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BY D/\N
HAEiHLE
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STUDIO P/R, Inc., 224 S. Lebanon St., Lebahon 'lncf:: C::I 'r'C"J1 .... , .. '- I \..J '--' u. , 1
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DAN HAERLE
Dan Haerle holds a Bachelor of Music degree from Coe College, Cedar Rapids, Iowa and a Master of Music degree
from North Texas State University, Denton, Texas. For three years, he was a part-time instructor in the Jazz
Department at North Texas State teaching arranging, improvisation, and directing various jazz groups. From
North Texas State, he moved to Monterey Peninsula College, Monterey, California and was in charge of the jazz
program directing the jazz ensemble, teaching improvisation and arranging, teaching jazz appreciation, and direc
ting jazz piano workshops. From Sept. 1971 to June 1973, Mr. Haerle was the Assistant Professor of Music at the
University of Miami, Coral Gables, Florida, assisting Mr. Jerry Coker in the instruction of arranging, jazz history,
improvisation, jazz piano, and directing various jazz ensembles. He was a staff member of the Stan Kenton Jazz
Clinic at the University of Redlands, Redlands, California for four years; a staff member of the Stan Kenton Jazz
Clinic at Drury College in Springfield, Missouri for four years; a staff member of the Famous Arrangers' Clinic,
University of Nevada, Las Vegas, Nevada for three years; and a staff member of the National Stage Band Camps
for three years. Mr. Haerle has had extensive performing experience as a studio organist i!nd pianist, as a pianist
with the Faculty Jazz Quartet at the University of Miami, and as a summer replacement for Stan Kenton with the
Stan Kenton Orchestra.
, Second Edition
Copyright @ 1974 Ly Studio P/R, Inc.
224 S. LeLanon St., LeLanon, Indiana 46032
All reserved. No part of this Look may be reproduced in any form, by mimeograph
or any other means, without permission in writing from the publishers.
Printed in the United States of America.
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TABLE OF CONTENTS
L
FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
L
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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GENERAL NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . III
THREE NOTE VOICINGS . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
FOUR NOTE VOICINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
ALTERED DOMINANT 7TH VOICINGS .................. , . ....... . . ... .. 4
TWO-HAND VOICING PRINCIPLES ....... _ ................ _ . . . . . . . . . . . 7
CHORDS VOICED IN FOURTHS ............. __ ............. _ ... _ . .. 9
POLYCHORDAL VOICINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
SUSPENDED FOURTH CHORDS ..................................... 14
APPLICATIONS TO MINOR KEYS ...................... ~ . . .. .. ..... 16
THE FUNCTION OF CHORDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
TRI-TO;\JE SUBSTITUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
APPLICATION OF THE TRI-TONE PRINCIPLE ................. " . _. _ .. _.. 23
MELODY HARMONIZATION ..... _ ........... _ .................... " 25
MODAL VOICINGS ..................... _ . . . . . . . . . . . . . . . . . . . . . . . . .. 28
CHROMATIC PARALLEL MOTION ............... _ . . . . . . . . . . . . . . . . . . .. 31
ELECTRONIC KEYBOARD APPLICATIONS ............... __ ............ _ 33
BLUES PROGRESSIONS ......... _ ... _ .......................... _ . _. 34
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TURNAROUND PROGRESSIONS ..................... _ . _ ........... _. 36
II-V-I PROGRESSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
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CHORD SYMBOL APPENDIX ................................. _ . . . . .. 41
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FOREWORD
As one who is extremely interested in the development of methods and materidls pertaining to the study of jazz-
rock music, I am especially delighted to see the release of this fine book by Dan Haerle. I expect that it will soon
become a standard method at schooi; with jazz programs, at music camps, Jnd in private study, with or without
an instructor. I also see the book as a valuable aid to students of composition-arranging for learning voicings,
voiceleading, chord function, altered dominants, qUJrtJI harmony, polychords, chord substitution, melody
harmonization, chromatic parallel motion, and in general, the harmonic language of our time.
An outstanding pianist-arranger-teacher, Dan Haerle is certainly the right individual to author such a book as this.
His wide experience lends authority to his use of categories with regard to the relative commonness of specific
voicings_ Having taught with Dan for the University of Miami Jazz program, I know that his methods are
thorough, current, and effective. I highly recommend this book to all pianists and arrangers of the jazz-rock
idiom_
Jerry Coker
Big Creek Music Seminary
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INTRODUCTION
This book is intended as an intermediate method for jazz and rock keyboard players. Therefore, a basic under-
standing of the construction of common chord types is necessary for the application of principles outlined in the book.
As there are many sources of this information already available, it is the author's desire to provide only that informa-
tion relating to the handling of chords which it is felt that most students are usually seeking. In addition, principles of
chord function and substitution have been included since an understanding of these is essential .
The format of the book is based on a categorization of chords according to common uSJUe and basic structure.
Although the use of root position block chords is certainly possible, their construction is obvious and, as such, they will
not be discussed here. Many voicings are presented in typical harmonic functions since this is an inseparable part of
their nature. All examples relate to the key of C (major or minor) to allow for a comparative analysis. An understanding
of each voicing, as to the adjacent intervals and the chord members included, will greatly aid the player in adding that
voicing to his harmonic language. Naturally, all voicings should be memorized and learned in all keys to achieve the
greatest ease in using them.
The book does not presume to be exhaustive in its inclusion of voicings; to do so would be literally impossible.
However, a representative sampling of voicings in common use is shown and these should suggest many slight variations.
Moreover, principles of polychords, suspended fourth chords, chords voiced mainly in fourths, and electronic keyboard
applications are included to help the young keyboard player gain an understanding of current devices of the '70's.
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~ . . "-
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GENERAL NOTES
Any of the three or four note voicings in this book may be used ill the followl11g ways:

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A As a chord played by the left hand while the right hand creates a melodic improvisation. ~
B As a chord played by the left hand to which the right hand adds selected tones for a fuller voicing.
C As a chord played by the right hand while supplying the root (and 3rd, 5th or 7th) with the left
hand in accompanying other soloists.
In connecting chords, individual chord tones should move smoothly to iJ tone in the next chord, u s u ~ l y
stepwise. Common tones between two successive chords may be retained or moved stepwise if a resolu:ion
r causes duplication of a tone.
l The 3rd and/or the 7th of the chord should normally be present in every voicing.
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In progressions of a 5th downward (4th upward), the following is always true:
A
B
The 3rd of a chord has the same letter name as the 7th of the next but may require a chromatic
alteration.
The 7th of a chord should normally resolve downward stepwise to the 3rd of the next chord.
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In showing the voice-leading from one chord to another, the following method is used in this book: .t
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A
B
C
A straight line angled upward or downward indicates stepwise motion, usually in the scale of the key.
A curved line indicates a skip of a third or more. t
The absence of either symbol indicates a lack of motion or a tone which is in common with both
chords.
j Generally speaking, the basic three or four note voicings should be played in the vicinity of middle C on the
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keyboard. Limits of approximately an octave above or below will assure best results by preventing the
voicing from assuming a quality of either thiness or muddiness.
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THREE NOTE VOICINGS
(undll cred)
The VOIClr1gs the II chord which is usually minor, the V chord which is usual
dominant, and the I chord which is major in a major key. The category A and Category 8 voicings are the me
common although category C voicings are used widely.
CATEGORY A: Voicings built on the 3rd of the chord.
o mi (II)
9 =
7
e
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7
.....,
.......
I ....

7
9 -&-
6 C.7
'}

....-
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r
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l../
C7
3 0
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CATEGORY B: Voicings built on the 7th of the chord.
o mi (II)
6
"..,
..
3
rJ
i , , ., ,..,
c::.
.....,
......
,
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.......
'1 t:. 7
./
'-.:: .j Q '{
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t.,
7 & 7
0
G7 (V)
C Maj. (I)
9
O.

(2
7 a
c ....... .,
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q
r../ ./
f" .......
v
....... ,
3 t:7
G7 (V)
CMaj.(I)

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.....
b
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c o,.c.
e.,
.......
- 7
7
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I In the following II-V-I progressions, it is important to observe the relationship of category A an
category 8 voicings in the connection of the chords.
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Category: A
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II
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Category: B
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v
--0'
A B
A
II
7 r9 -
B
B
V
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A
A
B
A B A A
II V I
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B A
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B
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......
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A
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B
CATEGORY C: Voicings built on other than the Jrd or 7th which sometimes omit either the 3rd or the 7th or both.

