***Chapter and Menu item numbers directly correspond to the Menu***

VOCAL ACCOMPANIMENT
CHAPTER 1/ ITEM #2A
These are the root positions of the
chordal sequence we are investigating
111 V1 11 V 1
& w #w
w w w w
w
w w w
w w
w
E-7 A D-7 G C
? w
w
w w w
w w

In order to change the mood or feeling of a passage, It is also possible to change the 11 chord
it may be desirable to change the V1 chord to a from major to minor and vice versa.
minor chord or major chord depending on the situation.
(DOMINANT)
6 111 V1 111 V1 11 V
& w w & w #w
w w w
w
w w w
w w #w
w w
ww
E-7 A-7 E-7 A D7 G7
? w ?
w w w w w
w

Moving the flatted 7th's one octave up or down CH1/2B - It is also important to think of melody in
within a chord, also changes the color, mood, and terms of voice leading--not only the top part, but
feeling of a chordal sequence. also as a link between chords in the middle harmony
parts

U
111 V1 11 V 111 V1

<w>
12

& w <w>ww & ˙ j

#w
<w>w
# ww œœ œœ..
w
w #w
w
w ˙˙ œ œ. w
w

<w>
E-7 A7 D7 G7 E-7 A7
? ? U
w ˙ w
w w w ˙ ˙
2

BASIC INVERSIONS FOR AN A7 CHORD

18 Root position 1st Inversion 2nd Inversion 3rd Inversion

ww #w # ww
w
& w
#w
w #w
w ww
w w
w

CH1/#2C - Notice how much more melodic the Common tones from one chord to the next also
passage is when the notes lead into each another help chordal continuity and ease of movement
U
22
3
& j
ẇ
w œ œ œ #w
w
w ẇ œ œ. w
w
w ww
E-7 A7 D-7 G7
? U
˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙ w

It is also possible to change the first chord of the sequence

from a minor chord to a major chord as illustrated.
U
26
3 3
& ˙˙ j
œœ œœ œœ # ẇ œ œ. ẇ ˙ ˙ w
w
#w n w w ww
E7 A7 D-7 G7
? U
˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ w

One can also change the 11 chord of the sequence from are interchangeable, except the dominant (g7), which
minor to major. In fact, any of the chords below should generally be changed to minor only in specific
situations
CH1/#3 - "Eventually
30 "Let's change it a little more..." 3U I might come up with..."
ww
& ww b
& w
#w #w
w
w # ẇ
w œ œ œ w
w
ww
w
E7 A7 D7 G7
? w U ? w
w w
w w w
w w w
 3

It's a good idea to sometimes throw caution to the Notes outside of the scale can be used to
wind and let yopur fingers do the talking and analize create musical tension.
what you're doing later.
CH1/#4 - "We need something to
create some tension...
Suppose we do something like..."
35 "What's that?...write it down... not knowing what it was
w œ‰ Œ Ó U
& w Ó Œ œ J & w w
w
#w w
E7 E7(#9)
? #b ww
w #œ œ b˙ œ
J ‰ Œ Ó ? U
w w
w w
Those notes outside the chord lead into other sections. in your music. These raised 9ths, 5ths and so on have
It takes time to learn how to use these notes, but as come to be called alternate chords, substitutions,
your technical skills improve, you will hear the difference chordal extensions and leading chords among others.
U
œœ
"Basically, how do we get to this..."
œ # œ
j œ œb œ œ
40
3
& ẇ œ œ œ # ẇ
w œ œ. j œ b œ œ #œ
w ˙ œ
œ œ. n# ww


#w


E7(#9) A7#9(b13) D7 G13#11(b9)

? ˙ #w
w
˙ bw
w
˙ ẇ w
˙ ˙ ˙
"It's really important to know
how to set something up..." "Now we could go even further out..."
3
44
3 U
& ẇ œ œ œ ẇ œ œ œ #w
w w
w
#w #w
w w w

D13(#11)
E7(#9) A7#9(b13)
w U
w
? w w #w
w #w
w w w
4

Sometimes it's a good idea to leave certain intervals out

of a chord, depending on the effect you're trying to acheive.

