Differences between version 4 and previous revision of UsefulJazzVoicings.

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Newer page: version 4 Last edited on May 31, 2014 9:24 pm. by
Older page: version 1 Last edited on May 31, 2014 8:45 pm. by
@@ -6,22 +6,32 @@
  Cm9. 
 C bass / Bb Eb G | 
  Cm7. Same voicing as above but without the half-step dissonance. Use this one instead of the above in the lower register to avoid muddiness. 
 C bass / D Eb G C | 
- Cm add9. Larry Young uses this one a lot. 
+ Cm add9. Larry Young uses this one a lot. Take off the C on top to get a different version of the same sound . 
 C bass / Bb Eb F | 
  Cm11. Also works well for Cm7b5, especially in minor ii-V's. 
+C bass / Eb G Bb D |  
+ Cm9, stacked 3rds. Everyone uses it.  
+C bass / F Bb Eb G |  
+ Cm11, the "So What" voicing.  
  
 !!Dominant 7th Voicings 
  
 C bass / Bb D E A | 
- C13, close-voiced 
+ C13, close-voiced. You can add a Gb in the middle to get a nice close-voiced C13#11.  
 C bass / Bb E A C | 
  C13, wide-voiced. As an example, the first chord Jack McDuff plays on "Oblighetto" from Moon Rappin'. 
 C bass / Bb E A C# | 
  C13b9, or A/C7 as a polychord fraction 
 C bass / Bb E G# C | 
  C+7 
+C bass / Bb Eb E G# |  
+ C+7(#9). Like above, but with a 1/2 step dissonance. Donald Fagen loves this voicing.  
+C bass / Bb E G# |  
+ C+7. Like above, but with no 1/2 step dissonance.  
+C bass / Eb E G# C |  
+ C+7(#9). Like above but inverted upwards.  
 C bass / Bb E G# C# | 
  C7#5b9, or Dbm/C7 as a polychord fraction 
 C bass / E A Bb D | 
  C13, close-voiced with a half-step dissonance. 
@@ -36,4 +46,12 @@
 C bass / E Bb Eb Gb | 
  C7b5#9, or Ebm/C7 as a polychord fraction. 
 C bass / E Bb D F# | 
  C9#11 
+C bass / G Bb D F  
+ C11, the gospel 5 chord.  
+  
+!!Major 7th Voicings  
+C bass / B E G |  
+ Cmaj7. The standard. Add a D to get Cmaj9, or a C to get a half-step dissonance.  
+C bass / E G B D |  
+ Cmaj9, stacked 3rds.  

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