Voicing Compendium Workshop

bako · #1 02-16-2011, 12:06 PM

We can do better than applying our intelligence to craft insults and denigrations.
The sum of our communal wisdom is greater than any individual.
The standards practical group threads are an excellent model of what is possible.

My suggestion here is to set a criterion for a voicing sequence and people can submit examples.
At whatever level of experience you believe yourself to be, look for voicings that are not the combinations that you use all the time.
Find them using masterful manipulations of theoretical constructs or by just moving your fingers around until you find something that you like. In the end, good sounds just sound good.

To get started,

Criterion #1: Voice any chords that fit over the descending bass line B---Bb---A---Ab---G

On the surface it looks like III bIII II bII I, but it can be anything you want it to be.
__________________________________________________ __________________________________________________ ___________

G9----------------E7#9b5--------------A7+------------------AbMa13--------------GMa13
B-F-A-D-G-X-----Bb-E-G#-D-G-X-----A-E#-G-C#-G-X-----Ab-F-Bb-Eb-G-X-----G-E-A-D-F#-X

The last 2 chords can also be fingered Ab-X-F-Bb-Eb-G-----G-X-E-A-D-F# but the darker sound with the lead line on the B string sounds better to me making the extra stretch worth it.

G7b5---------------BbMa7+-------------A13Susb5-----------AbMa13+---------GMa13#11 or A/G
B-X-G-Db-F-X-----Bb-X-A-D-F#-X-----A-Eb-G-D-F#-X-----Ab-X-F-C-E-G-----G-X-X-C#-E-A

G7+----------------DMa7+----------------F7+-----------------EMa7+------------------EbMa7+
B-D#-F-X-X-X-----A#-D-F#-C#-X-X-----A-C#-Eb-X-X-X-----G#-B#-E-X-D#-X-----G-X-Eb-B-D-X

Melodically this is played 2 eighth notes per chord (chord plus additional melody note) and a whole note for the final chord.

F F /F# C#/ Eb Eb / E D# / D //

This 3rd example is a challenge to name because the way I hear it is not that clear yet.
I started with the idea of low register and contrary motion which yielded the first 2 chords (3 notes only).
My ear steered my towards the second melody note. I took 30 seconds to abandon the original intention.
The Major 2nds to Major 7th intervals seem prominent to me. Calling something a voice leading chord leaves me unsatisfied.
I like to have a context for what I'm hearing because it informs what I play next. These names were my best guess so far.
Any alternate suggestions are most welcome.

Here's the same sequence uncolored by my spelling choices.

7-6-3-X-X-X-----6-5-4-6-X-X-----5-4-1-X-X-X-----4-3-2-X-4-X-----3-X-1-4-3-X

I would suggest 1-3 examples per post but don't let that inhibit you if you are inclined to present more.
I look forward to your creative ideas.

Best,
Bako

Reg · #2 02-16-2011, 04:10 PM

Hey great material and yes much better direction for spreading our knowledge and experience around... I'll contribute as much as I can, thanks for the method... Reg

Reg · #3 02-16-2011, 05:21 PM

#1
Bma7---------------- Bb7b13------------- A13-------------- -Ab7----------------
B-X-A#-D#-F#-X... Bb-X-Ab-D-Gb-X .. A-X-G-C#-F#-X.. Ab-X-Gb-C-Gb-X

Gma7#11--------- F#7b13#9------- Bma76/9-------------
G-X-F#-B-C#-F#. F#-X-E-A#-D-A. B-D#-G#-C#-F#-A#

#2
B-11---------- Bb-7b13-------------A-11----------- Abma7913-----
B-X-A-D-E-X. Bb-X-Ab-Db-Gb-X .A-X-G-C-D-G. Ab-X-G-C-F-Bb

Gma7#11-------
G-X-F#-B-C#-F#

#3
B-11----------- Bb-7b13---------A-7------------ Ab7b13----------G-13----------
B-X-A-D-E-X...Bb-X-Ab-D-E-X..A-X-G-C-E-X..Ab-X-Gb-C-E-X..G-C-F-Bb-E-X

F#7b13-------------B-11-----------
F#-X-E-Bb-Ebb-X..X-B-D-A-C#-E

JohnW400 · #4 02-16-2011, 09:16 PM

#1 - Bmi9 Bb9 (tt sub) Ami11 Ab9b5 (tt) G6

----------------------------------------------------
----3--3--3--3--3-------------3--4--5--6--7------------
----6--5--4--3--4-------------6--5--5--5--4-----------
----7--6--5--4--2-----or------7--6--5--4--4-------------
--------------------------------------------------------
----7--6--5--4--3-------------7--6--5--4--3-----------

#2 - Bmi9 Bb11 Ami7 Ab13 Gma7

bako · #5 02-16-2011, 10:50 PM

John, Reg,

Pedal point, contrary motion, melodic lead line, octave doubling.
Great examples. Thanks for helping to get this started.

bako · #6 02-17-2011, 08:23 AM

Ok, I found my contrary motion thing. Functionally it is just a path from C to G.