48 Basic d7 chord-root position 5th left out 5th left out - 9th put in

&  
w
D7 D7 D7
w w w
? #w
w
w #w
w #w
w

This is a basic dominant 7th voicing that The last chord of an introduction is what
can be used in almost any key and sound great. sets the featured artist up and leads
them into the song.

51 3
& ˙ b˙˙ #˙˙ b˙˙ & ẇ œ œ œ
˙
D9 Eb9 E9 F9 F#-7
? #˙ ˙ #˙ ˙ ? #˙˙ ˙
˙˙ b˙ ˙ ˙ ˙
b˙ ˙ ˙ #˙ ˙

Generally your voicings will sound more Try moving notes around within the chord in various
transparent if you don't double notes. combinations. You will gain a wealth of knowledge with
Conversely, voicings will sound more dense this practice. Let your ear be your guide
by doubling notes.
54 3
˙ œœ œœ œœ 3
& #˙˙˙ œœ œœ œœ #ẇ œ œ œ w
## w
ww
B-7 E9 A13
? ẇ ˙ #˙ ˙ w
˙ ˙ w
˙ ˙
 5

CH1/#4C
3
˙˙ w ˙˙3 ˙
57
Ó ˙˙ ˙ w
w ˙ ˙ 3 bb ˙
˙ œœ
& ˙˙ ˙ w Ó 4 ˙ œ
#˙
˙
˙ #w
w
w
E7(#9) A7#9(#5) D9 G7#11(b9)b13
˙3 b ˙˙ œœ
? Ó #˙ 3 ˙
w Ó ˙ w 4 Œ ˙
w

œ œ œ
61
˙˙˙ œ̇ . œ œœ^
& ˙ ˙˙ .. œœ Œ Œ

œj œ
E7#9(#5) A7#9(#5) 3 D7(#9)
˙. # œ̇˙ .. œ œ
? #˙. #œ Œ Œ
Œ ˙

And here are examples of closed or compressed voicings and sounds. The
best thing to do is use a combination of both open and closed voicings
64

& œ
œœ œœœ œœœ bbbb œœœœ œœœœ œœœœ # œœœ œœœ œœœ
E-7sus A7b5(b9) E6(9)/D
? œ.
˙. œj œ œ. œj œ #œ˙˙.. œj œ
˙. .

67

& œ œœœ œœœ œœœ œœœ œœœ ###œœœ œœ nnnœœœ

b# œœœ œ œ œ œ œ œ
G7#11(b9) E7#9(#5) A13(b9)
? œ.
j
œ œ #˙ œ nœ œ. œj œ
˙ œ œ ˙. ˙.
6

Practice this voicing in various keys

70 ˙˙ bb ˙˙ ˙˙
& Œ ˙ Œ b˙ Œ ˙

E7(#9) Eb7(#9) D7(#9)

˙˙ b b ˙˙ ˙˙
? Œ̇ #˙ Œ̇ n˙ Œ #˙
. b . ˙.

73
#˙˙ ˙ #˙˙ œ
& Œ ˙ Œ bb ˙˙ Œ ˙ Œ bbœœ Œ 4
4

Db7(#9) C7(#9) B7(#9) Bb7(#9)

˙˙ bb ˙˙ ˙˙
? Œ ˙ Œ ˙ Œ #˙ Œ bb œœœ Œ 4
Π4
b ˙. ˙. ˙. b˙

CH1/#4D - The top not leading from "B" to "C" and then
"B" to "Bb " helps to create continuity between chords
you can move 1/2 step up you can move 1/2 step down
77 ˙˙ .. ˙˙˙ ... œ̇ . œ œ b# ˙˙ ..
4 ˙. ˙. Œ ˙. #˙ .
&4 Œ Œ Œ Œ

E7(#9) A7#5(#9) E7(#9) A13(b9)

˙˙ .. ˙. ˙˙ .. #˙.
? 4 Œ #˙. Œ # ˙˙ .. Œ # ˙. Œ #n ˙˙ ..
4
w w w w
 7
CH2/#5 - 4th chords, or chords based on the
interval of a 4th, when not locked in with the 3rd, Here is the same intro we have been studying
can lead to almost any key, which consequently using a 4th interval chord on the E-7
makes them good to use when you're lost (smile).
81
j
3 j
& Ó j œ œ œ # ẇ œ œ.
bb œœœ... n# œœ ˙˙˙
n œ bbb œœœ... œœ
œ
& ẇ
w
w
w
C E-7sus4 A7#5(#9)
? ? w ˙
w ẇ
œ œ œ œ œ œ œ œ