Omi. (II) 4 -r9-
G7 (V)
C Maj (I)
7 I"":
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In tile following
t',f illld B chords.
II-V-I progressIOns, category C voicings Jrc used exclusively or combined with category'
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FOUR NOTE VOICINGS
(Unaltered)
]CATEGORY A: Voicings built on the 3rd of the chord.
o mi(ll)
t CATEGORY B: Voicings built on the 7 th of the chord.
V I I I V
'2.
....
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7
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t'7

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,
..... '
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C A C b
V I II v
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II v
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II v I
A
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Category: B A B
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Dmi. (II)
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2Jtegory: C C C
II V I
A 8 A
A 8 A A 8
A
II v I II v
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8 A B B A B B A B
tones other than the 3rd or 7th which sometimes omit either the 3rd or the 7th or both.
II V
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II V
G7 (V)
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C
5
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7
5
II V

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C B
II
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II V I
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_____________________ ______________________ ____________________ ____________________
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AL TERED 5th VOICINGS:
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3
G7 -5
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G7
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G-5(tl11
ALTERED 9th VOICINGS:
G7 -9 G7 +9
3 0- 3
3
ALTERED 5ttl and 9th VOICINGS:
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G7 -5
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G7 +5
-'1 } r7
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+9
G7 -5
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-1
V
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+9
G7 +5
1"7
t'.
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IATEGORY B: Voicings built on the 7th of the chord_
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ALTERED 5th VOICINGS:
'I
-9
G7 -5
'7
-;J
t7
-Q
7

-9
G7 +5
r; C.7
'7
-(:7
-CT
+c
+9
G7 -5
0
n
-jv -$

+5
3
ALTERED 9th VOICINGS:
13
G7 +9
+9
G7 +5
c-;
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C.
C7
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G7+
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G9-
5
G9+
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G
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3-5(+11) Gr9
G-9
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5
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5
3
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ALTERED 5th and 9th VOICINGS:
I.... I -
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CATEGORY C: Voicin;Js built on notes other than the 3rd or 7th which sometimes omit either the 3rd or 7th or
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ALTERED 5th VOICINGS:
(add 9)
G +5 G 13 -5
G9 +5
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+:, D
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9
3
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ALTERED 9th VOICINGS:
G add +9 G7 -9
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....1 ..L":!. +
Q t:/
t:7 0 D ::I &7
A'J
+9
3
.....
ALTER ED 5th and 9th VOICINGS:
1
0
(;7
+5
(add -9)
G +5
--
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Cl
L
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-5
+5 -5
l6i2
-5 "7
b ... .....
+9
3
_9
3 _ 3 ...
9
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+5
_'1
+5
G9 -5
>-'I,..
L-
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7_
C7
G7 +9
L"'!

5
C7
:J_ _1' Q
+5
' ..d2
+9 ...-
..,

+5
+5
G7 -5
..........,
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-
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0
+9
G7 -9
(,-:.J
C7
+9
3

1
(add +9)
G +5
.....
'l 100"
+5 /17
3 I i
+9 ....
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II
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2.
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5
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II v
3.
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...
A B A
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II v I
II v
I II
v
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5.
6.
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C7
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laregory:
1
7.
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I II
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.ategory:
I

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II
eo
..... .-
t
c
A
"
Jr
"'-
;0
v
B
II
V1
'"" .......
C
0
(/
C;J
C7
V
C7
A B
B A B B A
B -
::;l'
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v
I
II v
II
v
I
__ ______________________ -.r9_. ______________________
__________________________ ____________________________
n ,J
c
A
B
A
v I
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/'J
t 7 I
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r; t!,
t:7
b

A B
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B
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II

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C
A
MINOR:
B
v
1.11 .......
......
1/1
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(7'
A
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B
6
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B
B
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TWO -HAN 0 V 0 ICING PRI N CI PL ES
There are two main approaches to vOIcing chords for two hands: (1) A three or four note voicing with
-"'totes added in either the left or right hand and (2) A chord of four notes or more which are evenly distributed
liJetween the two hands.
1 In general, the right hand should not merely duplicate the left. The following are poor examples of two-
hand voicings.
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1
1
-
~
...
.;
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v

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c-

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CJ
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/2
C.
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(7
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-
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.......
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p
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Often a simple triad, seventh (7th) or ninth (9th) chord may be opened up by dropping or raising one or
rare chord members an octave ..
-
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r'
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fI.
J
J
t:. ,
tJ
- ~
( ~ )
-
L
-
.
1'7
.....
""
- "..,
(9
.....
'"
,
.
/":/
C./
1'/
......
C/
CL
t'::/ C/
L7
/'7
(;;7
-6'2
#- .
....
.....
....,
"'"
~
t:?
C7
.....
r ~
d
LJ u
P
C7
.......
a .J2.. ......
/::J
-t:9-
.....
-
.....
......
.....
......
""
7
1
j To a basic left hand voicing, various forms of the rri(1d may be added.
C9
il
.
'j'
"
. ','

1
.,.,. ,.
.'
}

- .....
!
f...
"'i
0<
, ,
> ,.
,...,
9
0
0 a
7 0 f? 0
" \"
I .j
I 1"7
/'
Chord tones which are either present or
1;:!mphasis to them C9
U
"
r9 0
I
':;ii
l '!iL
CZ
\. ,J
-
I
tJ
9
Q.-$-
CJ
7
'.7
L
"
" .1 c,./
t:/
L
I'?
r.
-
fi
t:J
r7
L:7
.-

.

""'"
i
"""
,
.u.
-

0




"
12 ;/
0
h
-
r7
/7
L/
,
f
not found in the left-hand voicing may be added in octaves to give-
bJ2...
:2:: L/
I

,...,
I
......

'7
.....,
L/
-
"""

t
t7.-


t?
L
Y1C7 I"?
10
,
":./
C/
r../
r./
1
..... ,
II
'i) Major
or minor triads found within the complete 13th chord may be superimposed onto the left-hanl
110icing
{
,

Cmi.9
..
C7

A
.....,
'f r--JI
".."

/
7
I J
-I
,., ,.,
"7 {
"- ':;,I' ..... ,

""
':7
II
;..., ;....- ,.,
/7
"
7
...,.
./
-

tJ
v
,
9
rJ...g..
CJ
'70. f? rJ
2. t?
7
1 L.':;,I'
tJ 0
,
1":.1
,
:/ '::/
-'7
t
"

...
...

.1 t"7 }
1"'.7
'f /7
t"7 / t"/ '/ t"7
-
./

I Various other triads may be superimposed to create alterations 111 the basic chord. The left-hand voicing
t
m ay h ave t b d' t d 0 e a JUs e

.0
f?o

'1 .....
""
:/
1/1
.'
Il V
It

f...
C7+
9
C7-
9

+9
0 -9
,IV 0
7
C7 7 II

L I
'{
c,./ .)
1'7
/ ,
Jj
1
?1-cT- ! .
A
v
If r
,
. /
./
+9
C13-
9
+5
+9 Q 0
-9

CJ
7 1"7 7 L:;
. { I"'J J
C7
-
;
.
,

/7
,
C13
,
I
9
It?
7 I}
L?
,
.
J
L.7
,

\
- ';,


' .
,
I
,
\
,

- The b(Jsic VOICll1g may be played by the right hand while supplying fundamental chord tones In the left,
A

Ind.
l
I
\.' J

)
I '"
\"
I
\
'"
I
I
1
C9
L'!.
..........
b
0"
C7

r9
'1 ......
.... v_
......
.... "..
'""" L"'l

br
(/-'

I
b/7
,
b
a
-
/0 ,
-- /'2
J'
6'

.
(9-
,
1
1
-,
-
1
-
CHORDS VOICED IN FOURTHS
. ...
Chords voiced in intervals of a fourth (2'12 steps) have a light, floating quality which contributes an- OPE
feeling to any harmonic texture. This is primarily for two reasons: (1) Since the voicings are arranged primaril
in fourths, there is less of a thickness, or clusterish nature to the sonority, and (2) Since two adjacent interva
of a fourth imply a suspended harmony with at least three resolutions, there is a noncommital nature to the hz
mony (see EXAMPLE 1)
,
EXAMPLE 1
1
There are many three and four note voicings built exclusively in fourths which are possible in relation to
-the main chord families. These may be used as left-hand voicings or may be played with both hands, adding fun-
chord tones in the left hand.
-
1
(
-
EXAMPLE 2
. Major family (C Mai_ 7, C Maj. 69, etc.')
(sus)
-
lominant 7th family (C7, C 13, etc.)
(s us.l
-
-
Minor family (e min. 7, C min. 69,
'"
1
'Jr7
1",
rJ

.... /1./
A
V L ......
L7
iJ
/',
(7
v
-
/'Y
"""'" C7
- ......
tj). (sus. )
b (su .)
(sus.)

