninor secondin this situation @des a stronser dissom "bite. Such voicings sound
oper when adjacentto clnsrds and d!Ne *!en adjaenl !o loicinss co.t2ining wider
IOIEAT JAZ VOICI|GS

wnenfomins sucha chor.l(hangingnolesbelowthelqd 6 in a fou-way closevoicind.

d! nomal orde.of pitch ssigme.h ls inlempte4 resuhingin d onitled note.T[*
d!klown as onil voicings.'In theexmple b!lov,lhenotesthaihav!ben onittedfron
tnevoicingd! shownasm x in penth!ss.

Th@ part rcicings containins adjacentint!ryalsof a ninor ftird dnd nircr scond @
6luest in lhen dissond inpasio.. The njnor sao cHte! ihe kind of ..biie', ssai-
al!d wilh clu$es, while $e dnor third suggesisthe sund of the blu!s.This tbE-not!
aliehnmt n possiblewhenth!nelody note is:

l. lhe minor third of a mimr-najo seve.thchord.

2, the svenlh of a doninmt w!rlh chordusins the Lydim t? eale.

3. a chord lon!of a dininished chord lsing the synnetric dininished $ate (whole step-

a rte, gL 5. or ,? on a doninanrsevdth u6ingLhesrlmeFt diminrshedscal!

(har ste!-wlolestep).

00
 PAnr I M00EnJAZZVoICIN

l. For tighdy sp&ed vorcingson rhe low Dotesof d melody,look ror rhePo$rbdiryof
contdy voice norion:

2 Forbackgound{ntingl

d T, b9,
LL-

L On hisler l*d nots Lopro!idebrilliance:

-. +:= :b
 lr00E8i JAZ V0tflXES

4. Generally,do not useciust€lsb n@dize an &riye eighth,nob pdsage. Ilc

density
anddissonmceBist npid motion.The 6ult is . blurrEdnelodic ed hmo.ic
efret.

5. Tb €mlhsize pmussNemtody ooEs:

In measw two of th€fivFpart qmlle above,clusterse uFd to emphasizetne pftuF

sivenanrrcof ihe pFaledfd,44,. wl& rhh leadnoteit is
Fsdible to havea onplere
chod su ad to naL atl adjrceft intenatsseconds.

h r4re-oe, hole fie voice-leadinsthat gadlally cbdses frcn unison ro a fou-patt

voicingbefoRni\rng ar he file-pm r8e, cturF. W\.n usingrh
Ing apprctuh. .jn8 or play everylim o nale !F eachfiowb helmraly" tjtrd ot...inewn1
b lhe hrsel

In @dw d@, th€n€tody is voiced i. fourtns wirh doubtel*d (8vb), p,oviding

rhe
cont@t of a morc openlexruE befoE endingon thc ctuskr in rhe lasl meaue.

Conp@ dE chster voicing in me6up hvo qith ntat f ne$ure fou, Noie tne
sEr€r
**'*"nrb voicins
mntainins
rheninor secdd betwer a ed
;;,"frT"L'!i "

t00
 lI00tRtv v0tcrIcs
Mor! Applicationsof Clu€ter$

Conpm tnc folowing tnEs andfour parrv€rsioNof rhesunc nq@y.

ln thetbre-part qanple abow,clustds @ use.tro eDphsize ihe p.rcussiveMtue of

then€lody'sEpear.dnor6. Thecnordsoud is not @npt.re!a facbr rh nust be mn-
sideredcdetuIy wnehwine thre,port clust rs.

r compl€tccho.dsoud wft noe of a concm, th. nelody in rhefinl two resuies

couldbercic€d$ shoM below-With secd.ls c@t€dby lhetop iwo voic6, thm ,oultl
stll be a dissomn!ilrictftss, bnt not s sFongashavingall s6nd5, s aboye.

