I've been playing jazz piano for 16 years, I started at age 15 getting paid to play. Here are a set of simple rules you could use to generate harmony that would generally reflect what jazz piano players actually play on gigs.
<br><br>First of all, one generally should not play the root at the bottom of the chord. This leaves the structure more open to substitions and melodic variation in the bass.<br><br>Second, a piano player does not REALLY play Cmaj7, when the changes say that, he plays some coloristic variation on that. The only notes that need to occur to define a progression, are either the 3rd and 7th, or 3rd and 6th. All others are open to variation.
<br><br>With those in mind, here are some typical chords:<br><br>[Cmaj7]<br>E G B<br>E A B<br>E A D<br>E G B D<br>E G A D<br>E F# B<br><br>[Cmin7]<br>Eb G Bb<br>Eb Bb D<br>Eb A D<br>Eb F Bb<br>Eb G Bb D<br>Eb G A D<br>Eb F Bb D
<br><br>[C7]<br>E Bb D<br>E F# Bb<br>Bb E A<br>E G Bb D<br>E F# Bb D<br>E A Bb D<br>F# A Bb D (no 3rd)<br>F A Bb D (a C7sus, which can be substituted often)<br><br>[...if the C7 functions as a V7, then it will probably be altered, b13, #9 or b9, as below...]
<br>E Bb D#<br>E Bb Db<br>E F# Bb Db<br>E G Bb Db<br>E A Bb Db<br>E A Bb D#<br>E Ab Bb D#<br>E Ab Bb Db<br>F A Bb Db (C7susb9, another substition that will have more tension than ordinary C7)<br><br>And that is about it for the normal arsenal of chords, excepting quartal and So What chords, and a few other tricks that are more about superimposing harmony then playing the harmony as given.
<br><br>This info would give pretty realistic modern voicings, when combined with some idea of voicing - not voice leading per se, but avoiding big jumps between chord voicings. Hope this info is helpful, I don't want to clog up PD list with too much of this kind of thing...
<br><br>~David<br><br><div><span class="gmail_quote">On 8/14/06, <b class="gmail_sendername">Patco</b> <<a href="mailto:megalegoland@yahoo.fr">megalegoland@yahoo.fr</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Chuckk Hubbard a écrit :<br>><br>> >Are you familiar with the "Gestalt" perception laws?<br>I've checked it, that's interesting, but I wouldn't say that I am<br>familiar with it.<br>> Is the simplest way to describe a harmony with letters the
<br>> same as the simplest way to hear it?<br>For playing a standard jazz, we use a book called: The real Book.<br>There are many volumes of 300-400 pages full of most popular jazz standards.<br>Any jazzman would say that learning jazz is actually done through this book.
<br><br>In each score there are several levels of information:<br><br>1 The chords which are wrote with letters like CM7, G7b9b5, FM7#11/G,<br>ect ...<br>2 The musical score with melody, and nuances ( but nuances usually have
<br>to be deduced from the emotion of the players)<br>3 The structure of the tune, where parts are also called with letters,<br>part A, part B, ...<br>and almost every structures are like that:<br><br>A A B A<br><br>4 words of the song
<br>...<br><br>Voicing is the best way for both following the harmony<br>and giving the soloist and the singer the notes of the melody<br><br>Personaly, I don't think at all that full piano scores is for jazzmen,<br>but for classical pianists that are too lazy to learn jazz.
<br><br>Don't forget that jazz is a music for improvisators.<br><br>> > And of course it depends on<br>> >voicing, range, and changes.<br>When I began to practice jazz with my guitar, and learned about voicing,
<br>I wanted to make a classification of every sounding voicings of every<br>chords,<br>like Joe Pass did in one of his book, but,<br><br>the amount of combinations is very high, just an exemple:<br><br>in the major scale we have four types of chords with four sounds using
<br>the 7th<br><br>M7, 7, m7, and m7b5<br><br>so we have 2^4 combinations of four different chords which has 4<br>different voicings,<br>then we could make at least 16*4*4= 256 different chords,<br><br>and five types of chords with five sounds
<br><br>M79, 79, m79, m7b9, m7b9b5<br><br>then 2^5*5*5= 78125 different chords<br><br>etc...<br><br>Obviously not all the chords are sounding good, mostly the ones where<br>the basses<br>has an interval lower than the fifth
<br>(and we uses to remove the fifth because this note is sounding like the<br>fundamental)<br><br>and some chords are almost similar with other chords<br>eg: CM7 = C E G B = Em6 = E G B C<br><br>I think that it might be possible to make a mathematical formula
<br>instead of a database of chords,<br>but I am not good enough with math' to write a formula that would give<br>all sounding chords<br>in an harmonical context.<br><br>Patco.<br><br><br> <a href="http://p4.vert.ukl.yahoo.com">
p4.vert.ukl.yahoo.com</a> uncompressed Mon Aug 14 20:27:01 GMT 2006<br><br><br>___________________________________________________________________________<br>Découvrez un nouveau moyen de poser toutes vos questions quelque soit le sujet !
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