....
I rI t"J
-
.v: .-0'\
LZ
V
-""
C/

9
o
b (sus.)
....,
""
......
rJ
rJ

11
.....
.....
C?
. o.
&.
-6'"
/?"
--
-
C7
o ,
Five and six note voicings which are not built exclusively in perfect fourths are probably the most com
used voicings. Any major, minor or dominant chord may be rearranged so that its voicing consists prig,
J';Jrily of intervals of ,3 fourth.
a
t
11 EXAMPLE 3
C Maj. 6 9 C 13 C Mi 11
I
!
-
I
I
000
I
- A /' 0
#
rJ
.....
./ ..... t'. C7 ...
I
" ...
L.
L
L
,r
"
\ (?'
-
(67 ) \ r
II
-
.a.;.
. .,.,
t7 0
J
1// :J d
I
'0
0
I

,.
,/ .....
,.
\. c.J :/ '/
-
.....
L'7 J I
-
,rJ
\
,
to
Some factors which affect the quality of fourthy voicings seem to be the following:
t
-
(1) What note is the highest and lowest note in the voicing?
A. A major 3rd or major 7th of the chord on top tends to brighten the sound of the voicing. At
-
raised 11 th has the same effect.
1
If the bass note is the root of the chord, the voicing has more strength, but if it is absent the
t
quality is considerably lighter.
8.
(2) What is the interval between the highest two notes and lowest two notes of the voicing?
A. An interval of a major 3rd on top of two or more fourths greatly brightens the sound of thet
8.
. .
vOIcing.
A major 3rd interval on the bottom of the chord adds to its clarity wheras a dissonant inter- '
val such as a major 7th tends to obscure it. t
,
;
-
I In a context of VOIClngs that are primarily built in fourths, voicings which combine perfect fourths andlc
augmented fourths will fit in well and tend to sustain the general fourthy quality. This is particularly true of mi--
Ix harmonies where a tritone (augmented fourth) exists between the 3rd and 6th of the chord, and in dominan:,
,jrmonies where a tri-tone exists between the 3rd and 7th of the chord. This can easily be seen by looking at
voicings shown in Example 4.
I
EXAMPLE 4
I Major Family
it .
I
r
I
L. LA ".. -r:; -;..
__ +-__ -4 __ __ __ __
10
'00
I.
)
r,
-1 XAMPLE 4 continll'!d
....J 0 . lant 7th Family omll
\
-
-
I
1
j
",
=f.
,1
--
I-
./
Minor
tI.
IJ
#.
r IT'\
" fJ

/
t':.
I" L')
.....

-

VV'
l1'7;
'./
( .01

I
F amlly
"
....
-

V't7
....,
...
r -'" 1"7
'""
""
-
L:.
"'" ...,.

f '71
,
....
.....,
;:
/'
V
/:./

...:::
,.
-
7

,..,
..,
(:?
......
......
/ /7
It'7
sus. )
' ,
"" IJ V
/':.
L
...,
L':?
r
I
I"
.....
.....
(/
......,
-
'f 7
'/

(sus) .
"" .....
t:

...,
I(
'I

(/-
'l
'/ t'.
-
...,
t':J'
,.,
;-'
!t?
C/
/
POLYCHORDAL VOICINGS
I

t; 1/
'1 1"
" ....
'"
.,
.....
r/ . '/ 'j r.
i1. 1/
.1.<',
...,
0-
.1 UI.1
,
'.
./
,
a
,
7 '1 './
/7 I ( 71 I
,
I I
/'.
-
.....
L') v
""
I C. r
C.
...,

/' \IV /'
.....,
V
v
.
t?
/1
'""
".,
'; './ '/
t""J V/
".,

A polychord is simply a combination of two or more chords to create an extended or altered harmonic
)nority. GencrJlly, most polychords consist of only two chords; the bottom chord is usually a triad 0,
_nord and the upper chord is almost always a triad. Polychord symbols are written as fractions, thereby giving
- graphic picture of the actual chord structure. The bottom chord may be a major or minor triad, or a major,
linor or dominant 7th chord. Other 7th chord structures are possible as the foundation of the polychord, but
lot common. The following are the polychords which are usually found in conjunction with the three main
lord families.
:XAMPlE 1
M' 7 h F '1 aJor t amI y
A
.,..,
I
,...,
tr
-
.,..
.
'"'
-
.....
'-'
r. 1'/ ...
.,
...
., V I
-
'-'
1 t':J .... '-: ;."
--

I
c;; , ..
1C7
...,
I
...,
,
t'7 0
..
'1
\
L:7 t':. cz ;:
t' ;'. L/ ....-:
-
11
: :C.\MPLE 1 (Polychords-continued)
,
J
, Dominant 7th Family
j
(

A

'.-
\\
,
t:C.
t..
C.
...


L

fJ
, ./ rJ
1
Minor 7th Family
I ,. .7
. -/
\
J

/
t:.

( C/ (
0
D

t'.
(/"
t'
,.
'7 .....
...,
1,,0<
...
,
I
'./
J
I
.- .....
Ctl/" .v I,.., ..... /
.... ,7
r.,., .... .....
-"
1/
....
I
, (}a
, 1
'7 1 '71
:.J './ 7
.,
'7

1/ ....
v
7
/?
7
,

rr
b!?
'-'1 t7
r:7
'/
r
,
,
f:?o
-",/
Q.
/7
/.
'/
T
-
- -
t
-
1 It is important to observe the role of the 5th of the bottom chord of the polychord. The 5th is a chord
,ember which is always dispensible unless altered. Therefore, when the upper triad includes a tone which could
analyzed as the 5th of the bottom chord in an altered form, a decision must be made whether or not to in-
1Jde the unaltered 5th of the bottom triad. Often either choice would be acceptable; if the l!naltered 5th is
c::uded, the altered 5th of the upper chord would then seem to be either a raised 11 th or flat 13th. If the
rltered 5th is omitted, then the alteration would probably be heard as a flat-5 or sharp-5.
As may be observed, some of the polychords shown here merely create a simple 7th or 9th chord rather
Jan some complex sonority. However, this approach to the voicing of that harmony miay be desirable in some
stances. Also, only the conventional polychords are presented here. There are many others possible which
ight be considered too harsh a dissonance as an isolated harmonic block, but which might be used effectively
Ir melodic-harmonic motion. Thi:; will generally be true if the dissonant polychord in a positi on of weak
'ythmic emphasis, if the dissonance resolves, or if it is used in the harmonization of a smooth, flowing melodic
r' An example of polychord harmonization is shown here.
I Polychords in melodic-harmonic motiun:
"
I-f{


-r
-"": (/
2
I",


"
VI' ;
,.
v
v
7
I,.,
r
t..
":, -..0/
,-
I-
"
.. ,
V
..
']'

-J.

r
..

-:;;
,
.....
,
,
1 ,

r'7
./
-

......
......
.... .
0
,
r9-
-
-----
I
12
I
,
.io,
,
.' ,
...
In the eXJmples given here, the two chords of each polychord are shown in root position. However, in
lplication, it is often desirable to expand and/or invert either of the two chords to Jcheive J richer sound. In do-
g so, the chord tones of the two chords should not become intermingled if il true polychord qUillity is to be reo
lned. This is shown in tile section of tyr:iical voicings.
l EXAMPLE 3 Typical voicings:
.
Major Family (C Maj. 7, C Maj. 69, et
)
""

. '--I.t. I
\' J
eJ
-r9-
-I
v
,
,
,
I "

LJ .
7
I
'"
'rJ
.A
I'
.....
...
-
D/C D/C
-
..minant Family (C7, C9, etc.)
I
A
.,-
II
-

.1'
-j
r
""
"-
L:/
"\
'JIIIIi
jt..
.....
t?t'
t?
tJ
/J
L

-L I'
'7
/
'7
(
'"'
-
cJmi/C7
D/C?
1
.
)
)r Family (Cmi.7, Cmi.69, etc.)
i
i Dmi/Cmi D/Cmi
It..

.-
y
.J
r.
.l
t.J
r.
""
.....
.....
/I

/ ';/
J C7
/

-
....,
-:;:;.,
..,
t':.
(/
A
iI'Z
(
v )
D/C6

'J
....,
",
1/ ....

1'1
v
'7
(
,.., _I
..... I
Eb/C?
Eb/Cmi
-"'"
1.01 _
b
....
(?
...
:..-
./
-
.

....

I":

..,..
,

-
..... j
-
"""
-
.,...
r
.....
C1

c;. ,
r"l.
If?
""
,...,
ir1
'7

?
"7
:/
"./
"7

(
)
.;
....
D/Cmaj7 E/C E/C B/C
B/C
....
I'
.....
'1
/'
C.
L.
-
I"
7
1"/1
"'"
..-\
,..
.,-,
VC7
"'"
v

....,
....,
.....
1d

01:7
:/
"7
"7
L
L
:7
:/ '7
/
(
Eb/C? Gb/C? F:'frn i/C7 Ab/C? A/C?
Eb/Cmi F/Cmi?
Gnii/Cmi
G/Cmi
Bb/Cmi
....-
....