L mqsw thEe, the acliveeighrh,.ole relody is scoEd no@ sinply in @tav€sandoper

rcicines. Hwevd, tne endingnore is rcied N a ciurd. Nore rhe voi@ l€adingand the
6e of conirary notion in cheging fton odavs to ops voicirgs b€f@ leehing th€rar-

___:_
".-_==
(c7)
* r. ----
'--iil-
M00E8llJAZV0t[| ES

With fou !ans, n is possibleto ir@F thedmity, theuou ofdisohant itickness,In

rhev€sion below thepick-ups(r-&, @ sded in mjor secods(wirhiwo on a pdt) s
theyaptmch thefourpan clusle4.

tn llle final two masms, ihe san€ $inting is Ned s i! tn€ttee-lan 6ion. Voie
leading fron tne @tav€sues @nlrary molior to estlblish a gradnalct6ge of textue,
whjch leadsto the tdget oding note voicedin a four-parrclnsler

, __--_-__{.-!.9Y_
* l- r - ,1- -
--- - 1

102
 lI0 0 En N V0lCll'lGS

l. Wrire oul the colEt chord sc,lesfd €achhmonic situadon,Voicee&h rcale degree
wift a n!e-psr1cluslei

t
IOOInt JAZV0tCtiGS

t04
 PANT
II MODTNfl
JAZZVOICII{G

2. Wriie out the chord scale for eacb htrmoni. situation, then hmorne €ach sc6le
de8@ with a fou-part cluskr
 ltGS
M[[rn JAZZV0tC

3. Write out the chordscalefq eachhamoni c situanon,thenharno.iE eachscaledegEe

vilh a thre part clust€.

El7
 PAF T
II M OIT BII VOIC IN G
JAZZ

ScoE the foUowins passaseusins loici.gs in founhs and tve-pan clusld as

c b 7 ( i1 l)
c
W,",1[fl"H"+
An upp€rsructureEiad voicingb a complexsonnd,It projectstIo sinultansus h{-
nonic imprc$ions.Firs. md folmosl. all nots of lhevoicingcollecrivelycrate a sound
$at .ledly r€preenlslhe eivenchordsynrbol.Ai tne 8me tine, rhefi@ upp€rnoles
fom a aiad h closepositior (irctuding,possiblxvdous inveniont. 11*e uppernocs
navetn€n Nn sepdat€andcledly ide ifilble fiiad sound.while simnttaneously tune
lionins ascho.dlonesan orlensionsof the givenchordsymbol.Uppd siructuEhiad
voicings@ lsed whenthe witer wantsa powerfd soundco ainins a high level of

Uppq shctu€ lrla& re sually majoror ninor

L^
M00Enr
JAzv0tctIGs

Augnenbd tiads cu be used on donimt sev€nlhchods whq eirhd wbole to.e or

Lydim t7 is tbe cnod sale beins used-Dini.ished diads ca! be us.d oh dimilished md
domirmt wenlh chordswhen the chord scab n synn.tric diDirhned. Augrented dd
dinidsn€d Fiads do not @ate &e sMe level of rcsonmce s mjor ed Dinor hiads
becausethey lact pdfed nfths dd perfect tolnhs. No.efieless. a very rich voicing

cq (o

An upperstructure
tiad usuaUywiUcontainat lasr onete.sionof lheclord beingloiced,
Thende tenslons comalnedin rnelrjad therich.r d€voicine.Doublingsnay b€usd a
nee$ary, esp@jalywhen(neF de moe rlu five parts.
 PAnIll I l/l00EBl'l
JAZZV0ICINGS

To cGate a six part uppd sl{cture niad voicingi

1 Analtze the chordfunction andselectthe apEopnab cbord scare.

2. To detemine whicb riads de alailable ftom the scale,nak€ the nelody note l, 3, or
5 of a najor or ninor tiad i. closeposition. ovlaketute of ey augmentedor dimi.-
ishedtiads availablelor posible use.)In to.al contel$, avoid notesbay .oi b€lart
of the friad. In nod6r co.texrs, avoid noies, inlerpreledas chdacldstic notesof the
mode.may be includ€d.

