HAERLE, Dan - Jazz Rock Voicings

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Dan Haerle holds a Bac helo r of Music degree from Coe College, Ced ar Rapids, Iowa and a Master of Music degree from Nor th Texas Stat e Uni vers ity, Den ton, Tex as. For thre e year s, he was a part -tim e inst ruct or in the Jazz Dep artm ent at Nor th Texas Stat e teac hing arranging, imp rovi sati on, and dire ctin g vari ous jazz grou ps. From Nor th Tex as Stat e, he mov ed to Mon tere y Pen insu la College, Mon tere y, Cali forn ia and was in char ge of the jazz prog ram dire ctin g the jazz ense mbl e, teac hing imp rovi sati on and arra ngin g, teac hing jazz app reci atio n, and direc· ting jazz pian o wor ksho ps. From Sep t. 1971 to Jun e 197 3, Mr. Haerle was the Ass ista nt Prof esso r of Music at the Uni vers ity of Miami, Coral Gables, Flor ida, assisting Mr. Jerr y Cok er in the inst ruct ion of arranging, jazz hist ory, imp rovi sati on, jazz pian o, and dire ctin g various jazz ense mbl es. He was a staf f mem ber of the Stan Ken ton Jazz Clinic at the University of Red land s, Red land s, Cali forn ia for four year s; a staf f mem ber of the Stan Ken ton Jazz Clinic at Dru ry College in Spri ngfi eld, Missouri for four years; a staf f mem ber of the Fam ous Arra nge rs' Clinic, Uni vers ity of Nevada, Las Vegas, Nevada for thre e year s; and a staf f mem ber of the Nat iona l Stag e Ban d Camps for thre e year s. Mr. Haerle has had exte nsiv e perf orm ing exp erie nce as a stud io orga nist i!nd pian ist, as a pian ist with the Fac ulty Jazz Qua rtet at the University of Miami, and as a sum mer repl acem ent for Stan Ken ton with the Stan Ken ton Orc hest ra.

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, Second Edition

Cop yrig ht @ 197 4 Ly Stud io P/R , Inc. 224 S. LeLanon St., LeLanon, Indiana 460 32 All righl~ reserved. No part of this Look may be repr odu ced in any form, by mimeograph or any othe r means, without permission in writing from the pub lishers.

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TAB LE OF CON TEN TS L

FOR EW ORD L

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INT RO DUC TIO N GEN ERA L NOT ES

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FOU R NOT E VOI CIN GS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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ALT ERE D DO MIN ANT 7TH VOI CIN GS . . . . . . . . . . . . . . . . . . , . . . . . . . . . . ... ..

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TW O-H AND VOI CIN G PRI NCI PLE S . . . . . . . _ . . . . . . .......... _ . . . . . . . . . . .

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CHO RDS VOI CED IN FOU RTH S . . • . . . . . • . . . . . . __ . . . . . . . . . . . . . _ ... _ . ..

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·.. .. ... ... .... .. . . . . .. .. . . .. .. . . ... . . ..

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SUS PEN DED FOU RTH CHO RDS . . . . . . . • . . . . . . . . ......................

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POL YCH OR DAL VOI CIN GS

APP LIC ATI ONS TO MIN OR KEY S THE FUN CTI ON OF CHO RDS TRI -TO ;\JE SUB STI TUT ION S

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APP LIC ATI ON OF THE TRI -TO NE PRI NCI PLE . . . . . . ........... " ME LOD Y HAR MO NIZ ATI ON

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THR EE NOT E VOI CIN GS

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MO DAL VOI CIN GS . . . . . . . . . . . . . . . . . . . . . _ . . . . . . . . . . . . . . . . . . . . . . . . ..

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CHR OM ATI C PAR ALL EL MO TIO N . . . . . . . . . . . . . . . _ . . . . . . . . . . . . . . . . . . ..

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ELE CTR ONI C KEY BOA RD APP LIC ATI ONS . . . . . . . . . . . . . . . __ . . . . . . . . . . . . _

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BLU ES PRO GRE SSI ONS . . . . . . . . . _ ... _ . . . . . . . . . . . . . . . . . . . . . . . . . . _ . _.

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TUR NAR OU ND PRO GRE SSI ONS . . . . . . . . • . . . . . . . . . . . . . _ . _ . . . . . . . . . . . _.

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II-V -I PRO GRE SSI ONS

CHO RD SYM BOL APP END IX

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FOREWORD

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As one who is extr eme ly inte rest ed in the dev elop men t of met hod s and mat erid ls pert aini ng to the stud y of jazz rock mus ic, I am espe ciall y deli ghte d to see the rele ase of this fine boo k by Dan Hae rle. I exp ect that it will soo n bec ome a stan dard met hod at scho oi; with jazz prog ram s, at mus ic cam ps, Jnd in priv ate stud y, with or with out an inst ruct or. I also see the boo k as a valu able aid to stud ents of com posi tion -arr ang ing for lear ning voic ings , voic e·le adin g, cho rd func tion , alte red dom inan ts,

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harm ony , poly cho rds, cho rd sub stitu tion , mel ody

harm oniz atio n, chro mat ic para llel mot ion, and in gene ral, the harm onic lang uage of our time .