.... ' I ..".
1'14
"-
..,
Z
..... 1 ....
b
V


C?
'0
v
7(;7
.....
""
A ...,
1/ "./
:/ ./ C7 ./
'7
1':.7_
'7
)
.....
L'"'1.
(
.
v
'"
13

.
1
i
J
SUSPENDED FOURTH CHORD VOICINGS

j
J A suspended 4th chord is simply a chord that has the tone a 4th above the root in place of the 3rd. A
pended triad, therefore, iNould h'ave a root, 4th and 5th; a 7th chord would have the root, 4th, 5th and 7th, an;
I
J
J
J
J
J
I
so on.
In traditional harmony, these suspensiO(lS always resolved but, in contemporary usage, they may
I
resolve or progress to another chord without resolution. A suspended chord which resolves may be seen in ex-
ample 1 while example 2 shows a series of unresolved suspended chords. An example of
exclusively of unresolved suspended 4th chords is Herbie Hancock's Maiden Voyage.
EXAMPLE 1.
A '.
o mi 9 G 13 sus4
<4
13

1\\,'
-;;-
.....

...
4
" ,.
I /I .....
/ I) ""'
EXAMPLE 2.
b
F 7sus
A 7sus B 7sus E 7sus F 7sus
"

"""'
I
II ...
'''''
,...
:II 1.I t: ... rLLL
--'-
..c::
\.\ 1/
,.,... ,..,.,
\:"l tl
f..
t1 09'
[I 'v
1/ v
"
-
c;-.... ....


.
/ A
"
L 'I /'
U /' .....
0 (7,
a song which
C Maj. 7
1L


./
___ G;"
,

consist
1
,
,
I
1.'
LL
I,
,
'-
u

I
1-
!
-
1
,
r
u

t
11.
I
.
,
L
There are two main ways of conceiving and notating suspended harmonies. The first is to create a
block and then to replace the 3rd of the chord with the tone a 4th above the root, indicating the resultant sounc-
) in the manner of example 3. The second way is to conceive of a sort of polychord; that is, a certain chord over!
single bass note (pedal). The only considerations then are that the upper chord must have as a chord
the tone a 4th above the single bass note and that the 3rd above that bass note should normally be absent. Thi,'
I method is shown in example 4. A third way to notate a suspended chord is to indicate it as an 11 th chord (no;:_
. a sharpllth), which implies the omission of the third. This way, which is less common usage, is shown in ex:-
ample 5.
I EXAMPLE 3
1
EXAMPLE 4 EXAMPLE 5
J
G 13
F M9 FM9/G pedal=G 13sus.4
G 11 G 11 (sus.4)
G 13 susA
1'1 0
,
,
rlI

.L
t'. .- .L
,.
J
"- L.

.....

At?
sus.4
3 612
4
":: --:;
susA 11- v
.. ....
I

/"f L"t
..
,....
I-' 'I"
./
I
.L 'I" ..1.
,- ...... ....
,
I-'
,...,
v ...... ......
I
,
14
Some types of suspended chords seem to duplicate each other as can be seen in example 6. In these ir
:-0\,
stances, the vertical sonority is the same but each chord has a different implication regarding the choice of scal
I
.&
1
....
1
t
,
1
'-
form for improvisation.
EXAMPLE 6
CsusA

,-
....,
t-
0
,


-"
Cmi.susA
C 7 sus A
Cmi.7sus.4

'""'
....., .....
u

1/ ...... ,.,
rJ-'

&-
e;
r9
l7
L/
/'7
Example 7 shows a number of common suspended 4th chord structures with both types of chord symbols
I
used in some cases. Some typical voicings of those basic structures are shown in example 8.
I
I
I
EXAMPLE 7 Basic Structures
A
C9
sUS .
C13
sus

C9
sus

C13
sus .
If{
\.' IJ
"-
'"
I'
7'
f) b



'"
;'

-" '::L
"7
1'7

I
Gmi.7/C ped.
Sb/Cped.
Gmi.9/Cped.
sbr;17/Cped.
. EXAMPLE 8 Typical voicings
-
" .

"7
C 13
sus
.
I
,
,
"-
c;;

c.
"7
'7
/7
SbM9/Cped.
Omi.7/Cped.
Omi./Cped .
?
a
add 9
Csus.
7
L-
)'
C?
/7

15
Csus
C 7sus; .
It1 I"
.....
1/ '"
/..;
,.
.....
v
"7
/L
.
APPLICATIONS TO MINOR KEYS
.-
.
. Most voicing principles apply to a minor key as well as mJjor Jnd severJI JreJS involving minor fJrnily chords have!
f
' ,lilalready been discussed. However, there are some general considerations that could be mentioned at this poind:
The II chord in a minor key is usually a half-diminished chord and the VII chord (replacing V) is a fully dimin--
'Jished 7th chord. Since the voicing of these chord
.Jeime.
types has not been covered yet, they will be discussed at this'
l.
-
t will be found that most of the voicings shown in this book for minor 7th fJmily chords may be converted
!J,alf-diminished voicings by simply lowering the 5th of the chord. However. it mayor may not be desirable to
9th. if it is present in the voicing. The lowered 9th of a II chord is inherent to the minor tonality (I) butt
tis also qUite dissonant to the chord.
.
l
eXAMPLE 1
-
A
/ 'j
[La 1'/7
..... ..cJ II'
,JCZLJ_ ....
b $: b' b-v
lit
.
,
half-diminished 7th built on II is generally followed by a V chord which is altered. ,This alteration is a good ,.
:Jactice because the tonality of the minor I chord to follow implies a #5. and #9 in the dominant 7th chord.
2
c pure minor ( I )
..
1,1
-
-.
..... ...... C?
""'"
6'
C7
V T
I
I
..... L""1 /'?
.J
,/ -
1
!/l
./ .......
+9
-9
G7 +5
J;

-
I. 0
=r ,t C./
,e?
l
t
I
Ie diminished 7th chord occurs as a diatonic VII chord in the harmonic minor scale giving it a strong tendency ;
a minor chord a half-step above. There are two general approaches to the voicing of this type of chord: -.
-It is often considered an incomplete dominant 7th with 3 and. accordingly. the root is added a major 3rd 1
iow the existing root; 2 To avoid a traditional sounding chord, one or more notes may be added a whole step
any chord member of a diminished 7th chord. Examples of these two methods are shown below .

1
,
,
JXAMPLE 3a
EXAMPLE 3b
\
,
SO
G7-9
8' RO
I
o
L -
,
A A
.....,
lJ1'"
'j C7
OJ C7
Ie.
.;
'/ t'7
'Lc.. 7,., './ It.
"'
7

CJI
"-
7 /7.-
L::/
t-
o
%
t:7

'"
17 ,

0
C/ (7
C7 I
C? ,
1
,
16
I
,
.J
-]
.
-1
-
,
., -> ,
,

1
I
~ l
I
1
1
1
1
,
1
)
l
l
J

-
-
In a major key, a II to V to I progression usually involves a minor 7th, followed by a dominant 7th, followed t
a major 7th. In a minor key, the II-V-I progression is usually a half-diminished 7th, followed by an altere
dominant 7th, followed by a minor 7th or minor 6th chord_ The last examples in this section show voicings fc
II-V-I progressions which have been'adapted from a major key by lowering the 5th of the II chord, altering the \
chord, and lowering the 3rd and/or 7th of the I chord.
EXAMPLE 4 Some possible chord connections:
II v I
II
v I
II
v ...
fI
...
... I{':'; ~ C7
--
...... r;
L7 ...... '//7
'JO
~
LI C7 c;J
"'"' ~
v
vr __
-
v
~ ~
\'1 .... .1'"'9
~ . c9 I
9
b-b
b
O
......
0
'"-'"
~ ~
0
6"
z>
"""
27
6),
./ ....
17

