Minor Voicing Options 2 = S- eee > os ° ‘Were looking at Acsice voicing harmonising Minor ‘The C Dorian scale, ‘when you have chords te voicings Conains 7 nots: the root inthe ean root-9-m3-11/4-5-6/13-m7-r00t melody over a mde each of the 7 ™ tniner chor, is notes ofthe Dorian stacked 4ths. scale, Thisis in Ds ‘Harmonising the )-13-root aver melody means ro0t-4 7, playing 2 voicing ‘underneath that has the melody note at the top. 2 re -Minor Voicing Options Page 2 Dmin? AT Dmin7 G7 Cmaj7 12 | o o 13 | 14 15 Gift oe mo | ¢ [ss Deane, Bika he mod wate fe & Fmd) are in a fe + i - 7S SSS 16 7 18 19 20 6 be ae Forthe Ebm®, we | Option 2 would be Tigger soicing weve coulldjuststack | toaddthe 11(Ab) | The nextone isthe _ | iege icing: we've | spiotieot | akan itsounda | HEO*HAR=k 0ieng Then we ay & bitvicher Mad vic in the ‘The melody has ‘howe up ocave. | be = 2- = beB T Vaud Eo beMinor Voicing Options Page3 21 ; 22 23 24 Hf 25 "8 PP ‘And the final one Now let's work We could do ‘And we could the sare with stack 3rds with Thenwe-can play | HSesacked Ais, | through the 8 the Fm. the Li (Bb) in. the Herbie Hancock | Fm Um bars, using Gis thou, voicing. witha these 4 stack 3rds. voicing on top. ines. on maj? AbS#IL 7Minor Voicing Options Page 4 Db9#11 Pinaj7 32 b 33 34 é T 4 — = ~~? * oe + a = > ‘Now let's do the same, adding the 11 in as well. ee: Ee Z = oe Emaj7 ASHI Pomind 35 b 36 p37 ob — 4 4 — — inte 2B —F $ Leet as Fmind Db9#11Minor Voicing Options Page 5 Pmaj7 Pmaj7 41 ct 42 2 ‘3 Qi ae ee ‘The next one is the Herbie Hancock iene = z z oe ce Ab9#11 EPmind 44 b pee 45, Bet e = x b by *e — = $ ——Minor Voicing Options Page 6 Db9#11 Wmaj7 48 b 49 50 1 = a =r + oT oe y= ‘The final one is the rootless voicing in the right hand. eh * = Te 937-1 z — Fe Emaj7 AbO#IL Ae ming 51 52 53 G2 2 z= — = — T T até 1p gg z ¢ > = # Lo abs Fmind Dbs#LtMinor Voicing Options Page7 Prin 4 7 58 59 60 61 62 F ‘The next one] We'll doit | root-3-5-7-9, PP isthe minor | overthe | | thenasrd | Weeouldct | 65 wit ne 3rdinthe | Amchord. | ontop. the 11th (D) in| root & 7 in the melody, the middle, Jef hand. using ‘My Thadds ‘One and dissonance Only Love. atthe top. - _| 3 8 5 ° o e Cmaj7 C/B) Amin7 Amin/G « = = — 2 Fe = ss 2 oF #4 Finally, the Kenny Barron voicing, but with the top note (D= ich) lowered by a 1/2 step 10 C, 50 the 3rd is now on top. ° s : = = fe | 9:78 rt . £ past G7F CE Fmaj7Minor Voicing Options Page 8 G7 Em?5 a7 Dmin7 G7 Enc Amin7 D7 8 L 69 70 l | st s 6 “ye 7 a Lead pe tat == Dmin7 G7 Emin? A7 Dmin7 G7 7A 72 14 15 16 11 78 19 80 = = = = Now welll | In the 7th ber} Se 2 Pr look at how peneves Bre fit ome | con etso put he to harmonise is sacked Kenn Keany Barron the IIthin | andwehave | 3rds allthe | 1(G) in, fora | Baron has ¢ few Bietorme tt the melody, | the 11th (G) | way up. richer sound. | orcing: alternatives, so] Str thumb. using the" | in