Stylistic II/V7/I Voicings for Keyboardists

En komplett samling av Luke Gillespie som omfattar alla kompstilar för jazz keyboardisten: från grundläggande metod till moderna.

Innehåll

• Acknowledgements
  
• Preface
  
• To the Teacher and Student
  
• LESSON 1: ii V I CHORDS & SCALES
  
  • Key circle
    
  • ii V I root movement
    
  • Dorian (ii), Mixolydian (V), Major (I ) scales
    
  • Voicings, chord tone awareness (3rds and 7ths) and resolution
    
  • "Bud Powell" 1-7 shell voicing in LH
    
  • 3-5-7-9 voicing in RH
  • Inversions
    
  • Voicings with doubled notes, with no note doubling, with notes out
    
  • Developing the ear/singing
    
  • Ways to practice ii VI scales and chords
    
  • Tips for practice
    
  • A word about technique
    
• LESSON 2: ii V I VOICINGS WITH DROPPED NOTES
  
  • Drop 2nd note
    
  • Drop 3rd note
    
  • Drop both 2nd and 3rd notes
    
• LESSON 3: ALTERED DOMINANT CHORDS & SCALES
  
  • 7#9#5, 7b9#5 chords (diminished/whole tone scale)
    
  • 7b9, 7b9b5 chords (diminished scale)
    
  • 7#11 chord (lydian/dominant scale)
    
  • 7#5 or 7+5 chord (whole tone scale)
    
  • Inversions
    
• LESSON 4: ROOTLESS ii V I CHORD VOICINGS
  
  • Two-hand voicings
    
  • Drop 2nd note
    
  • "Red Garland" voicings (doubling the 5th and 9th)
    
  • Altered rootless voicings
    
• LESSON 5: MINOR ii V i CHORD VOICINGS
  
  • Half-diminished ii chord, altered V chord, minor i chord with various resolutions
    
  • Voicings and inversions
    
  • Drop 2nd note
    
  • Voices moving in parallel and contrary motion
    
  • Suspended voicings
    
  • Rootless two-hand voicing
    
• LESSON 6: ii bII I TRITONE SUBSTITUTION
  
  • How the V7 and bll7 chords share the same 3rd and 7th notes
    
  • ii bII I chord voicings
    
  • Minor ii bII i chord voicings
    
  • How the G7#9#5 (diminished/whole tone) and Db7#11 (lydian/dominant) chords and scales, as well as Abm (melodic minor), share the same notes and chord tones
    
• LESSON 7: MORE ON CHORD SUBSTITUTION
  
  • The diminished scale and chord as sources for playing ii VI chords
    
  • The tritone substitution revisited
    
  • The minor 3rd substitution
  • Modal sequencing
    
  • "Giant Steps" and "Countdown" chord changes in a ii VI progression
    
  • Bill Evans' variation on "Giant Steps" changes
    
• LESSON 8: QUARTAL AND QUINTAL ii V I CHORD VOICINGS
  
  • "So What" and McCoy Tyner inspired voicings
    
  • Combinations of Quartal and altered chords
    
  • Quintal and suspended chords
    
• LESSON 9: CONTRAPUNTAL ii VI CHORD VOICINGS
  
  • Parallel motion (10ths and 6ths), contrary motion
    
  • Altered major chords
    
  • Minor ii V i chords with moving voices
    
  • Bill Evans inspired voicings using counterpoint
    
• LESSON 10: BITONAL ii V I CHORD VOICINGS
  
  • Study in chromatic triad movement
    
  • Pedal points on the dominant
    
  • Half-step, whole step, minor 3rd triad movement
    
  • Passing bitonal chords for ii V I and minor ii V i progressions
    
• APPENDIX: DEMONSTRATION OF ii V I VOICING TECHNIQUES