THE FUNCTION OF CHORDS
:;fac.h type has one or more funcyons: that is, ways in which it normally progresses to other chords.
function IS unaffected. by the addlt.lOn of higher extenSions of the. chord or by the alteration of certain,
members. Such extensIons or alterations tend to only affect the relative dissonance or fullness of the chord ..
b
7th family chords tend to function as tonic chords, or ones which establish a key (ex., an EbM7 in the key;-
of Eb). They are relatively stable and do not need to progress to another chord. A series of major 7th
a rather "soft" progression which lacks strong drive. In selecting chord qualities, it is important to
that a major 7th chord could always suggest at least a temporary key center.
."
7th family chords are slightly less stable and have more than one primary function. They may serve eithe
1
. as a tonic chord in a minor key (Imil) or as a supertonic chord in a major key (1Imi7). If the minor 7th is longi
in duration is preceded by a 7th locat:d a, 5th above, it will, probably assume a toni)-
afunctlon. In the follOWing example, the Cml7 assumes a tonic function In the key of C minor. :
11
iXArJlPLE 1
-
V II V I
,
. " I
Cmi.7 G7 Cmi.7 DP ;G7 Cmi.7 1.
-
"1
/ / / / / / / L
,
L
,
/ L L / / / / /
/ / / / /
,- ,-
/ f / f / / / / I' L / / i?:
i
iowever, if the minor 7th is followed by a dominant 7th located a 5th below, it will probably function like a 11:-
, .hord. The Cmi7 in the next example functions as a II chord in a Sb major. 1..
-
)XAMPLE 2
II
C '7
j):
mi.
L
/
I
/
/. /
L /
/
V
F7
/
L /. /
/ /
/
/
I
BbM7
/
/
/ /
/ / /
-
/ / / / /
/ / / /
,
j
f\ny minor 7th chord could be assigned the function of a II chord and be followed by a dominant 7th a
1;-,

..
I
,
, .
-.
Dominant 7th family chords are still less stable and normally want to progress to the chord located either a half-
...
I
te
p
below or a perfect 5th below. A notable exception is in a blues progression where a dominant 7th commonly
ssumes the function of a tonic chord and may not progress normally. However, a dominant 7th is usually given;'
function of either a V chord or a b II chord. Any dominant 7th chord could be assigned the function of a V-
Ihord and be preceded by the minor 7th a 5th above (its II chord). The following example shows the two most
..:ommon resolutions of a dominant 7th. . .. '
-
IEXAMPLE 3a
V
..
G7
I


/ /
/ I
l
j
/
,
,
I
I
CM7
,
-'
/
I
I /
I
,
18
EXAMPLE 3b
btl
G7
I /
I I
/
I
/ I I I / ,
, ,
I
, ,
,
Augmli!nted triads function similarly to a dominant 7th and may
the next example shows, they may resolve upward a hal f-step.
resolve to the chord a 5th below. However a
,
1
EXAMPLE 4a
V
EXAMPLE 4b
VII
i
G+

I
CM7
G+
' .
.,
'-
/ /
/ /
I / / / / / / / / /
/
L
/
,
./
-,
/
/
,
/ /
/ / /
,
1. .1 / /
/ I
i
Half-diminished 7th chords assume the function of a' II chord in a minor key bu t may be used as a II chord i
major as well. Occasionally, a half-diminished chord may function as a VII chord and resolve upward a half-ste!=
In this function, it is actually a substitute for the V chord, a dominant 7th located a major 3rd beloV\
EXAMPLE 5b
EXAMPLE 5c
-1
EXAMPLE 5a
II V
II
V I
VII
I
oP G7 Cmi.7
01 G7 CM7 oj!
EbM7
1

7' 7
I
!
I:
7
/-
II
7:;
I
7
7
j
z
II
J 7 7
:
I
7
1
;
-/
/
7 1
/
/
Z Z Z I I
7 1

7
7
1 7
I 7
I

, Diminished 7th chords are very tense and normally progress step-wise up or down to either a major or minor
chord. They are often considered incomplete dominant 9th chords and may have a new root added to them c
,
- major 3rd below the original root. There may be some confusion in the analysis of diminished 7ths since their
spellings have several enharmonic equivalents. This can generally be resolved by observing the relationship of the
chord to its resolution.
1 An extremely important consideration to keep in mind when analyzing chord progressions is that jazz harmony
constantly modulating or changing keys. A major or minor chord preceded by a dominant 7th located either 2
1
half-step above or a 5th above is usually evidence of the arrival of a new key center. However" the existence of
some intermediate keys in a progression may be quite brief and in cycling progressions of 5ths may be debatable.
It is very important to observe the relationships of root progressions and the qualities of successive chords. A
-, thorough understanding of these thinys then makes it possible to reproduce a given chord progression in any key
desired. This skill is very important to any musIcian but especially to the player of a chord instrument.
-, The following is a brief summary of the appropriate chord types in sc;;-)e: general harmonic situations:
_ Major key
I
-, Minor key
J Major blues
The tonic chord (I) may be a major triad, M69, M7, M7
b
5, etc. The V chord is usually a
dominant 7th and the II chord could be either a minor 7th, half-diminished or dominant 7th.
The I chord could be a minor triad, mi69, mi7, or a The V chord is usually a dominant 7th
(with alterations) and the II chord is either a half-diminished or a dominant 7th (usually with
alterations).
The I chord is generally a dominant 7th chord. All other functions are normal for a major key.
I Because of extensive key changes in many jazz tunes, it is often possible to analyze enti re pieces and be able to
account for every chord in the progression as either a II, V or I chord in some key. However, modulations are
- often not completed as in the case of the many unresolved II to V progressions in tunes of the bebop era. All that
lis necessary for the establishment of a key feeling (no matter how brief) is two chords in a primary relationship
to each other (such as II-V, V-I, IIV, IV-I, etc.) .. A chart is included here to show the normal functions of the
-
Ivarious chords within a single key.
I
19
-
.,
,
.-

,
.:J
:1
.a
,
~
..
,
1
,:;'.
THE FUNCTION OF CHORDS *
The Roman numerals in this chart indicate the degree of the scale of the key on which
example, a 117 in the key of Eb is built on the second scale step which is F.
IM7 Establishes the key center, doesn't need to progress.
V7 Progresses to I (down a 5th)
IImi7 Progresses to V (down a 5th) or to bll (down a 1'2 step)
Vlmi7 Substitute for I, progresses to II (down 5th) or to bVI (down 1'2 step)
VI7 Progresses to II (down 5th) or to bVI (down ~ step)
" the chore! is built. F-
-
I
-
I
-
!
III mi7 Substitute for I, often follows V7, p r ~ r s s s to VI (do .. m 5th) or to bill (down 1'2 step)
I
1117
I 117
17
I IVM7
1
Vmi7
VII P7
I
IVmi7
I
bVII7
J
bll17
bVI7
J
b 117
J
I
I
I
Progresses to VI (down 5th) or to bll17 (down 1'2 step)
Progresses to V(down 5th) or to bll (down 1'2 step)
Progresses to IV (down 5th) for temporary key change for relief
Temporary key center for relief from original key
IImi7 of IV,progresses to 17 (down a 5th) and then to IV
Progresses to I, substitute for V
Transitional chord between IVM7 and return to I, or between IImi7 and I
,
Transitional chord between IVmi7 and I, may progress to. bill (down 5th)
Substitute for VI7, progresses to II (down 1'2 step) or to bVI (down 5th)
Substitute for 117, progresses to V (down 1'2 step) or to bll (down 5th)
Substitute for V7, progresses to I (down 1'2 step)
*7-Dominant 7th, M7-Major 7th, mi7-minor 7th
20
-
I
-
,
-
1
-
-
-
-
!
,
I .
,
~
,
,
I ,
-
1
TRI-TONE SUBSTITUTIONS*
"Tritone equals 3 whole steps
Any two dominant 7th-type chords whose roots are located a tri-tone apart will substitute for each other.
In C Major, in the progression Ilmi.7-V7-IM7 (Dmi.7-G7-CM71. a may replace the G7 (V7) mak-
1
he
progression IImiJ- b1l7-IM7 (Dmi.7-Db7-CM7). The Db7 and G7 are a tri-tone apart.
EXAMPLE 1
-1
tri-tone substitution
j
,
tritone
tritone
I
U IA , /,
", '" v

e. 0 C? r) 0 6l II v'"
Omi.7 G7 M7 Omi.7 CM7
v
II mi.7 V7 I M7 IImi.7 IM7
1
In C Major, in the progression IM7-VI7-lImi.7 (CM7-A7-DmiJ), an Eb 7 may replace the A7 (VI7)
making the progression IM7- b 1117-lImi.7 (CM7-Eb 7-Dmi.7). The Eb 7 and A7 are a Tri-tone apart.
1 EXAMPLE 2
tritone substitution
I tritone
tri-tone
I __ ____ ____ __ __ ____ ____ ____ fL
. ; V .Ie-
, '
z '//-:/
l C Maj.:
CM7
IM7
A7
VI7
o mi.7 CM7 Eb 7 Omi.7 bill VI
Ilmi.7 IM7 bll17 Ilmi.7
l This is in line with the two most common jazz progressions: down a perfect 5th or down a Y2 step. In
either case, the final chord of the progression is reached in one of two ways_ In many cases, the substitution
-[hOrd may be an exact duplication of the original chord with only the root changed. However, the analysis of
!xtensions and alterations in the chord would, of course, be different when the chord has a different root_
1 EXAMPLE 3 Substitutions with only the root changed.
I
(A)
( B) (e) (0)
..
It{
11 ..L

-I
V Z
'/
,
U
,
1\' I
2-
,"2
1/1
v2


r
t.


