George Duke - Vocal Accompaniment.pdf

***Chapter and Menu item numbers directly correspond to the Menu***

VOCAL ACCOMPANIMENT

CHAPTER 1/ ITEM #2A

These are the root positions of the chordal sequence we are investigating 111

& w w w ?

E-7

V1

11

V

1

#w w w

w w w

w w w

w

w

w w w

A

D-7

w

w

G

w

In order to change the mood or feeling of a passage, it may be desirable to change the V1 chord to a minor chord or major chord depending on the situation. 6

111

It is also possible to change the 11 chord from major to minor and vice versa.

111

V1

& w w w

w w

& w w w

E-7

A-7

E-7

?

w

w w

?

Moving the flatted 7th's one octave up or down within a chord, also changes the color, mood, and feeling of a chordal sequence. 12

111

& w w w ?

E-7

w

V1

# ww

11

w #w w

C

w

V1

11

#w w w

w #w w

A

w

A7

D7

G7

w

w

w

w

w w ww

G7

w

CH1/2B - It is also important to think of melody in terms of voice leading--not only the top part, but also as a link between chords in the middle harmony parts

V

ww w

D7

(DOMINANT) V

111

& ˙ ˙˙ ?

j œœ œœ.. œ œ.

E-7

˙

U #w w w

V1

A7

˙ ˙

U w

2 BASIC INVERSIONS FOR AN A7 CHORD 18

Root position

1st Inversion

2nd Inversion

CH1/#2C - Notice how much more melodic the

Common tones from one chord to the next also help chordal continuity and ease of movement

passage is when the notes lead into each another 22 3

& ˙ w w ?

œ œ œ

E-7

˙

#w w w

A7

˙ ˙

˙

?

E7

˙

œœ œœ œœ # ˙w n w

A7

˙˙

˙

D-7

˙˙

j œ œ.

"Let's change it a little more..."

& ww #w

#w w w

# ˙w w

? w w

w w

w w

E7

A7

D7

˙w w

3

˙

˙

˙

U w w ww

˙ ˙

U w

are interchangeable, except the dominant (g7), which should generally be changed to minor only in specific situations CH1/#3 - "Eventually I might come up with..."

U œ œ œ w w ww 3

G7

G7

D-7

˙˙

U w w ww U w

˙ ˙

˙

One can also change the 11 chord of the sequence from minor to major. In fact, any of the chords below 30

j œ œ.

˙w w

It is also possible to change the first chord of the sequence from a minor chord to a major chord as illustrated. 26 3

& ˙˙ #w

# ww w w

#w w ww

ww #w w

& w #w w w

3rd Inversion

G7

U w

ww b & w w ? w w w

3

It's a good idea to sometimes throw caution to the wind and let yopur fingers do the talking and analize what you're doing later.

Notes outside of the scale can be used to create musical tension.

CH1/#4 - "We need something to create some tension... Suppose we do something like..."

35 "What's that?...write it down... not knowing what it was

w w

&

Ó

w ? #b ww

U & w #w

œ‰ Œ Ó J

Œ œ

#œ œ b˙

E7

œ J ‰ Œ Ó

˙

˙ ˙

A7#9(b13)

˙ w

"It's really important to know how to set something up..." 44 3

& ˙w #w

E7(#9)

? w w

œ œ œ

j œ œ.

˙ D7

G13#11(b9)

˙w #w w A7#9(b13)

w w

in your music. These raised 9ths, 5ths and so on have come to be called alternate chords, substitutions, chordal extensions and leading chords among others.

j b œ œ #œ œ œ œ œ. n# ww

#w w ˙

˙

w w

U œœ # œ œ œ œ œb œ



?

E7(#9)



& ˙w #w

œ œ œ # ˙w w w

E7(#9)

? U w w

Those notes outside the chord lead into other sections. It takes time to learn how to use these notes, but as your technical skills improve, you will hear the difference "Basically, how do we get to this..." 40 3

w w w

bw w w

˙ 3

œ œ œ

"Now we could go even further out..."

#w w w D13(#11)

w #w w

U w w w

U w #w w

4

Sometimes it's a good idea to leave certain intervals out of a chord, depending on the effect you're trying to acheive. 48

Basic d7 chord-root position

5th left out



& D7

5th left out - 9th put in



w

D7

w ? #w w w

D7

w #w w

w #w w

The last chord of an introduction is what sets the featured artist up and leads them into the song.

