Major Voicing Variations 2 3 4 = = fT s | ‘Need to quickly find picing hat ‘his ezon, tm ‘ow ‘works any mflody note. | In ths lesson, fm going to exp! scale, ‘Always analyse the scald degree of | a rango of major voicing that can Wiataned at degree ‘any melody note with retpect io the | be used under each note ofthe This got 1 ofthe dissonant ‘chord underneath, Lydian mode. interval (EF) between the 3rd & 4th. So, when you've memorifed a range . ‘of voicings you know werk well under | Here is the C Lydian mode, specific scale degrees, yeu can quickly & easily find a suitable vpieing to play. be 4 Lal ae et If we play the normal C major scale over a left hand voicing for C major, its only if'you hang around on F do you hear the clash.Major Voicing Variations Page 2 794 8 Ate eboie 9 10 re mS oy t =f i But if we raise the 4th degree, it | So, starting with the roots, and ‘Rare to find the creates a much smoother sounding | using examples from Jazz root in the seale, Standards, we're going to look melody over a . . at voicings that can be played rj chord. I ‘The Lydian mode is the most under each note of the goands ison, common scale you'd ‘ydian mode. erase ‘major chords. play over u 1? step interval ‘This is why, the majority of the ‘between the 7th time, the melody notes over a & the root. jor chord in a Jazz Standard will be one of these 7 notes. ail = =i C69 E7HSHO W 1 2 13 } ft a = ts 5 2 = a3 a oe If you did come across it, ‘What are you could create a you Doing Jn the 4th bar, we have an F major Voicing like this. the Rest of chord, with G (the 9) in the melody. Tye just stacked 4ths from your Life? the 3rd: 3-6-9-5-root, and So there are some options: ‘then add the root in at the ‘The frst one is a simple ‘bottom, F major 9 (FACEG). Nice voicing: open and Spacious, dc to the tack of 4ths, If teron he Sib in the melody. SeMajor Voicing Variations Page3 Amin7 AminMaj7 Amin7 Amin6 14 15 Fmaj7 69 Fmaj9 —F69 16 17 18 4 ‘Hear the difference’? We've replaced the 7th with the 6th. We call ita 69, not a ‘major 9, because the 7th isn't present. ET#SHO Amin7 AminMaj7 IG” ae xi : j= ope Let's see how it sounds, fib VB hnegMajor Voicing Variations Page 4 Amin? Amin6 F69 F69 21 22 23 ko other voicing we use is: (73-69. nice thing about is one is that it reates a stack of 3-6-9, ith the root in at the| BT#SH9 Amin7 AminMaj7 Let's see how that sounds, Amin? Amin6 F69 269 1 . s, 27 ———— 6 b oe f = é Ly = k Moving on, | Wellluse the thenextsctle | example rrajorsrdin | Velentne, ‘the melody. gt tp te — = ¥ ¥ aMajor Voicing Variations APmaj7 31 maja 32 Cin Page 5 the 3rd ©) in the melody. So avery simple voicing ‘We've flipped the order ofthe AbMaj7. Op We could also have ‘the 9 (Bb) in there. r- Let's see how it sounds. m4 Die rt we yyo= a g ~— Pe i 2 5 Abmaj7 Fmin7 Dm?PsMajor Voicing Variations Page 6 ors ‘APmaj9_ Abmaj13 op 40 41 42 é ¢ = be = ©: « If we look k $ OE | ures i ‘This time, We can even | in the tune, we pawean lets also’ add the 13 (F)| have another Bee add 9 (Bt). ‘Abmaj, bul (ADEDGO), this time, the 3rd is an. ‘octave higher. Dae Di tnd a g 1 n = Pb gt (bo bo — APmaj9 ABELL Cmin 43 b 44 45 L rer 9 —- a . oe a a eee ‘So we can play ‘Another option is Let's see how these sound. as Aba. Avery nice ‘spacy tbo. Bio eae thr q nMajor Voicing Variations Page7 Mmaj7 ms obs 49 50 4's on the #11, te £ ( £ —_ t i wh th Cnin ‘CminMaj7 Cmin7Major Voicing Variations Page 8 Cmin6 Minaj7 DmPs Gre 57 58 59 pepo wi Cmaji3 Cmin 60 z 61 62 é ee RS This one I've shown ‘you before. Has the 3rd (EZ) on top. r001-5-major 3rd (CEG) isa bit ofa stretch. Then 13-7-9-3, et g be he js — ee a P Dmintt G7 Cmaj13 Cmaj#11 63 64 65 66 67 to q S- ae ° k Nextwe | We'll use the| Inthe 2nd bar,| This first one is the i ‘Barron have the #11| tune "Time "| ehavea "| major Kenny veisneci | Coai7#t, | vanation: This isnice in a 2-5-1. inthe melody. Remembered. to bealt | Litswor59 Ga isinthe | RH: major cd, melody. | major th #11, We have afew) Let's see how that options | sounds. a SSSMajor Voicing Variations Page 9 Bmind Cmaj7#11 Fmaj7#11 Emin9 68 69 70 7 Cmajl3#11 Bmind (Cmaj7#L1 Fmaj7#11 74 a 75 1 - oe te PO- = o vo T 3 Anoths ne when ot ‘That's usit i Raise it an octave. using a the dll isin the Itsounds better | B So What melody, is a So What | (less muddy) up chord built off the major 7th. So, in the key of C, Bis the major 7th. 7-3-13-9-411 bo . = £ 3 - ED o- —s at Ss I o = 16 Enid oa ard 18 Band 9 Cost} 6 . +e eg ~ bo = g & = z zMajor Voicing Variations Page 10 Fmaj7#11 Emin9 ‘Cmaj13#11 Bmin9 80 81 82 orDIC 83 - 6 oe & SSS a Cmaj7#11 Fimaj7#11 Emin9 84 86 87 6 — 2 ft eo? cm $ The next sale fook atthe Shin tie melody. a SS oe coo ‘Cmaj9 Dmin7 G7 88 89 90 m1 93 ~~ ©: 5 6 7 oe = a ‘We'll usethe | Inthe Sth bat, One of the best | root-3-5-7-9-3-5| Tine 'Ensyto | Wehave a ‘to use | Sounds abit Love's by i7 chord here are stack | cheesy, The first} Cole with a Sth in] ths, off the 3rd] (C69) is better. the melody. | have 3-6-9-5, Let's see how then just put the| this sounds. root in. | ° = = e ro 8 8 =Major Voicing Variations Page 11 Dmin7 G7 Cmaj7 FT 94 95 6 ” Emin? Ar Fimajl3 o 23 x9 100 101 102 t o- 6 — 2 g DG o ‘ Inthe 3rd bat, | the first is just a ing erin the ‘major chora,| stacked 4th down Well use the | witha 6ihin hg fom the 6th. Finaj13 Gmin7 Amin7 1039 104 am 6: = $5 We could have the 9G) in there as ‘well, for a bit more ofa crunch in the middle. And even the S (C) down in the left hand, | EPs 3 af aS 8Major Voicing Variations Page 12 Fmaj7 ‘Am?s Dro Gmin7 Amin7 106, 107 1 BPmaj7 C13#11 Fmaj7 Am?5 DPS 109, ah 110 11 112 Foe Saige Z I oe ~ r ‘The final Well use srampie is the | Nardi, mate Mise Bade, oi e e oO Cmaji3 Amin7 Fmajl3 116 oT Inthe 2nd to last] Ciaj7 doesn't sound ridge| that good here, So Mrefaves Crag?) Wore going for Lets see how that chord, with a | Something more Sounds. Sth (B) in the | Sophisticated. elo. Te made a dedicated lesson on this. Tes. jor So What variation, built off the major 3d. hhMajor Voicing Variations Page 13 Amin7 Fmaj7 Dmin7 GT 117, 118 119 120