3, Selet a tri.d dat sntoiN at leasl o.e oEilable tensionfron the chod. Ihere nat be
nore thm onepossibilitY.

4.Supponlheupperslr'uctureftiadwithtttreepanbdsicclordsund,usingl,3,5.orT

5. l. tbe iniercstol loicins bolonceandblend,lhe upperstoctuE 1riadshouldnot be seF

dated ftom the rop nole of the basic cnord soundby noP than an octaveor lessrhan
a lhnd. r rhey m sepdatedby mm tnan !n ocbve, two difr*nt soundstuciuEs de
lea.d i.nead of a unitom rcpr€*nladon of rhe choid. lf theye closerdir a lhird, it
b4omes difficul! 10dkingnish the independemsou.d or fic upP€rslructuE tsiad.

Therollowing€xampleshowshowlo applythis prcccdre.

Step 1 Analyze the lonalnodal apptupriatechord scale.h lhis

case,D-7 is dalyzedas a Donm $ale is sel4ted.

Step2 Dermine thervailableFiads.

M O!ENJ A ZZ
VBICIIIGS

Srer3. Selectatriad.Inthn examplei lNo structu'es

rre rvailable.Notethaterchcont.ins
rl ldi{ one tensionof thc D 7 ctrord.

srep '1. sumol1 the upperstncturc tllds

D7 . oatorkr qEr

1---
Step5. Fron thepossibihies.
chmsem appropiatcloicinAbascion dcsi€dcolor,spd
inE,ud voicc-lcading Lel you.earguideyourchoiceasseu.
consideralioDs.

Lead Range

Six pan upFer structur€tird roicinss wort sell if the lead note h in thc rmge shown
Thepdicula in$tumenradon
belorv. will alsolrelpdefinethelerd mnec.

Si\-Parl Upper Stluclure Triad \oicings in r \'lodal ( onterl

upperstruclnrc hiad voicings aie usedin a modal vdp,

the C ? Dorianloicingsusetrirdsconrt'nngde norea,
Tl3. norrheavoidnote56.
 PAnT I M00EnJAZZV0tCt
GS

To cste s five-paJtupperstllcturc triadloicing, follw the san€prccedm aswith sii-

ptuls,but aftd detmining lbe uppers!ructur€ lrlad. supponn eith t*cpaa b6ic chord
soundusing3 and7 of thechord,or pith voicingin fouths.

ln sm€ caes, the upper struchE tdad may be madeup of only clord tores. Adough
dis upptr drocture triad voicins will nor be asiich ason€containinglensions.the uppei
sl-actuE Fiad c& srill be head as a sepdate soundwhile al the sme tine EpEsoting

Lead Range

Fivepan uppersmcturctriadvoicings{orl wel if the leadnoreis in the rdge shoNn

below.Thepariiculd instunenlalior NiI alsohelpd€nnelbe l{d 6nge.
u00E0flJAzv[tclftGs

To qeate a four-partuppd sl,aclN t.iad voicins, follow the smc basicpocedw aswith
slx- dd five part loicings, but aft€r detemidng t[€ upperstrocturctriad, supportit with
only one note.The supportingnote shouldbe a chod tone or tensionfion lhe appropna@
choid scale.Espdiauy sood €sulk comeirom conbining e uppe.sruclue rriad in sec-
ond iNdsion (3 on op, I in rhemiddle. and5 on the boron) Nith a suppo.tinschordtone
or te.sion a fourrn bw*, The tliad in s*ond invaion h6 mole rcsondce than when in
either rcot posiiion or fi^r invdsion. Addi.g the s4lon nob a rounn below yields an
evenly spaced.w€llhalan.e4 dd unifom chod sound.IlErc de rclarively few of these

fonnhbelowtheriad h noravailable,
choosemesrongestsuPlorr'ngnote
lension),keepingin mindtheBuuing coloretrect asillustatedbelow