Here are four variations on a chord E-7 to A7 with top voice leading from D to E,
progreesion of increasing complexity the 7th to the 5th of each respective chord
85 E-7 to a7 with no voice leading
& w w
w
w #w
w
w w
w
w #w
w
w
E-7 A7 E-7 A7
? w w w
w
w w w
w w

more advanced voice leading based on the same progression

89
nw
& nw
#w
w w ##bw
w œ
nn œœ
Œ Ó
#ww w w
w w
E7(#9) A7#9(#5) E-7sus4 A13(b9) D7(#9)
? w w w w #œœ Œ Ó
w w w w
w w

œ nw
94 THE HREBIE HANCOCK EXAMPLE
œ œ
& Œ # œ #˙ œ
#œ
?
w w w
8
CH2/#6
97

& w
w bw
w w
ww
w
HERE ARE A FEW EXAMPLES OF VOICINGS FOR THE
DOMINANT CHORD AT THE END OF AN INTRODUC- w w
TION. REMEMBER TO EXPERIMENT WITH MOVING
THE MIDDLE NOTES FROM ONE OCTAVE TO ANOTHER, G13 G13(b9) CM9/6
AND PRACTICE USING HARMONY NOTES AS LEADING
? w w w
TONES.
w w w
w

100
bb 44
(E TRIAD) (B TRIAD)
THE FOLLOWING CHORDS, USED CORRECTLY, CAN
& bw
w ## w
w
MAKE YOUR MUSIC MORE INTERESTING. EXPERI-
MENT STACKING TRIADS ON TOP OF EACH OTHER w w
IN VARIOUS KEYS, AND USING BASS NOTES OUT-
SIDE THE SUGGESTED TONAL CENTER G13(b9) B/C
? w w bb 4
4
w w
w
(G7) (C TRIAD)

CH2/#9 - THIS IS A TRANSCRIPTION OF THE INTRO I PLAYED TO "YOU'VE CHANGED"

WITH ANITA BAKER, FROM THE VIDEO AT THE MONTREUX JAZZ FESTIVAL

YOU'VE CHANGED
102
b 3 j 3œ œ 3
3 3
& b 44 ‰ œ œ
3
j œœ œ œ œ œ˙ œ bœ̇ œ nœœ
œÓœœ œœœ œœœœ œ
b œœ œœ ˙
˙˙ œ ˙˙ b œ
œ œ
3
D-7 Db13(#11) C-9 F13(b9)
? bb 44 3 œœ b ˙˙ 
j
œ œ œ

j 3œ j3
105
b 3
œ œ3
& b œœÓœœ œœœœ œœœ
bœ
œœ bœ
œ œw œ bœ œ œœœ Œ Ó

D-7/G Db13(#11) C-7 F13(b9) BbM9

? b œ œœ œ œ œœ œœ œ
b b˙˙ œ œ œœ Œ Ó
œ œ
 9

CH2/#10 - Here are some alternate ways of playing the same set of
changes. Investigate the voicings and alterations of the dominant chord
108
b
&b w w
bw
w w
w
w w w nw
ww
D-7 G7#9(b13) C-11 F13#11(b9)
? bb w
w w w
w
w
bw
w
w w
CH2/#11
Think melody and how to best get from one chord to another, not just a set of chords with no relationship!
112 3
b 3 3 3
& b ˙œ̇ œ œ œ œ̇˙ œ œ œ œ̇ œ œ œ j
œ œ
n˙ ˙ n ˙œ̇
D-7 G7#9(b13) C-11 F13#11
? b œ̇˙ œ œ̇ œ œ̇˙ œ œ̇ œ
b ˙

