Harmonic Foundations This section presents the techniques and concepts that will be used throughout this book. Primary topics will include chordal enharmonics, voice-leading, constant structure motion, and various voicing sizes and stri combinations. Additional and more specific topics will include fourth voicings, upper-structure triads, 7th width voicings, approach voicings, half-step voicings, pentatonic voicings, ninth (no 5) voicings, open-string voicings, independent lines, and, of course, drop 2 type voicings. Most of these topics will be examined in more detail later. "Chordal Enharmonics'" is a fundamental harmonic principal that all accomplished performers understand and use regularly, Simply put, any single chord voicing can function as two and often more different chords: CoS =Eb6= ADO = Dio, etc. The following will list the thirteen basic 7th chords and offer the most common enharmonic possibilities of each. A more detailed list of chordal enharmonic possibilities can be found in my original book, "Mel Bay's Complete Book of Harmony, Theory, and Voicing”. Primary 7th Chords; maj, min?, dom? dim? dom7sus4 min(maj7) sath min’ dom’ im(maj7) maj7#S dom74#5 ‘The above also enharmonically contain the primary 6th chords: Cmin7, 1aj6 (C6 = A-7) Cmintbs 6 (C-6= A-5) Most common enharmonic realizations of the primary 7th chords: Cmaj7=A-79) —C-7 = Eb6 / Abmaj7(9) C-b5 = Eb-6 / Ab7(9) /D7#Sb9) C7 = F459) Cmaj ts = A-6(9) / F4-7b5(11) /D7(9/13) / Ab7RSG9) C7BS = FH7b5(9) / ECalt5) / Bb7(9/F11) or Bb-75(9) Camaj7#5 = A-maj7(9) / FH-755(9/11) / D7(9/#11/13) / AbTHS9) CHS = HS / Ab7#5(9) / D7#5(9) -7HS = Ab(add9) / F-7(11) C7sus4 = Fb6/9 (C-11) / Bb6/9 (G-11) / Abmaj7(6/9) C07 = (697, FH°7, A°7) B79 / D749 F749 / Ab»9 — C(maj7) = ab7H9) / D139) / Bb9) / F79411) C-(maj7) = A-7b5(9) / BESb9) / F7(9/#11) Note those chords that develop hybrid chords in one of their inversions: ‘Cmaj745 (root inversion) = E/C C(maj7) (root inv.) = B/C C-745 (third inv.) = Ab/Bb ‘Now take a common chord progression and apply some of the above chordal enharmonic realizations. T'l demonstrate by using a basic 1 VI Il V_progression in the key of "C" and list just some of the enharmonic possibilities. Keep in mind, it is essential to reglize the effect of any harmonic structure on the original chord E7sus4 = Cmaj7(6/9) bs = “cbs ete. 7 @ Cc E7suis4 / A7sus4 / D7susa / E07 / AZ / E-THS (WD AT... G. sya Dhinajb5 / Dogs FAS £07 (ID) D-7........ GTgus4 D7 A (Fal 1 5 / WV) G67... F195 / FmajIb5 / B75 / Db74S / Abmn(maj?) / FCna}7) Now I'll randomly choose various chords from above through the use of different inversions. Again, the following, uy toc n smoothly (voice-lead) just $0 of the possibilities available.