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—_—— Thee-Note Voicings = Figure 3-7 Just Friends Klenner & Lewis G7 CA 354 C7 F7 Ga Bb7 Eb7 AT ‘D7 B7 E7 AT 34, 4707 07 G7 207 Fe7 B7 ET AT A707 G6 ri us era ay, Rp rg bo wl onl ina Me Cpt, MLAs Me Cpa asd 2 SOK Ca Para. ‘apohinnmaniy Sox ters oy eso Copan Mar sUSA NAiNewed Gee Penn mee Figure 3-8 ee ee LL 1 ee eee at (% C6 ce cB Figure 3-10 CA+4 Csus4 Cl Figure 3-11 c7b9 C749 C-7b5 (Co) note, the term “ninth” is used fot ali chords, and “3” in chord symbols. Although the sixth and the thirteenth are the same note, most musicians use the term “sixth* when notating major and minor chords. and “thirteenth” when notating dominant seventh chords (figure 3-9). Although the fourth and the eleventh are the same note, many musicians use the term “fourth” on major and sus chords, and “eleventh” for minor and dominant chords (figure 3-10). Note that the fourth in the Casé chord has been raised, as has the eleventh in the C7+ll chord. Natural fourths or oral elevenths are seldom played when voicing major and dominant chords. When a note thas been raised or lowered in a chord, the note is said to be altered. Other altered notes are the b9, +9, 05, +5, and bi, all shown in figure 3-11. Note that the +8 and bid are the c7bI3 same note. There will be much ‘more on ninths, elevenths, thirteenths, and altered notes in Chapter Five. Here's That Rainy Day JJ. Cherokee _ Tune-Up: Ask Me Now Come Sunday “Four Lazybird Zi Moment’s Notice Lite 8's Poem 3r Giant Stops a Ithough Duke Ellington was playing them in A the 1930s, sus chords have been an everyday sound in jazz only since the I960s. The simplest voicing—whether you're playing a standard or Herbie Hancock's “Maiden Voyage"—is to play the root with your left hand while playing a major ‘iad a whole step below the root with your right hand, as in figure 4-1, Because G is the soot of this sus chord, the triad in your right hand would be F major, a whole step below G. Note that the triad is in second inversion, meaning that the fitth of the triad (C), is on the bottom, instead of the root (F). Triads often ‘sound stronger inverted than in root position, especially so when in second inversion. The Gsus chord resolves smoothly to a CA chord. ‘The “sus” here refers to the suspended fourth of the chord, in this case the note C. In traditional harmony, this note usually resolves down a halt ‘step, the sus chord becoming a dominant seventh chord (figure 4-2). In modern music, the fourth often doesn't resolve, which gives sus chords a floating quality. You might see this same Gsus chord notated a8 G7sus4, Gsus4, FIG, of D-7/G. The last two Variations are slash chords, the upper-left part of the symbol indicating what chord is to be played over the bass note in the lower-right part of the symbol. F/G describes exactly what's happening in figure 4-1: an F triad in the right hand over the note G in the left hand. _D-7/G describes the function of the sus chord, because a sus chord is lke a I-V progression contained in one chord. The II-V progression in the key of C is D-7, G7. In figure 4-3, your right hand plays a common D-7 left-hand. voicing (which will be covered in Chapter Seven) over a G root, combining D-7 and G7 into a single chord, 0-7/G, or Gsus. Two songs recorded in the 19605 did a lot to popularize sus chords among jazz musicians: John Coltrane's "Naima." and Herbie Hancock's “Maiden Voyage.” “Maiden Voyage” was a revolutionary tune for its time, because it consists entirely of sus chords. Herbie's vamp on the first two bars is shown in figure 4-4. The Dsus chord is voiced with aC major triad in the right hand a whole step down from " John Coltrane, Giant Steps, Atlantic SD-IL * Herbie Hancock, Maiden Voyage, Blue Note BST-84186. CHAPTER FOUR 5 Sus And Phrygian Chords Figure 4-1 Gsus(or) F/G CA. 4 A inversion | © ! s Figure 4-2 Gsus G7 Figure 4-3 Gsus (ot) D-7/G Figure 4-4 Dsus 23