This is a basic dominant 7th voicing that can be used in almost any key and sound great. 51

3

& ˙ ˙

b˙˙

#˙˙

b˙˙

& ˙w

œ œ œ

? #˙ ˙˙

˙ b˙ b˙

#˙ ˙ ˙

˙ ˙ ˙

? #˙˙ #˙

˙ ˙ ˙

D9

Eb9

E9

F9

Try moving notes around within the chord in various combinations. You will gain a wealth of knowledge with this practice. Let your ear be your guide

Generally your voicings will sound more transparent if you don't double notes. Conversely, voicings will sound more dense by doubling notes. 54

˙ & #˙˙˙

œœ œœ

? ˙w

˙

B-7

3

œœ œœ

œœ œœ

F#-7

#˙w

œ

#˙ ˙ ˙

˙ ˙ ˙

E9

3

œ

œ

w ## w ww A13

w w

5

CH1/#4C 57

Ó & ˙˙ #˙ ?

3

˙˙ ˙

˙ ˙

E7(#9)

w w w w #w w w

˙˙ ˙

Ó

œ

˙˙˙ & ˙ E7#9(#5)

64

œ

œ˙ . ˙˙ .. A7#9(#5)

# œ˙˙ ..

˙

˙3

Ó w w

˙

Ó

61

˙. ? #˙. Œ

D9

A7#9(#5)

w

˙˙3 ˙

œ

œ œ 3

œj œ

˙ ˙

3 bb ˙ ˙ 4 ˙

œœ œ

G7#11(b9)b13

b ˙˙ 3 ˙ 4 Œ

#˙ œœ^ œœ

œœ

˙

Œ

Œ

œ #œ

Œ

Œ

# œœœ

œœœ

D7(#9)

And here are examples of closed or compressed voicings and sounds. The best thing to do is use a combination of both open and closed voicings

& œ œœ

E-7sus

œœœ

bbbb œœœœ

œœœ

A7b5(b9)

œj œ

? œ. ˙.

œœœœ

œ. ˙.

œœœœ

#œ˙˙.. .

œœœ œ

###œœœ

67

& œ b# œœœ

G7#11(b9)

? œ. ˙

œœœ œ

œœœ œ

œœœ œ j œ œ œ

E7#9(#5)

œ

#˙ ˙.

œœœ œ

E6(9)/D

œj œ

œ nœ

A13(b9)

œ. ˙.

œœœ œj œ

œœ œ

nnnœœœ œj œ

6 Practice this voicing in various keys

˙˙ ˙

70

& Œ

Œ

E7(#9)

? Œ ˙.

73

& Œ

Œ b ˙.

Œ

Db7(#9)

? Œ b ˙.

˙˙ ˙

˙˙ ˙

Œ

Eb7(#9)

˙˙ #˙

#˙˙ ˙

bb ˙˙ b˙

˙ bb ˙˙

D7(#9)

b b ˙˙ n˙

Œ ˙.

#˙˙ ˙

Œ

C7(#9)

Œ ˙.

bb ˙˙ ˙

˙˙ #˙

B7(#9)

Œ

4 4

Œ Œ

4 4

Bb7(#9)

˙˙ #˙

Œ ˙.

œ bbœœ

Œ

bb œœœ

Œ b˙

CH1/#4D - The top not leading from "B" to "C" and then "B" to "Bb " helps to create continuity between chords 77

4 &4 Œ

˙˙ .. ˙.

you can move 1/2 step up

E7(#9)

A7#5(#9)

˙˙ .. ? 4 Œ #˙. 4 w

Œ

˙˙˙ ... ˙.

˙. Œ # ˙˙ .. w

Œ Œ

œ˙ . ˙. E7(#9)

˙˙ .. Œ # ˙. w

œ

œ

you can move 1/2 step down

Œ

b# ˙˙ .. #˙ .

A13(b9)

#˙. Œ #n ˙˙ .. w

7

CH2/#5 - 4th chords, or chords based on the

interval of a 4th, when not locked in with the 3rd, can lead to almost any key, which consequently makes them good to use when you're lost (smile). 81

& Ó ?