CMa7------------C#dim--------------Dadd9-----------EMa7----------------GMa7
X X X B C E-----X X X Bb C# E-----X X X A D E-----X X X G# D# E-----X G D F# A E------(Use open E string throughout)

The names I choose for the 2nd and 3rd incomplete chords reflect how I hear them.

The final chord I chose after first auditioning these.

X X X 0 5 2

X X 5 7 7 0

X X 5 7 5 2------X 10 12 9 7 X

Reg · #7 02-17-2011, 09:34 AM

Cool Bako... looks like you have bionic hands like John... Do you guys use those progressions, after stretching my 1st finger out I can play through... I use this style of comping a lot, the problem is they go by in a split second except at endings or intros... too bad they sound great...Reg

cosmic gumbo · #8 02-17-2011, 09:51 AM

Bm, BmM7, Bm7, Bm6, GM7

bako · #9 02-17-2011, 10:06 AM

I think John has me beat in this department.
My hands are small but sometimes I push the limits until they complain and then I ease off while they recover.
When I encounter something that is interesting to me but beyond my reach, I play it broken style but that is of little use for executing rhythmic eighth note figures.

X X 5 7 5 2------X 10 12 9 7 X

These 2 are a challenge for me which is why I searched for another option.

My solution was both easier to play and more resonant. The story doesn't always end that way.

X 10 12 11 10 0

JohnW400 · #10 02-17-2011, 10:08 AM

If you move the first one up to Dmi7 you get "One note Samba" with the F in the melody.

Here another one with contrary movement that I found while working on some Van Ep's compositions. I used Gma7 for purposes of this exercise. You get the idea though. Moving the bass and alto voice maintaining the soprano/tenor voices

x B F# B D X Bmi
X A# F# C D X D7#5/A#
A X F# C# D X D ma7
Ab X F# C D X D7 b5/ Ab
G X F# B D X G ma 7

or

x B F# B D X Bmi
X A# F# C D X D7#5/A# (BmiMA7 b9)
A X F# C# D X D ma7 (Bmi9/A)
G# x E B E X E/G#
G X F# B D X G ma 7

JohnW400 · #11 02-17-2011, 10:14 AM

Just for fun, B Bb A Ab G but with a triad moving up chromatically

B F# A D
Bb G Bb Eb
A G# B E
Ab A C F
G A# C# F# (stick the open D string in too)

Reg · #12 02-17-2011, 11:46 AM

X-14-14-14-14-X
X-13-12-13-14-X
X-12-12-12-14-X
X-11-11-11-14-X
X-X--9--10--10-9
X-X--9--10--10-12
X-X--9--10--10-9
10-X-10-10--8-X
9--X--9--9---7-X
Mambo about 190 groove vamp on the Gb-11, hell I'll make sample Video... I love this stuff...

YouTube Video

Reg

JohnW400 · #13 02-17-2011, 03:28 PM

Nice stuff guys. I always enjoy a vid Reg. So we got Bako, Reg, Cosmic and myself.

What happened to everybody else? Where's all the guys who can post page after page of stuff?

Reg · #14 02-17-2011, 05:11 PM

Hey John... post something man i just want to see those hands make the guitar neck look like a ukulele, your stretches kill me... that a good thing. here's another sample of 1st one

YouTube Video

Reg

Dad3353 · #15 02-17-2011, 06:17 PM

Good evening, John...

