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Skaggs Jazz Voicings PDF
Skaggs Jazz Voicings PDF
NOTATION
Pianists typically encounter three types of
notation, as follows:
Fully realized
Fully realized
Suggested voicing
Suggested voicing
VOICING
In general, jazz guitar and piano voicings
omit the root, which will be played or implied
by the bassist. The most important notes are
the 3rd and the 7th, if applicable, and pitches
are generally not doubled within the voicing.
Except for half-step dissonances (see
example), the pitches are usually evenly
spaced throughout the chord, whether the
density is closed (within an octave) or open
(spread apart).
VOICING
Similar to basic counterpoint, basic jazz
voicings sound smoothest when pitches are
kept in common between successive chords
and move as little as possible when they must
change. Pianists usually voice chords within
the two octaves surrounding middle C.
As with any rules of or theories about music,
these suggestions can be and often are
ignored. Nevertheless, these remain good
guidelines for beginning players.
3-note voicings:
4-note voicings:
PERFORMANCE SUGGESTIONS
The volume of the piano cannot compete with the
other instruments, and it is best that the pianist
tacet for much of the composed section of jazz
band arrangements.
The piano becomes most important during solo
sections, when it comps (accompanies) for the
soloists and may also solo.
While some arrangements are orchestrated such
that the piano does play a significant role
throughout, most of the material included in
piano parts is unnecessary and might even
obfuscate the more important parts.
SOLOING
Because of the relative ease for the pianist to
play notes as intended as well as see the
harmony, directors often rely on them to solo
during the improvisation section of an
ensemble arrangement.
In order to do so, all students should
transcribe the playing of great players. There
are advantages to transcribing entire solos as
well as phrases in isolation
Chick Corea
Thelonius Monk
McCoy Tyner
Gene Harris
Monty Alexander
Kenny Barron
Kenny Kirkland
Mulgrew Miller
Brad Mehldau
Independence/Interdependence: A
technique where each limb knows exactly
what the others are doing and how they work
TOGETHER, not independently. John Riley
Through the method books of Riley, (The Art
of Bop Drumming) and Ted Reed
(Syncopation) students can begin to develop
a musical vocabulary for comping and soloing
that is described through this
Interdependence.
One of the BEST learning tools for any young musician, are
his/her very own ears.
Listen to some good music, and steal from the best! Dave
Farris
Gaining a working aural knowledge of players, their
individual sounds, styles, and playing habits is a wonderful
encyclopedia of things practice and help an individual
develop their own skills.
Vinnie Colaiuta
Billy Cobham
Terri Lyne Carrington
Billy Drummond
Peter Erskine
Steve Gadd
Al Foster
Bill Hart
Roy Haynes
Jeff Hamilton
Billy Higgins
Paul Motion
Shelly Mann
Adam Nussbaum
Sonny Payne
Bill Stewert
Antonio Sanchez
Art Taylor
Ed Thigpen
Marvin Smitty Smith
Kenny Washington
Tony Williams
Lenny White
Steve Smith
Bernard Purdie
John Bonham
Charlie Watts
Ringo Starr
Ginger Baker