C

bb œœœ...

j n œ n# œœ ˙˙˙

œ œ œ œ

Here is the same intro we have been studying using a 4th interval chord on the E-7

j œœ œ

bbb œœœ...

œ œ œ œ

˙ w

˙

E-7 to A7 with top voice leading from D to E, the 7th to the 5th of each respective chord

w #w w w

E-7

A7

? w w w

w w w

#w w w

w w w

w

E-7

w w

A7

more advanced voice leading based on the same progression

& nw #w w

nw w #w w

? w w w

w w

E7(#9)

A7#9(#5)

94 THE HREBIE HANCOCK EXAMPLE

& Π?

? w w

A7#5(#9)

j œ œ.

E-7 to a7 with no voice leading

& w w w

89

& ˙w w

œ œ œ # ˙w w w

E-7sus4

Here are four variations on a chord progreesion of increasing complexity 85

3

w

#˙ # œ #œ

w w w

##bw w w

w w w

w w

E-7sus4

œ w

œ nn œœ

A13(b9)

œ

œ

D7(#9)

#œœ

œ

nw

w

Œ

Ó

Œ

Ó

8

CH2/#6 97

& w w w

HERE ARE A FEW EXAMPLES OF VOICINGS FOR THE DOMINANT CHORD AT THE END OF AN INTRODUCTION. REMEMBER TO EXPERIMENT WITH MOVING THE MIDDLE NOTES FROM ONE OCTAVE TO ANOTHER, AND PRACTICE USING HARMONY NOTES AS LEADING TONES.

bw w w

G13

G13(b9)

? w w 100

THE FOLLOWING CHORDS, USED CORRECTLY, CAN MAKE YOUR MUSIC MORE INTERESTING. EXPERIMENT STACKING TRIADS ON TOP OF EACH OTHER IN VARIOUS KEYS, AND USING BASS NOTES OUTSIDE THE SUGGESTED TONAL CENTER

w w ww

CM9/6

w w

(E TRIAD)

w w w

bb 44

(B TRIAD)

& bw w w

## w w w

? w w

w w w

G13(b9)

B/C

(G7)

bb 4 4

(C TRIAD)

CH2/#9 - THIS IS A TRANSCRIPTION OF THE INTRO I PLAYED TO "YOU'VE CHANGED" WITH ANITA BAKER, FROM THE VIDEO AT THE MONTREUX JAZZ FESTIVAL

YOU'VE CHANGED 102

b & b 44 ‰ œ œ 3

? bb 44

œ

3

j œ

j 3œ b & b œœÓœœ œœœœ

105

D-7/G

? b œ œœ b

3

j œÓœœ œœœ œœœœ œ œ D-7

œ œœœ bœ Db13(#11)

b˙˙

œœ j3 œœ bœ œ

œœ œ b œœ

3 j 3œ œ 3 œ œ œ œ˙ œ bœ˙ œ nœœ œ œœ ˙ ˙˙ ˙˙ b œ 3

Db13(#11)

C-9

b ˙˙

œw C-7

œ œ

3

œ

œ bœ œ œ

F13(b9)

œœ œ

 œ3

œ œœ œ

F13(b9)

œœœ Œ BbM9

œ œœ

Œ

3

Ó Ó

9

CH2/#10 - Here are some alternate ways of playing the same set of

changes. Investigate the voicings and alterations of the dominant chord 108

b &b w w

w w bw w

D-7

w w w

G7#9(b13)

? bb w w

nw ww

C-11

F13#11(b9)

w w w

w w

bw w w

CH2/#11

Think melody and how to best get from one chord to another, not just a set of chords with no relationship! 112 3 3 3 3 b

& b ˙œ˙

œ œ œ

D-7

? b œ˙˙ b

œ ˙

114

œ

D-7

? b œ˙˙ b

œ œ œ

G7#9(b13)

œ

b & b œ˙ ˙

œ˙˙ n˙

3

œ

œ

œ˙˙

œ œœœ

D-7/F

G7#9(b13)

œ œ

b

 D-7

? bb ?

?

G7

?

˙ bb ˙˙˙ ?