U
114
b 3
œœ
& b œ̇ œ œ œ œœ œœœ œœœ œ œœœ
˙ bœ nn œœœ
D-7 D-7/F G7#9(b13) C-11 Gb13 F9sus4 F13#11(b9)
œ nœœ
? b œ̇˙ œ œ œœœ nœ bœ b œœ
b œ bœ œ œ
CH2/#12 - Another chord substitution that works for the 11 chord. Below are several ways
well in standard turnarounds is the upper neighbor to to approach structuring that chord.
the dominant substitution
116
b
&b  ˙ ˙

bb ˙˙˙ bn ˙˙˙ b ˙˙˙ ˙
#n ˙˙
D-7 G7 GbM9 F7(b9) D-7 G7 Gb13 D/F7
? bb ? ? ? ? ? ? ? ? n˙ b˙
b˙ ˙ b˙ ˙
10

120
b n
&b  # ˙ n
If you want to get more daring, try substituting
the upper neighbor to the root for the 11 chord, n# ˙˙˙ ## ˙˙˙˙
or third chord of the progression.

D-7 G7 B9sus4-----3
? bb ? ? ? ? nw nn

CH2/#13 A & B - This is a transcription of the piano you see how an accompanist should sometimes follow,
part to "I Got It Bad," which I played with Dianne Reeves. sometimes lead, sometimes be still, sometimes decorate
Studying this will help and when to do each.

I GOT IT BAD

122 RUBATO COLLA VOCE

&  Ó Œ œ ˙.
#œ œ

U
œ œ œ
3 3 3 œ œ
& œ œ œ œ œ œ œ œ œ œ œ Œ œœ bœœœœ œ nœ œ
œœ

E-7 A7#9(#5) D9 G13(b9) CM9 F13(#11)

? ? U ˙.
? ? ? ? ? U œ
œ ˙.
˙.
œ
 11

U
125
3
& ‰ j j œ. ˙. Œ ‰ œœœœ #œ œ 4
2
œ œœ

œ œ j U
œ nœœ bœœ œœ— 42
œœ #˙˙˙ Œ œ ˙˙˙ ‰
5
& œ‰ ˙˙ . œ
J b# œœœ # œ œ ˙˙ ˙˙˙ # œ n œ #œ
j GM9 A7(b9) A7#9(#5) D13
? œœ ‰ Œ Ó w #˙˙ œ 5 2
œ w œ 4

128
2 4 œj Œ Ó
&4 œ 4 œ.
œ œ œ œ œ œ œ

& 4—˙˙
4 œ œ œ œ œ̇
4 œ œ œ œ œ œ b#œ œ œ
2 w
˙ ww
w
D9sus D13#11(b9) D-9
˙
? 42  4 œ œ œ œ œ œ #˙ w
4
w
T
131

& œ œ b œ œ œ #œ œ nœ
œ œ œ œ œ w

b œœœ œ œ œ œ œœ œ3
œ
& œœ b œ nb#œœœ œ
b œœ 3
Bb13 Eb/A7 Ab13 G7#11(b9) E-7 A7#9(#5)
#œ
? bb œœ œ bœ œ ? ? ? ?
bœ œ œJ
3
12

133 3
3
4
& Œ œ œ œ œ œ œ œ Œ Ó 4
œ œ œ œ

3 3
œ œ œ bœ 4
& œ œ  4
bœ
D9(#11) Db7(#11) C

? ? ? ?
? œ Œ Ó 4
4
œ

CH2/#13C - Below, is a more advanced approach Here, I've extended the melody and the chords,
to playing the same changes we've been studying. pushing the bounderies of the standard 6-5-2-1-
turnaround format.
RUBATO 3 3 3
œœ bbœœœ n œœ ˙˙ œ œœ œœ œœ œœ œ œœ 3 j
5 œ
135

& 44 Œ œœb œ œ ˙˙ œ
4 œ
œœ œœ œ œœ œ œ œ œœ b œœ 4
# œœœ œ bœ œ œ
œœ bb œœ ˙˙ œœ œœ 4
œ œœ œœ
3 3
3 3
E-11alt

? 44 ˙ Œ ‰  œr 45 ˙ Œ Ó 4
4
˙ œ ˙

U
w
w
137
4 b œ œ bb œ
œ œ œ œ bœœ ˙˙ œ b œ œ œ bœ # œœ
&4 œ b œ
œœ œœ œœ œ œ b œ œœ b œœ
œ œ

Ab9sus4 G7alt

bœ œ b œ ˙ œœ œ œ œ bœ œ U
? 44 bœ b œ b œ œœ. œ
bœ œ. w