,


.

G7 +5+9 oh 13 A 13 +5+9
B7 +5 +9 F13 Bb 13 E7 +5+9
II.
".
ILL '/
-'-
:2
..1
7'
v -
, ;,


-
-
21
\
j
I
J
..
USES OF TRI-TONE SUBSTITUTIONS:
1.
2.
3.
4.

To lJreak a monotonous chain of progressions of 5th's or '11 steps by converting one or more of ther'
i
(the progressions) to the other type.
To add harmonic interest to a simple progression.
To provide an opportunity for a sudden wild departure from the keyfor temporary relief.
To lead an improvisation into different melodic territory.
,

,
lL
] EXAMPLE 4
F ormul as for tri-tone su bsti tu tions.
(A) (8) ( C) (0) (E)
A
-

C-;l
i/"Jl.

t
p
1'1 "':
,
L
.' J
-7
,

,
\.'

..J
b

V
,
bV' 7-
-r
'1-9-

,

t
i

i
/
Z

'"
I/' ILL 'A
V' ' V '
,
- V '
<
7 +5+9= 13 +11 7-5-9 - triad 7+5-9 - 9 13 9 - 7 +9 7 -9 7 -9
I
1
1 EXAMPLE 5
There are only SIX tri-tone root relationships with enharmonic variations.
I
Ii#'!-

,
It' .-
--'-
-i I
I rJ
-
I

I
,
fii!
' ,
:
,
"l
I ..

,
II
I
I
I
8 F
I
"

I

i
J
ALTERNATE RESOLUTIONS:
I

-.
I Both of the chords which serve as tri-tone substitutions for each other resolve commonly to either of t\:
-, chords which are a tri-tone apart. tc.
I
I
I
I
G7------- C (Any type of 7th)
Tri- Tone:
I
7------ (Any type of 7th)
L
Therefore, for increased flexibility in using tri-tone substitutions, attention should be given to the reso
. ,
tion of melodic ideas based on dominant 7th's so that they may lead smoothly to the chord a % step below 01: ;
perfect 5th below.
22


bil}
.1
1
1
~
1
1
1
1
-
j
AN APPLICATION OF THE TRI-TONE PRINCIPLE
The following examples show the step-bystep evolution of a typical twobar phrase ending. Through aPI=
cation of the tritone substitution principle, the space previously occupied by one or two simple chords may
filled by twice as many chromatically interesting chords. The examples here show a gradual elaboration on 1
original progression. However, once the principle is understood, the intermediate steps need not exist in om
thinki ng.
Example
1 shows a typical phrase which ends in the key of C and turns around to begin a new phrase in t
same key.
EXAMPLE 1
CM9
"
/r:1
f J
--
"
..............
...
c../
0
~
I

/"/
..- .I /7
G13
.....
..........
C7
V
'-"
~
~
FI RST MEASURE (New Phrase)
CM9
0.: .....
,..
(7
I
L":2
In example 2, the III and VI chords are substituted for I in the first measure and the V chord is expand
to become a II to V progression.
EXAMPLE 2
r' mi. 7 Ami.7 Omi.7 G 13 CM9
"
/tf '
'Il\ l..J
'-,
"
III V
--' .
J" II
\ J J
/
J In example 3, the III, VI and II chords have undergone a quality change, becoming dominant chords. Thi
plus the fact that all four dominant 7th's have been altered, gives the progression a much stronger harmonic driv
J
EXAMPLE 3
J
"
J
t:i
/
. l
J
tJ
J I /.
J L.I
J
+9
E7l5
,
/'
.,.
I.
(/
III
.L
'/
\ -
'.
V'I
-
A 13 -9 07 +9
",
""
;'
.. 7
..-
-
'-'
' ......
VI II
......
-
'"'"

+9
G7 +5
11 ""'
v
II! ,..
~ : ;
V
V
A
r
23
CM9
~
V
7"7
(7
I
/7
77
\

, Example 4 shows the actual application of the principle of tritone substitution; all four dominant 7L",
;1 Ilave been replaced by their tritone alternates replaces E. El, rep!aces A. replaces D. and replaces-
Notice that in making these substitutions the only thing that has been changed in each case is the root of
chord. By reinterpreting the Jilalysis of the voicing which appeJrs Jbove the root, the becomes a 8l,!;
l etc. Some enharmonic has occured as a result of the new root.
b
i
b
I

.
.
g

I
,
I
I
I
EXAMPLE 4
sb 13
1\
1
-f.
(' r.. n .....
v
-,..
l/I
""""
''': ......
...,
v
V
;;
C7
b
VII bill
t/?
,
'J ./
..,
.A
..... 'J
ot> 13
"'.r
{ _ ....
/.
'" ....
., vv
......

bVI II
/! ",
V
/7
CM9
.....
......
9
(7
t7
I
r-;z
L/
-
-
-
,
,
I,
;
,

I.
-
!
1',
IL
-
Example 5 a combination (there are many possible) of examples 3 and 4 with additional
changes in the third and fourth chords. By changing the and Db chords to major qualities, the progressiorj
I
gins to sound like bVI to V to I to IV in the key of Ab until the abrupt return of the I chord in C! A quick e:1;
ination of the functions of these chords should explain this curious phenomenon; a dominant 7th progreS5.J.
down a 5th to a major 7th will alwavs sound like V to I! !
/
-<
\
EXAMPLE 5
"
&1
\.'
-
t..
c:

,'f'
./ L/
,..
-
+9
E 7 +5
CJ
.....

III
/7
.J
,11
-
'I
....,
'It?
bill
'/
'L '7
/
v
.....
......
t'.
" v
bVI
::;;
I
+11
9
ob M6
......


/1
'/1
'/
.....
IV
CM9
.A
V
----
t'l
C/
I
,
r7
.Lj

...
I
"
.-
-
t,
-
l
L
-
t
,
'(
1"
,


The possibilities available for substitution through the application of the principle are so vast L
almost escape the imagination. But the important guideline in applying the principle may well be this: IL
origin of the substitution can be traced through a harmonic logic such as that presented in examples 1 throui
h I
i
t en t Je substitution will probablv be convincing and have harmonic integrity. (j
24
!
" k!,.

\
MELODY HARMONIZATION
Anyone who has ever tried to harmonize melodies from rather sketchy lead sheets knows that it is often
a challenge to supply interesting chords to a simple melody. This is especially true in the case of many old songs
.. found in fake books where usually only the barest outline of the harmony is provided. However, applying the
principles of chord functions and substitutions, it is relatively easy to produce harmony which satisfies the pro-
... gression and/or an interesting variation.
The first example shows a four-bar melodic phrase with only one C chord indicated for the entire phrase.
-
This is a fairly common harmonic situation.
EXAMPLE 1
e Maj .
-
..

$if!!.
I' J. ..
I'
"2
,.
......
......
t..
-
In example 2, the phrase has been harmonized with diatonic chords which progress in 5th's, eventually re-
turning to I (the C chord). In essence, all the harmony really does is turn around without actually going any-
where, while providing harmonic motion and quite a bit more interest. This is a very good device to use when
-additional tension is not desired in the harmony.
-
-
-
EXAMPLE 2
E mi.
Ami.
e Maj.
Omi. G7 e Maj.
I
-
-

, "' V, II 1"" ,
,. , :.... 7J "/ :7'
Example 3 is similar to number 2 except that the A minor, 0 minor and C major chords are all preceded by
I dominant 7th chord whose root is located a halfstep above. Since dominant 7th chords resolve strongly to
Jither the chord a 5th below or a half-step below, this is a good way to add a strong harmonic drive to the pro-
Practically any chord can be approached from the chord located either a 5th or a half-step above.
EXAMPLE 3

1\
e Maj
,

, I

I rT
,
"..,
'- ......
U
0-
<
I
......
.,

I"" 1 J
, ., l ..,.
----- .- - ---

/
\

}' /'
,>< b
P '6 13 Ami.
,
"-
.-



"...
(7,
....

bVIl
:11
VI

J
II
-;,r -
-
-
b
Omi.
G sus Db 13 eM'
E 13
.
a).

/:
Vl ;;z.
....,
V,)

,
vi ' ,1
...,

V ' C/
bill
,
II
V II I
J'1

.....
-
I
.....
'"
'I
../

r
25
i In example 4, the progression has departed slightly from the traditional functions and substitutions but thl-
chromatic alterations are kept to a minimum. In this way, the harmonic texture is still relatively calm. NoticEi
. .
:hat the bass line which is created by the roots of the chords is smooth and flowing and that the final resolution-
been changed [0 a substitute for I.
J
iJ
l
I
I
;
,
EXAMPLE 4
-
C Maj. GSus,
A mi.
,
I:
F Maj. E mi.
E7 +9
.
I' L;
..
I
rn I.""
....,
/1
..
JC. I
2
-

L .- /"t
tJ (;
.....
10

,
,.
/7
J;9

....
....
,
)
I
I V IV
III
bill III 7 VI
/'1
,...,
II
v -/ /../ r./

,.,
./ ./ '/ I
-
,..,
I I'J
....