Quote:

Originally Posted by JohnW400

Nice stuff guys. I always enjoy a vid Reg;;;

Here, here..! Nice thread, nice examples, nice videos, although it takes me ages to figure out the notation(s). A bit longer to type in (not much...), but, for my part, I prefer...

||---|---|---|---|--9|-12|--9|---|---|---|---|
||-14|-14|-14|-14|-10|-10|-10|--8|--7|---|---|
||-14|-13|-12|-11|-10|-10|-10|-10|--9|---|---|
||-14|-13|-12|-11|--9|--9|--9|-10|--9|---|---|
||-14|-13|-12|-11|---|---|---|---|---|---|---|
||---|---|---|---|---|---|---|-10|--9|---|---|

Not grumbling, just a remark.
On top of that, Reg belts it out at Mach 6; very instructive, and many thanks, but hell! is it disheartening (I haven't a button 'Slow' on my YouTube..!). Change nothing, Reg; it's just me. I've said it before; I'm slow...

I hear (and see...) a fair bit of my MB chord movements here, albeit a tad more sophisticated. That cheered me up somewhat, me actually recognising something..!

Quote:

Originally Posted by JohnW400

...What happened to everybody else?...

We're all here, watching from the wings, enthralled. Worry not; if you miss the comic strip inserts which make this site (among other attractions...), Gumbo's already on board. As for the pontifications: nah!, be honest now; you don't really want to spoil this thread, do you?
Enough..! Back to the fretboard..!

JohnW400 · #16 02-17-2011, 09:46 PM

Quote:

Originally Posted by Dad3353

Gumbo's already on board.

I can always count on Gumbo even if it's just an update on his grandmothers tuba playing

bako · #17 02-18-2011, 01:14 AM

Working from the idea John brought up with 2 stable voices but breaking the pattern at my discretion

First just a 3 note skeleton version, my starting point of departure

BmAdd9-----------BbMaAdd9--------Am11------------Ab9#11------------GMaAdd9-------
B X C# D X X-----Bb X C D X X-----A X B D X X-----Ab X Bb D X X-----G X A D X X

Adding the 5th

BmAdd9-------------BbMaAdd9--------Am11-----------Ab9#11--------------GMa9#11----
B F# C# D X X-----Bb F C D X X-----A E B D X X-----Ab Eb Bb D X X-----G D A C# D A (Last chord arpeggiated)

This time adding a b5

BdimAdd9---------BbMa9b5---------Am11b5-----------Ab9b5--------------G9Sus
B F C# D X X-----Bb E X C D X-----A Eb X B D X-----Ab D X Bb C X-----G X F A C X

One more unrelated approach in a different starting key

C#7-------------------F#9+----------------B7b5--------------E7+----------------G13#11
B E# G# C# X X-----A# E G# D X X-----A D# F B X X-----G# D E C X X-----G X F A C# E

The last chord sounds very G centric and so G13#11 but the A+ notes and the 4th cycle progression are also influence.

bako · #18 02-18-2011, 11:52 AM

Reg,

Thanks for adding the multi media component.
Rhythm is so influential in making these number charts mean anything.
The videos remind us that this is so.

Reg · #19 02-18-2011, 12:11 PM

YouTube Video

Thanks Bako... I'm also a little lazy sometimes also, I don't mind writing out music, did for years... I'm just not that hip at getting charts posted, videos are easy and fast, here's another one... pedaled a G on top with different moving lines... just fun...best Reg

bako · #20 02-18-2011, 05:13 PM

Bm9---------------Bb7Sus***----------AmMa9------------Ab7+---------------GMa9
X X B D A C#-----X X Bb Eb Ab D-----X X A C G# B-----X X Ab E Gb C-----X X G B F# A

*** This voicing is a variant on generic Bb7 (Bb F Ab D) with the F dropped down to the next diatonic scale tone Eb.
Suggestions on a better name built on a Bb root?

B7#9--------------Bbm11b5-------------A7#9----------------G#dim------------GdimMa7
X X B D# A D-----X X Bb Fb Ab Eb-----X A C# X B# E-----X G# D X B F-----X G C# X Bb F#

This one uses counter motions to generate the voicings. I haven't convinced myself of a clear functional interpretation yet.
I'll adjust the chord symbols and spelling when I do. Meanwhile I like how it sounds.

Reg · #21 02-18-2011, 05:37 PM

Man you got some crazy ears Bako... I don't think any more I just play... let my ears go... I'll try and come with some some hipper working voicing instead of my plain jane versions... Again great thread... lots of funnn...Reg

bako · #22 02-19-2011, 09:59 PM

Descending chromatic tritones. First chord is played X 14 15 15 X X

G7#9----------------C13b9------------F13#9---------------Bb13#11---------Eb9#11
X B F A# X X-----X Bb E A Db X-----X A Eb G# D X-----X Ab D G C E-----X G Db F A F

Another contrary motion thing.