GbM9

b˙

˙ bn ˙˙˙ F7(b9)

˙

˙œ ˙

œ bœ

Gb13

œœœ

œ

œœœ

U nn œœœ

bœ œ

b œœ œ

F9sus4

nœ bœ

j œ œ

F13#11(b9)

for the 11 chord. Below are several ways to approach structuring that chord.

well in standard turnarounds is the upper neighbor to the dominant substitution

&b

œ

C-11

nœœ œ

n ˙œ˙

F13#11

œœœ

CH2/#12 - Another chord substitution that works 116

œ œ œ

C-11

œœ œœ

œ

œ˙ ˙

 D-7

?

?

G7

?

?

b ˙˙˙

˙ #n ˙˙

n˙ b˙

b˙ ˙

Gb13

D/F7

10

120

&b

If you want to get more daring, try substituting the upper neighbor to the root for the 11 chord, or third chord of the progression.

b

n n # ˙ n# ˙˙˙ ## ˙˙˙˙

 D-7

G7

? bb ? ? ? ?

CH2/#13 A & B - This is a transcription of the piano

B9sus4-----3

nw

you see how an accompanist should sometimes follow, sometimes lead, sometimes be still, sometimes decorate and when to do each.

part to "I Got It Bad," which I played with Dianne Reeves. Studying this will help

I GOT IT BAD 122 RUBATO



&

& œ E-7

? ?

Ó

3

3

œ œ œ œ œ œ

?

A7#9(#5)

?

?

œ œ œ œ ?

COLLA VOCE

Œ

3

D9

?

nn

G13(b9)

U U

#œ œ U œ

Œ

œ

˙.

œœ œœ

œ œ œ œ bœœœœ œ nœ œ

CM9 F13(#11)

œ œ œ

˙. ˙. ˙.

11

U ‰ j j œ. œœ

125

&

œ

œ œ œœ & œ‰ J j ? œœ ‰ œ

j U œ ˙˙˙ Œ . b# œœœ # œ œ ˙˙

#˙˙˙ ˙˙ GM9

Œ

128

˙.

A7(b9)

w w

Ó

A7#9(#5)

D13

#˙˙

2 &4 œ œ œ œ

4 œj 4

2 & 4—˙˙

4 œ œ œ œ œ 4 œ œ œ œ œ œ b#œ ˙˙

? 42 T & œ

œ

D9sus



œ

2

#œ

œ 4

œ nœœ bœœ œœ— 42 œ # œ n œ #œ 5

‰

˙˙˙

œ.

3

‰ œœœœ

Œ

œ

Œ

Ó

œ œ

w w ww

2 4

5

œ

œ œ

D-9

D13#11(b9)

˙ 4 œ œ œ œ œ œ #˙ 4

w w

131

œ b œ œ œ #œ œ nœ œ œ œ œ

b œœœ œ b & œœ

œ b œœ

nb#œœœ

#œ ? bb œœ œ

bœ bœ

œ œ

Bb13

Eb/A7

Ab13

œ w œ

œ œ œ œœ œ3

œ

3

G7#11(b9)

E-7

3

œJ

?

?

A7#9(#5)

?

?

12 133

& Œ œ

D9(#11)

?

œ œ œ œ œ œ œ

œ œ œ

œ

&

3

3

?

3

œ

œ

bœ

3

?

?

œœ bbœœœ œœb œ œœ bb œœ

135

& 44 Œ

œ

E-11alt

? 44 ˙ ˙

3

n œœ œ # œœœ

˙˙ ˙˙ ˙˙

œ 5 œ œ 4 œ œœ

Œ

‰  œr 45 ˙ œ ˙

137

4 b œ œ bb œ œ œ œ œ bœœ ˙˙ &4 Ab9sus4

? 44

bœ

bœ œ b œ ˙ bœ b œ b œ

C

œ œ

Œ

4 4

Ó

Here, I've extended the melody and the chords, pushing the bounderies of the standard 6-5-2-1turnaround format.

to playing the same changes we've been studying. 3

4 4



?

CH2/#13C - Below, is a more advanced approach RUBATO

4 4

Ó

œ

bœ

Db7(#11)

Œ

œ

3

3

œœ œœ œœ œœ œ œœ 3 œœ œœ œ œœ œ œ œ œœ œ bœ œ œ 3

3

Œ

j œœ b œœ œœ œœ

3

4 4

Ó

œ œ bœ # œœ b œ œ œ b œ œ œ œœ œœ œœ œ œ b œ œœ b œœ

U w w

G7alt

œœ œœ. œ œ.

4 4

œ œ œ bœ œ U w