IMPROVISATION  - by Michael Furstner


In the Improvisation Library under 'Scales & Chords' you find  two files 
(page 1 and page 2) called 'Keyboard II-V-I Chord progression voicings' They contain effective chord voicings for the IIm7 - V7 - Imaj7 chord
progression in all keys (see Improvisation Lesson 10). You can use these in the left hand while playing the melody or an
improvisation in the right hand. LEFT HAND Play 3- or 4-note chords in the left hand so that the lowest note of the
chord falls in the range from Middle C down to A a 10th lower. Lowest note of chord within this range |<------------------->| | | C' D' E' F' G' A' B' C D E F G A B c d e f g a b c' | "Middle C" This applies to all "closed position" chords (all chord tones fall within the
span of 1 octave and are usually played with one hand.) Chords played above this range sound too tinny, they also interfere with the
melody line. Chords played below this range sound too muddy. The sheet music covers four different voicing combinations for the
IIm7 - V7 - Imaj7 chord progression. _________________________________________________ BASIC CHORD VOICINGS The first two are basic combinations which alternate root position chords
(with the chord root at the bottom of the chord voicing) and 2nd inversions
(with the 5th at the bottom of the chord voicing). VOICING 1 : IIm7 in root position - V7 in 2nd inversion - Imaj7 in root position VOICING 2 : IIm7 in 2nd inversion - V7 in root position - Imaj7 in 2nd inversion Voicings 1 and 2 contain all chord tones : root, 3rd, 5th and 7th. The black note in each chord (which is either the chord root or 5th) may be
left out to produce a clearer chord sound (especially on electronic
keyboards). _________________________________________________ CONTEMPORARY JAZZ VOICINGS Voicings 3 and 4 are commonly used contemporary Jazz chords. For all voicings the ROOT IS OMITTED FROM THE CHORD. This produces a less predictable sound. In a small group the root is always
covered by the bass player, there is therefore no need to for the keyboard
(or guitar) players to include it in their chord voicing. (The IIm7 voicing is in fact a IVmaj7 chord which functions as a IIm9 chord.
Likewise the Imaj7 voicing is a IIm7 chord which functions as a Imaj9
chord.) The contemporary V7 voicing leaves out both the root and 5th of the chord.
nstead it includes the 9th and 13th. VOICING 3 IIm9 based on the 3rd - V9add13 based on the 7th - Imaj9 based on the 3rd VOICING 4 IIm9 based on the 7th - V9add13 based on the 3rd - Imaj9 based on the 7th The black note in each chord (which is the 5th, 13th or 9th) can be omitted
to produce a clearer sound. _________________________________________________ HOW TO PRACTICE Practise each combination by progression directly downwards on each page
(e.g. from the first voicing combination on the first line to the first
voicing combination on the second line, then to the first combination on
the third line, and so on down the page). Play each IIm7 chord for 1 bar, each V7 chord for 1 bar, each Imaj7 chord for 2 bars. This produces a natural 4 bar long phrase in each key. Play the same
sequence twice in each key (2 x 4 bars = 8 bars total in each key). On page 1 : 1 bar 1 bar 2 bars (then repeat) Dm7 - G7 - Cmaj7 Cm7 - F7 - Bbmaj7 Bbm7 - Eb7 - Abmaj7 Abm7 - Db7 - Gbmaj7 F#m7 - B7 - Emaj7 Em7 - A7 - Dmaj7 On page 2 : 1 bar 1 bar 2 bars (then repeat) Am7 - D7 - Gmaj7 Gm7 - C7 - Fmaj7 Fm7 - Bb7 - Ebmaj7 Ebm7 - Ab7 - Dbmaj7 C#m7 - F#7 - Bmaj7 Bm7 - E7 - Amaj7 Practise 1.first with the left hand only, 2.then with both hands together, right hand 1 octave above the left, 3.left hand chords, right hand corresdonding modes and scale. First practise the two basic combinations. When you know both well, proceed with practice on the two contemporary
combinations. Learn all four combinations with the full 4-note voicings, once you know
these it is quite easy to leave out the specified black note for each chord. _____________________________________________________________________________ JAZCLASS - Copying permitted for personal use only. Copyright 1997 Michael Furstner. All rights reserved.