/'I
....

-
L
The final example offers the most harmonic tension for two main reasons. First, the harmony is more..
I extensively altered. Secondly, the bass line created by the roots of the chords is considerably more angUI'l ..
moving primarily in intervals of a 5th. l
I

I
I
1
)
EXAMPLE 5
CMaj.
'h

t"'..

-

"-
......
tJ
o
I
l:.

"7
./
I


F Maj.

,
,
...t
-
..
,
I
IV II V
-
..
I'
I

,

I
Ami. Ab Maj. Db Maj.
2
D
I

/"9 '/1 ":
2-
,
--
....,
v

,
(/ ....
,
I
b
ll I
I IV
'1 J

7 'ii!'!.
I'
VI J
'./ I
i
....
b-

KEY: C Maj. --------11 Emi. -------ll Ami. ----1
-
t
C Maj.
.
!"
.-
J
.....
I' "j?
*
,I
I
f
r-
/7
f
,
cP"
,
,
t,
CMaj.-
J L
An analysis of the chord functions reveals the following: I to IV in C Major, II-V-I in E minor, bll to I
I A minor, I to IV in Ab Major. and a chromatic return to C Major.lt is because of the logic of the
functions that this phrase is harmonically convincing. if somewhat removed from the original harmonic textu: J.
I
26
.
,
J
-1
MELODY HARMONIZATION
SOME POSSIBILITIES FOR THE HARMONIZATION OF A GIVEN MELODY NOTE. ,
The given note (G) could be analyzed as any chord member unaltered or altered, of a chord of practically any quality (major, mino
dominant, etc.).
'.
-1
"
/ I=A
~
1
1
I
-
I
-
I
1
1
1
-
-
!
j
\
tJ
l
,.
""
"
~
-"
tJ
{. I
" L
" f--1,l
~
\.
tJ
,-
L
" r-:
LL
[t!/n
,
tJ
1-
"
-
LI
""
/l
v
1
-
7--
J
J
r
G 13
5
,
,
~
..
L
r
CM69
7
...
,
r
f1"
~
Ab M9
+9
..
~
~
.-.
r
+9
E7+5
1
..
~ ~ ~
-
,.
-
G mi.7
5
II! ".:
~ \ I .. ~
..
"
"
C mi.11
9
7V
I
"'9
7
FM6
1
...
..
..
.-
-
~
Dmi.ll
,
,
,
-
1
7
,
...
-p
:J
J
I"'"
GM9
-5
"':
..
--
l!!-
~
nr
d mi.7-5
9
\.-1 ~ .I
~
,.,
F 13
+11
1/'1 ..
V '
V r-
-
,.
~ 7
+11
9
Db M6
27
.
I
I",
fA
Vi
3
~ ~
~
~
E mi, 11
+
..
-,.
J
~
--"
I
+9
B7+5
9
..

..
..
r
F mi.9
13
..
-,
-,
I,., ..
,.
I
i/ J
17
Bb 13
I
I
,
3
.-
. ,
~ - r
I
I
I
V'
7
'-.
'.
,
'"
~
Ami,g
-9
,
,
,
~
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13
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Bb mi.13
MODAL VOICINGS
j Practically any voicing may be moved in similarmotion, scale-wise through a given mode_ This motion gen-li-
a variety of sonorities, some more or less dissonant than others. The harmonic motion should be conceived
';;having a horizontal, melodic nature relating to the entire scale, rather than a single vertical harmony.
J
,J
DORIAN MODE ON D:
)
'
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f
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1. "- 0 Dorian (D mi.7) ,
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28
!


10
Usually, voicing patterns which involve the tone (s) unique to the particular mode are used. For example,
dorian, the raised 6th scale step (B natural) is the tone that clearly identifies the mode as being dorian
pure minor. Therefore, patterns such as thf.! following are common:
1
D DORIAN
(pure minor,
A
B
J
W ......
.- CJ
........

....... r'J
......
I
0 -
1 2 3 4 5 #6 7
1
l
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: the phrygian mode, the lowered 2nd scale step is the identifying tone of the mode:
-
-
D PHRYGIAN ,.
,
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I
(pure minor, b2)
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b2 3 4 5 6 7
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the Iydian mode, the raised 4th scale step is unique to the mode.
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6 7
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p.

P' ___ V

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In the mixolydian mode, it is the lowered 7th scale step which identifies the tonality.
D MIXOLYDIAN (Major, b7)


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1
1
CHROMATIC PARALLEL MOTION
To add harmonic interest and/or tension to a given chord, chromatic parallel motion may be used i:
approaching, embellishing or leaving that particular sonority. In the following examples, a C minor voicing is use,
at the asterisk points to satisfy the basic harmonization of the phrase. Notice that the chord of longest duratiol
in each example is always a voicing which reinforces a C minor tonality; that is, the chord which is called for if
the progression.
Examples 1 and 2 show the approach to the C minor harmony from either a half-step below or above. Th,
C tonality occurs in a strongly accented position which helps emphasize its arrival. The first of the two measure
in these examples might be almost any chord. The voicing which occurs a half-step away from its eventual
olution is not objectionable since il is a chromatic anticipation of the tonality of the second measure. Also, th
first chord in each case is of short rhythmic duration.
EXAMPLE 1
EXAMPLE 2
em i.
1"'1
C mi.
A
,
/
:&
(jl ,
"

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.,
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J r 'If
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......
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t..
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,or


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2
' . .,.'
-)I! Embellishment of a harmony which lasts for two measures is shown in examples 3, 4 and 5. Here, the C
minor chord is and moved away from chromatically, only to return very soon. This type of motior

creates tension since the chromatic harmonies foreign to the tonality are of sufficient duration and appear in ar
-II accented position in the measure. Example 6 moves a little farther away from the C tonality but still returns to c
strong statement of that chord.
-
I
-
I
-
I
-
I
-
I
-
I
EXAMPLE 3
EXAMPLE 4
A Cmi. 7.
I. -::0 I- Cmi. Cmi.,
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31
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Cmi.
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1 EXAMPLE 5
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EXAMPLE 6
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v
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1 In example 7 we see melodic motion moving still fJrther away from the tonality and actually giving em- ....!.
,)hasis to a chord which is dissonant to it on the last half of the fourth beat in the first measure, Naturally. this
.,
even more tension until the resolution is heard at the end of the phrase. -.l
I ,
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EXAMPLE 7
r
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Cmi,

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The last example (8) shows a kind of free melodic motion which results in the voicing moving parallel in,-
md out of the C minor tonality several times. This adds a great deal of interesting coloration to a harmony whichl
has a long duration of 4 or 8 measures or longer. This is the case in many modal tunes. In this application, it is
Jmportant that the created by the highest voice be very smooth. Stepwise movement or skips no largerL'
',han a third are most adVisable.
j EXAMPLE 8
I
Cmi. Cmi.
"
C/'; 3

I'
....,
I
...
V7 ,.