Becausechoosinglne6latresulsina'mchdical"drop3voicing,younightpEfer.
Muncalcont (1dd pesonaltasem rbedetermining
lbr addedncbn€ss. f&tors.Anorhd
inponrnt comiderationis Nh€$era bss playd h pr*enl to suppofttnevoici.g with

-rywry
Lead Ranse

FouFparrupperstrucnnedad loicinss wo& veu if the leadnoleis in the nnge shown

 F ANT
II M OOT NN
JAZ Z V OIIII

Wten Mitins for thE homs,younay useuppersnactuetriads.bui yotrnusl ely on the

rhyrbn scdon b supplybdic cnord soundsupport.This is especiallyef4tive over
a pedalpoinlor whenadjacent
voicings€stablisha cled chonlsourd,

In rhe dffiple beloN, the oranger bas enbellished the pedal point using a more aclile
ilyrnn wilh octav€dGplrcenent.
M00tflilJAzv0tflflGs

L To mphasir lne highpoi ol r ptuse:

L To hm@izelnorsile 6g@s:

n3
 M00EBtll v0rflNGs

SpecialSituations

I Final I chods wih I l1:

2. I-? in Dond no.ie nsi.g Tr3:

3, Melodies6ai arpeggialenotesfrcn m a€ilable u!pe. sdctnrc triad: Hamonid then

vitn invesioN of the tiad.
l|OOCnIJAZWtCti€S

4. Uppa sdcr@ uiadson aug@nr€dseEntncnords:Usingthewhole,oone ssle, evEy

sale degrcewill bepartof e nppa snlctE augnentedtriad.Theshole,toneflavor,
chmderizedby a lact ofhrlf{Bp dissnsce, yilt prwoll.

fi

5, Upperstroctre fiiadsfor dominer svenrh chords:Usingsymetric dininhhed (haE

step-whol€ step)6 thechordsc€l€,evelylcale d€CE witl be partof d upperstruc
ture dininisn€d triad. with four balf steF in the scal€,Ddimm disloece is

lD*rsmrd €tr#N nrdrrhdd' ffi €mh, or gft 6mbh&i dh6 h r*h$ re te, t11, q 13)

3
 PAnT
ll rlr00[RN
JAzzv0tcm

L Wnteoutlhecoret chod scalefor eachlunonic snuation.Snpplyeachscaled€CEe

wlh an upp€rshcturc rriad,ii oneis a€ilable, andsupportit wnh $re pan basic

he *e
t|00EniJAzvorcriGs

120
 M OOENfl
JAZ ZV OI[IN G

2. Wdle outthecored cnod scalefd eeh hmonic sitlarion_Supptyeach$ale dese

witr a fivepdt upperstructuelriad voicing,
M00EnilJAZZV tIIIES

3. \lite oul the coret chordscalefor €lch hmoni. sitnatid. Supplve@hsale deg€e
win a four-pan upperstructw fliad voicirg-

F
tWJL-"sror
Six Parts
To construct. six-paBvoicing,u mabe.r genaa.llydoubiestwo nores(of a fou-Dan
sonhd)at $e octave.It howd€r, t[€ chosercnord$ale contai.ssii swen, or eishr
availablehoi6, in cen in situadd you may be ableto us six ditrer€ntlitches in the
vo'c'ng-ThG chaprershowshw ro applyth$e strat€gies to Mny of the voicjngtech
niqueswe hale discussed edlid, (lo sonec66, you mat be lble lo adaptth€s sh€
eiesto cEat€voicingsfoi rven ed eighthohs or voices.d wel)

L Four-wayclose doublelead (8yb) md doubl€seoid voice (8vb).

