Ad
related to: piano voicing theory
Search results
Results from the WOW.Com Content Network
A drop-2 voicing lowers the second voice by an octave. For example, a C-major triad has three "drop-2 voicings". Reading down from the top voice, they are C E G, E G C, and G C E, which can be heard as the voicings supporting the first three melody notes (following the introductory phrase) of the Super Mario Bros. video game theme. [18]
Locked hands style is a technique of chord voicing for the piano. Popularized by the jazz pianist George Shearing, it is a way to implement the "block chord" method of harmony on a keyboard instrument. The locked hands technique requires the pianist to play the melody using both hands in unison.
Close harmony or voicing can refer to both instrumental and vocal arrangements. It can follow the standard voice-leading rules of classical harmony, as in string quartets or Bach chorales , or proceed in parallel motion with the melody in thirds or sixths .
Example 1: Below, a common voicing used by jazz pianists is given for the chord C 7 ♯ 9 (C major chord with a minor 7th, and extended with an augmented 9th). In the lower stave the notes E ♮ and B ♭ are given. These form a tritone which defines the dominant sound, and are the major 3rd and minor 7th of the C 7 ♯ 9 chord.
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in "locked-hands" [1] rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. [1]
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
Jazz chords are chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony.In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. [1]
The book covers a range of topics including left-hand voicings, scales and modes, improvisation, chords and comping. Much of the book involves musical theory, as Mark Levine states in the introduction. Jazz standards are cited frequently, often with notated examples, to help to explain a particular topic or idea.
Ad
related to: piano voicing theory