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2
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to/
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32
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Cmi.
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-1
ELECTRONIC KEYBOARD APPLICATIONS
-1'
Since there are a number of electric pianos and organs in wide use today, it seems pertinent to mention
. some considerations relative to those instruments as well as some of their possibilities.
,
-'
In general, most voicing principles related to the acoustic piano will apply equally well to electronic key-
boards. However, there are two general exceptions:
~ ;
1 Thick, closely voiced chords, which sound full on acoustic piano may be too harsh or dissonant
-
'1
2
when played on electric piano or organ.
Two or Three-note voicings, which sound thin or weak on acoustic piano, may sound full and strong
on an electric keyboard because of electronic amplification.
-1 Unlike the acoustic piano, which has little sustaining power, an electronic keyboard may be used effectively
to play melodic lines in combination with other instruments. Also, various amplifying sources for electric instru-
ments make possible the use of such effects as vibrato, tremelo, reverberation and tone control. In addition, there
1are a number of modifying devices which, when used with an electric keyboard, can produce a rich variety of
tone colors. Some of these devices are listed and described below:
l
l
--
-,
-
-
-
-
1
2
3
4
5
VOLUME PEDAL - allows the foot to control volume so both hands are available to the keyboard.
WAH-WAH PEDAL - essentially a filter which either allows or greatly reduces the number of high
frequencies present in the tone quality of the instrument. This is sometimes combined with either
the volume or fuzz-tone pedals.
FUZZ-TONE - a distortion device which adds a tense quality to the tone. This is generally suited
only for melodic use as it tends to distort chords too badly.
REVERBERATION UNIT - adds a spacious quality to the tone which simulates the illusion of play-
ing in a large hall.
RING MODULATOR - a device which combines the sound of the instrument with that of a variable
pitch oscillator to create both a difference tone and a combination tone. The oscillator has a range of
about six octaves and the degree of modulation is controllable. At one end of the scale, only the key-
board tone is heard and at the other end, the original keyboard tone disappears completely!
6 LESLIE SPEAKER - this is a type of speaker-amplifier which has a speaker horn that is conti;,uously
turning in a 360 degree circle. The horn may turn at both slow and fast speeds creating a pleasing
tremelo effect.
7 PHASE SHI FTER - a device which has a pulsating effect similar to a leslie speaker and creates the
illusion of a continuous tone quality change.
8 ECHO-PLEX - essentially a tape recorder with an extra playback head so that whatever has just
been played (recorded) can be played back immediately at any desired interval of delay and as many
times as wanted. The volume of the echo in relation to the original is also adjustable. Since the device
employs a tape loop of about two minutes duration, this entire loop may be played back while re-
cording other material on top of that which was previously recorded. Therefore, it is possible for one
to play duets, trios, even quartets with himsel f! There are also some interesting feed-back possibilities
which involve increasing the sustain and volume levels past the normal position.
Most of the5e devices may be simply patched between the keyboard and the amplifier. However, in the case
)f at least one electric piano with its own built-in amplifier, it may be necessary to interrupt the connection of
_the actual pickups inside the instrument before it enters the amplifier stage. In the case of the example in mind,
t is only necessary to unplug the connection from the pickups inside the piano and patch in the desired devices
.Jefore going into the preamplifier.
-
'." Undoubtedly, much of the information In this section will either be obsolete or old hat by the time it
.appears in print. However, it is hoped that the ideas presented here will be of some use.
33
BLUES PROGRESSIONS (IN C) VOICED FOR THE LEFT HAND
t POP-ROCK BLUES PROGRESSION
,
,
,
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1:7 0


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0


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C9
G 13 F 13
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o
C7
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I
J POP-ROCK PROGRESSION, (VARIATION OF No. 1)
J C13

iTi

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....
C13 G9
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1.. SWING ERA, Typical Progression
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C13
10
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;'7
C 13
.tZ.
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4. BEBOP ERA,
F 13

. f
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+9
A 7 +5
L
/t.
//"
77
C13
k?
.....
1:."-
o mi.9
+

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....
Chromatic Blues Progression
+9

F 9
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-9
G 13

If
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F 13

\ , 2
,

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6
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C 13
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b
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F 13
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C13
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.1 ......-::

C/
J
+9
Gmi.9 C7 +5 . C M9 Bmi.9 E7 +5 Ami.9 F M9

G13
;1

0
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G9
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13
k-&-,...,
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o mi.9 G7 +5
b

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Fmi.9 Bb 13
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1
+9
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Measure 1
No.
1. F7
2. F7
3. F7
4. F7
5. F7
(6. F7
7. F7
'''-. ./
8. F7
9. F7
10. F M7
11. F M7
. '
12. F M7
13. F M7
14. F M7
15. F M7
- I
.. I b I I
, 1 .. I
n .... '
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f'1iMe .. ;
L

EXAMPLES OF BLUES PROGRESSIONS
(In the Key of F)
2
F7
F7
B
b
7
Bb7
B
b
7
B
b
7
B
b
7
B
b
7
3
F7
F7
F7
F7
F7
F7
F7
F7
4
F7
F7
F7
F7
F7
F7
5
Bb 7
Bb7
Bb7
Bb7
B
b
7
B
b
7
Cmi7 F7 Bb7
Cmi7 F7 Bb7
Bb 7 F7 Cmi7 F7 Bb 7
Emi7 A7 Omi7 G7 Cmi7 F7 sb 7 )
.
Emi7 Ebmi7 Omi7 Obmi7 Cmi7 cb7 Bb M7
SbM7 Ami7 Gmi7 Gbmi7 Cb7 sbM7
Ami7 Gmi7 Gbmi7 clf] SbM7
Emi7 A 7 Omi7 G7 Cmi7 F7 sb M7
Emi7 A 7 Omi7 G7 G
b
mi7 C
b
7 sb M7
6
Bb]
Bb 7
B
b
7
B
b
7
Bb
7
E
b
7
Eh
E
b
7
7
F7
F7
F7
F7
F7
F7
F7
Ami7
8 9
F7 C7
F7 C7
F7 G7
07 G7
07 Gmi7
07 Ob7
Ami7 07 Gmi7
07 Gmi7
10
C7
B
b
7
C7
C7
C7
C7
C7
C7
11 12
F7 F7
F7 C7
F7 C7
F7 C7
F7 Grrii7 C7
F7 Ob7 C7
Ami7 07 Gmi7 C7
Ami7 07 Gmi7 C7
Smi7 E7 F7 E7 Eb 7 07 Gmi7 C7 B
b
7 Ami7 07 Gmi7 C7
B
0
7 Ami7 07 Abmi7 Ob7 Gmi7 C7 Obmi7 F7 07 Gmi7 C7
Bb mi7 Ami7
SPmi7 Ami7
Bb mi7 Eb] Ab M7
Sbmi7 E b7 Ami7
Bmi7 E7 Ami7
Ab mi7
Ab
mi7
Gmi7
Gmi7
Abmi7 01>7 M7
Abmi7 Ob7 Gmi7
.L
C7 "",
I
- . ./
Gb7 '.
Gmi7
C7
C7
Ami7 Ab mi7 Gmi7 Gb
F M7 Abmi7 Gmi7 Gb
C7 Ami7 07
,
G'
Ami7 07 Gmi7 C7
Sb7 Ami7 07 Gmi7 C7
16. B7 Emi7 A7 Omi7 G7 Cmi7 F7 BbM7 Bb mi7 Eb 7 Ab M7
Ab mi7 Ob7 Gmi7
Abmi7 Ob7 GbM7
Gmi7 C7 Ami7 07 Gmi7 C7
17. F M7 B7 EM7 Eb M7 ob M7 BM7 Bb M7 Smi7 E7 AM7 Ami7 07 GM7 GbM7 FM7 Ab M7 GM7
NOTE: Portions of these progressions could be combined with each other to create hundreds of slight variations
of the above. Notice that practically all blues progressions follow a similar basic form, which is as follows: First
4 measures - I chord; Second 4 measures - IV chord (returning to a I chord or its substitute); Final 4 measures
,
- V chord (or II-V substitute) returning to a I chord.


..
TURNAROUND PROGRESSIONS
A turnaround is uSLlally a .two!JJr pro(Jlession found ZIt till! end of dll phrase (Measures 7

' "
'f": Jilt! 8). The turnaround serves scvcrJI 1 It lelieves the monotony of tonic chord only for
d two meJsures, 2 It prepares the IJeuinning of the next JJhrase, .Inti 3 III m,)I1Y cJs'es, it:hclps cl,lrify the form by iI:
helping to emphasize the beginning of a new chorus, There are endless possIbilities, of course, but Some common

turnarounds are shown here.

LEADING TO I
t
V11 ,
- .
I
I
II
VI
VI
II
II
II
I I
bVI
II
I
,-
I
V I
V I
I
- .. _- . - - _.- -.
I I I
V III
I
LEADING TO II
II
II
IV
VII
IV
IV
VII
VI
I II
III
III
bV11
b VII
VI
III
II I
III
II
-

VI

VI
bill
XI
,
bill
.- ----
"
bill
I
!
VI
I
I:
bVI
0
It
bill
l.
I

I . L
''rhe II, V, and I chords will generally assume their normal Qualities, that is, minor, and major. However,
experimentation with different families of chords will produce interesting variations. For example, a chord ,
!night be effective as either a major, minor or dominant family chord. Also, Qualities will be affected by whether l
the turnaround is used in a major or minor key.
J
I
I
I
I
36
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II-V-I PROGRESSIONS
-ilj 1. ALL MAJOR KEYS
,
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......

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II v A: II v I r v
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D
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CHORD SYMBOL APPENDIX
Major family - C, CG, CG9, CM7, Cmaj.7, C:r, C6.
Minor family - Cm, CmiG, Cmin7, c-7, Cm
h
I Dominant family - C7, C9, C9+11, C13
....
1
Half-diminished - Cmi7-5, d
1
Diminished - Cdim7, C07
1
Augmented - C+, C+7
1
Suspended - C sus., C sus.4, Chord/C pedal or Chord/C bass
1

1
Added notes - Cadd 9, Cadd 4

1 Omitted notes - C omit 3

1
j
1
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41
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NOTES
42
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