2
t_J
rh t= Lt*:

t-r, t^*.t. ,t=

-
M00tEi JAzv0ttlll6s

2. Onit 2 voicing on to! overlappinga folr-way close-doublelead (8vb) below. ( Onit

2" m€ansdeletelhe secondvoic€as you hdg tne chord,)

r-.'] -
b!* +;=

3. Fourwayclqedouble l.ad (8vb)anddrop2noubleleadl8vbI hoLhon bP ofinde

J, )*4 l=

124
 PAnr t\I00tnI JAzzv0tclltE

h hafronizing surainedor percusive

As discussd€dlid, spEadlocings m €trectiv€
melodieswh€ntulhessmd bonDn'rffi de d*iEd efi*ls. To deaie a six-lan soEad:

I. Srppons(h m. ody noE wirha five pd spead rStr page28.)

2. r possible,inclutlea rcnsionin e&h voicing.(ln gendal,however,

do tut addtensions
to a triadunlss thechordsynbol specin.allycallsfor .)

I Vo'celeadrheniddle voj.esa\ smoorhl,aspo$ible.

ro0EEtJAzv0tfliGs

mer the leadline containslots of eishthnot6, the l€npo is fdl, md yon n*d a full
soundsith boliorr" conGltedwiting tuy be too cnnbmom€. (h comeaedetuins,
all pa.rs nelody md hmony-have th€sde rhythm.Mosrof the preedingexmples
wnnng,)Irtti qiting allws tlE nelody to nove sparateiy
ir iiis chaptr u@concert€d
fton a 6nl bonon-hearyvoicingwbichrcsisrsqnict nolion. For tutti qnring, poceedd

1 ScoEthenelody in uison or oclavesfor two instrlne.L,

2. Add four pan spEadssp@ngly to supponthe nelody at the stmngestfiydrnic loinB

(rhe kickg'), Thb techniqueis bed on the indelendmt lad principle.

N
 P A NII I I M O I T NN
J A Z Z VOIC IN

To crealea six-parrvoicinein founhs,double $e lead of a 6!e paft voicing. Thh dou

blingcd beai rheudson,8va,8rb,or l5vb,i.smsenbtion allowing

LeadDoubledEvb

LeadDoubled8va

Lead Doubled15vb

The 15vbdoublinsworks
the Esultilg lol inteNal
roDEntJAzv0tctiGs

ln c€nainsiruations.6 snownbeloN,]t is possiblero enslru.l voicingsin lourrnscon-

tainingsix difreEntnotes+lx

t23
 PAnT I M00EnI
JAZZVotC
iES

Tlis voicins cEtes lhe soundof a bicing i! founbs whil€ at the sme tine prcjetins
the sEong bonod" as@iated wirh spreads,
M0[tEi JAZV0lflt6S

E* e severalstralegies
for buildinesix-partcluste6:

l. Followingthe!rccedue for coNtuctins five-noteclust$ Ge page94), sinply add

2. Using the doublelad pnncipl.. doubb fte melodynote e oclaveaboveor belo%

dependingor the instunentation ed iege

3. Add a r@t on the bonom of a fivenote cluster,providedit is no no@ than a renth

 JAzzvotfl[G
PAnr[| I]rooEBlt

L Scorcrbe follo ng nsi.g fouFwat clossdouble lead(8vb) md doubl€scond voice

(8vb).

2. scoE therolioqingdrn8 onir, w'd fou-qa) c'osedolblelead18\b'beios

lr00EBiJAzv0tcItEs

3. Scorcthefollowingusingdropzdoubleiud (&b) wiih independent

mt

4. Sore tie ioUowirgusingsn-prn corcert€dspEads.

B7te\)r Bb7

1X2
 M00EBt{JAZZVotflNGS

5. Sqe lhe follNine using sii-pan nrld.

IO0ESi JAZ V[tfliGS

giv€n lad note with a six parr voicin8 of you own chmsing.