the melody] So, in the key roof $-9-3-7-1}, we oan add an tune ‘Blue | of Dm we extra 9 @) at inGrocn | The options | have the root- the top. are: 35-7-4-11. ESE = = og = = oF x oo oo ovo ow oTMinor Voicing Options Page 9 Bbmaj7#11 atts SS —————— Arnice rootless ‘Voicing with the Tenis 3-11-5-7-9-11, ‘Now let's try them ‘on Blue in Green 98 a3 > will CF et Bbmaj7#11 ATbL3Minor Voicing Options Page 10 Dmin? tho + s = and a simple ons. (Or we can add ‘the 11th (G), as complexity. SS 4 — Bbmaj7#11 ATb13 9 Now let's do the Kenny Barron, Dmin7 Ey Amin?Minor Voicing Options Bbmaj7#11 ATL 95 96 Now the Kenny Barron alternative. Page 11 | t ca pS te - - aa Bbmaj7#11 ATb13 100, 101 by Now the fin one, This bet if you're paying with a bass player. It's theMinor Voicing Options Page 12 Dmin7 102 103 104 Amin7 105, 106 107 108 109 Nestwe took | tne ba, in | wehaveen "| A simple one is the melody. | Ebm7 chord, | just a closed with Bb (5th) | position 9th Welluse | inthemelody.| Yoicing:3 the tune Wehavea 79,35 ‘Koad Wotawes "| (oour82.) Midnight’ — | including the following 4: Es = bs 112 113 | z This is the So What An altemative So voicing 4 sacked ths, | isto lit up the Eb & from the root (Eb), and | Ab notes, and play a major 3rd on top. ‘the steps higher. Its stili en Eom chord Gb is the 3rd and B is the 13th of Eb, This is one of my favourite chords, Epes Pe 8 SHMinor Voicing Options Page 13 Bhmin? cms Finths Bb7alt 114 _ 5 \, se = ——— f wr er ° the Sd What vanaions oO = re T = Se + : = $ = € e o co 7 f Pmin? abr 117 or i itMinor Voicing Options Page 14 Bbmin7 wr BT min? 119, 120 121 Gmin7 123 124 125 126 SS i o Next we have 'A good way to Bees. | Kemtsitngnr | Spuicicwin | Avariaion ot | Anoter way is wih inthe melody] te melody, major 7th this isto a rootless voicing, " chord, awhole | double the We're going step below the | 5D). use ‘Blue in wot. Green’ again. Avery thick ce Dg ce F dele % Fin? Em?Ps 128 129 130 131 ° = he oo re o oe Finally, the | For this, wel ‘Kenny Barron ‘Thinthe | [oynrie In the 7th bar, we have variation, Foueanalso , | melody, | imme Body | Fm chord with an Eb ‘When you havea | outa bit, with an | OVE # Sout. Inthe melody. the ath inthe | chord, 0 some options are melody, you can San dhrd on ‘the minor 3rd. ‘So we play Bb instead of G (Bb#IL). oe oe Erb t 2- S- pe tMinor Voicing Options Page 15 132, 1 133 134 135 Gee 4 ig wg ae ges ce ‘We can stack 4ths [Sounds nice ifthe Or you could play this. own from the 7th | F00t is omitted. Condalso adhe U1. | One nice as well (Bb, Bb, F). We could piay a root position Fm chord (FABCEDFBLED). ( 6 ( ae “OS day S = res ‘6: d 137 pli 138 ot 139 wip w8 ayer, diag Prin? Bhmin? ebmin? abrMinor Voicing Options Page 16 Dimaj7 on Fmin? Ems 142 = 143 | SSS oo Oigy sp 9 == Pmin7 cms FT 144, 145 z = = —3 -—— Prmin7 Bnnin? AP7 Drmaj7 Fm7s Bb7 ~~ 146, _ 147 Fs = oa he se o 4 o SSE