Db/Cb--------------Bb+----------------Am7b5------------AbMa9#11---------GMa9
X X X Cb Db F-----X X X Bb D F#-----X X X A Eb G-----X X Ab X D Bb-----X X G X F# A

I am hoping to get more people to contribute to this thread.
Imagine 3 examples from 25 people with our different viewpoints and experiences.

I was thinking of picking a new criterion for voicing examples next Monday.
If any one has a suggestion just shout it out.

Reg · #23 02-20-2011, 11:26 AM

Lets try and use concept in tunes... either existing or something original. I'll post some simple sections or as in the style of early Shorter... Blocks of tunes to be... Reg
Obviously any new pattern of moving or pedal like concept would be fun as we go along...

JohnW400 · #24 02-20-2011, 12:07 PM

D x B C E x (D13) or (x DBCEx)

Db x Bb Db F x (Bbmi/Db)

C x A D F# x (D7/C)

B x Bb Eb G x (Eb/B or Bma7#5)

Bb x B E G# X (E/Bb or Bb7b9#11)

x A F# C F A (D7#9/A)

We got at least 3 from 3.

Again, where are the others? I could name names but I won't.

M-ster · #25 02-20-2011, 06:26 PM

I've been following along, but I'm not sure what to make of it or what to contribute yet ...

hot ford coupe · #26 02-20-2011, 11:30 PM

Now this is a thread I desperately need i.e. more hip voicings. (Don't forget I've had hip replacements

) Thanks for the vids Reg. The more the better in my case.

BTW, I'm not advanced enough to contribute at this point but I'll get there with the help I get from all you guys. Thanks.

Reg · #27 02-21-2011, 12:56 AM

Here's something from a little Bako and John and me... so three by three, four... anyway using line going up and down and a little around the corner... Reg

YouTube Video

bako · #28 02-21-2011, 09:21 PM

Voicing Criterion #2

Dm7 G7 // Ebm7 Ab7 // Db //

Possibilities
Extending the harmonic rhythm (play each measure twice or each chord for a full measure)
Major or minor II V's / Major or minor final chord or no final chord
Substitute a dominant for m7
Tritone sub relationships
Extending harmonic rhythm
Transposing to keep the sequence in a good register for clarity
Any idea that in some way fulfills the basic functional motion
__________________________________________________ _______________

Dm9------------Dm9Sus---------G7Sus-----------G7Sus-------
X D F C E X-----X X F C E G-----X X F B C G-----X X G C F B //

Ebm6/9------------Ebm7Sus--------------Ab13----------------Ebm7Sus------------DbMa9
X X Db F Gb C-----Eb X Db Gb Ab X-----C Gb Bb Eb F X-----Bb Gb Ab Db X X // Ab Db Eb C X X //

__________________________________________________ ___________________________________

Dm9-------------Dm9-------------G9b13------------G7#9b13
X X C E F C------X X E F A E-----X Eb A D G B-----X B F A# Eb G //

Ebm7#5-------------Ebm7Sus--------------AMa7+---------------D9#11--------------DbMa9#11
X X Eb B Db Gb-----X X Ab Db Gb Bb-----X X A C# E# G#-----X D F# G# E X // X Db F G Eb X

bako · #29 02-22-2011, 09:57 AM

A low register example

Dm9------------(F#13)----------------G7b5--------------G9--------------Ebm11----------------Ab7+#11---------Ab7#11--------------Ab7+
A E F C X X-----A# E F# D# X X-----B F G Db X X-----G B F A X X // Gb Db Eb Ab X X-----Ab D E C X X-----Ab D Gb Bb X X-----C E Gb X X X //

DbMa6/9-------------DbMa7/6-----------DbMa6/9
Ab Eb F Bb X X------X Db F Bb C X-----X Db F Bb Eb F //

The F#13 is a lower neighbor to the G7

Please feel free to post on the first criterion if you prefer or to initiate another criterion that better serves you.

JohnW400 · #30 02-22-2011, 10:37 AM

using triads

x D x C F A (Dmi7 or F/D)
G x (F) B E Ab (G13b9 or E/G)
x x Eb Bb Db Gb (Ebmi7 or Gb/Eb)
Ab x Gb A D Gb (Ab7 b9b5 or D/Ab)
x Db Ab Bb Eb G (Db 13 #11 or Eb/ Db) OR
Ab Db F Bb Eb G (polychord Eb over Db)