An outs tand ing pian ist-a rran ger- teac her, Dan Hae rle is cert ainl y the righ t indi vidu al to auth or such a boo k as this. His wid e exp erie nce lend s auth orit y to his use of cate gori es with rega rd to the rela tive com mon ness of spec ific voic ings _ Hav ing taug ht with Dan for the Uni vers ity of Mia mi Jazz prog ram , I kno w that his met hod s are thor oug h, curr ent, and effe ctiv e. I high ly reco mm end this boo k to all pian ists and arra nger s of the jazz -roc k idio m_

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Jerry Coker Big Creek Music Seminary ,

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INTRODUCTION

This book is intended as an intermediate method for jazz and rock keyboard players. Therefore, a basic understanding of the construction of common chord types is necessary for the application of principles outlined in the book. As there are many sources of this information already available, it is the author's desire to provide only that information relating to the handling of chords which it is felt that most students are usually seeking. In addition, principles of .L

chord function and substitution have been included since an understanding of these is essential . The format of the book is based on a categorization of chords according to common uSJUe and basic structure. Although the use of root position block chords is certainly possible, their construction is obvious and, as such, they will not be discussed here. Many voicings are presented in typical harmonic functions since this is an inseparable part of their nature. All examples relate to the key of C (major or minor) to allow for a comparative analysis. An understanding of each voicing, as to the adjacent intervals and the chord members included, will greatly aid the player in adding that voicing to his harmonic language. Naturally, all voicings should be memorized and learned in all keys to achieve the greatest ease in using them.

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The book does not presume to be exhaustive in its inclusion of voicings; to do so would be literally impossible. However, a representative sampling of voicings in common use is shown and these should suggest many slight variations.

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Moreover, principles of polychords, suspended fourth chords, chords voiced mainly in fourths, and electronic keyboard applications are included to help the young keyboard player gain an understanding of current devices of the '70's.

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Any of the three or four note voicings in this book may be used ill the followl11g ways: A B C

As a chord played by the left hand while the right hand creates a melodic improvisation. As a chord played by the left hand to which the right hand adds selected tones for a fuller voicing. As a chord played by the right hand while supplying the root (and 3rd, 5th or 7th) with the left hand in accompanying other soloists.

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In connecting chords, individual chord tones should move smoothly to iJ tone in the next chord, usua~ly stepwise. Common tones between two successive chords may be retained or moved stepwise if a resolu:ion causes duplication of a tone.

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The 3rd and/or the 7th of the chord should normally be present in every voicing.

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In progressions of a 5th downward (4th upward), the following is always true:

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The 3rd of a chord has the same letter name as the 7th of the next but may require a chromatic alteration. The 7th of a chord should normally resolve downward stepwise to the 3rd of the next chord.

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In showing the voice-leading from one chord to another, the following method is used in this book:

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A straight line angled upward or downward indicates stepwise motion, usually in the scale of the key. A curved line indicates a skip of a third or more. The absence of either symbol indicates a lack of motion or a tone which is in common with both chords.

Generally speaking, the basic three or four note voicings should be played in the vicinity of middle C on the keyboard. Limits of approximately an octave above or below will assure best results by preventing the voicing from assuming a quality of either thiness or muddiness.

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C ho rd s vo ic ed in in te rv al s of a fo ur th (2'12 st ep s) have a lig ht , fl oa tin g qu al it y w hi ch co nt ri bu feeling to an y ha rm on ic te xt ur e. te s an- OPE This is pr im ar ily for tw o re as on s: (1) Si nc e th e voicings are ar ra in fo ur th s, th er e is less of a th ic ng ed pr im ar il kn es s, or cl us te ri sh na tu re to th e so no ri ty , an d (2) Si nc e tw o ad of a fo ur th im pl y a su sp en de d ja ce nt in te rv a ha rm on y w ith at le as t th re e re so lu tio ns , th er e is a no nc om m it al mony (see EX A M PL E 1) na tu re to th e hz

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What note is the highest and lowest note in the voicing? A. A major 3rd or major 7th of the chord on top tends to brighten the sound of the voicing. At raised 11 th has the same effect. 1 8. If the bass note is the root of the chord, the voicing has more strength, but if it is absent the t~ quality is considerably lighter.

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In a context of VOIClngs that are primarily built in fourths, voicings which combine perfect fourths andlc augmented fourths will fit in well and tend to sustain the general fourthy quality. This is particularly true of mi-harmonies where a tri·tone (augmented fourth) exists between the 3rd and 6th of the chord, and in dominan:, ,jrmonies where a tri-tone exists between the 3rd and 7th of the chord. This can easily be seen by looking at th~ voicings shown in Example 4.

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Example 5 illus~rates a combination (there are many possible) of examples 3 and 4 with additional qU~ changes in the third and fourth chords. By changing the A~ and Db chords to major qualities, the progressiorj gins to sound like bVI to V to I to IV in the key of Ab until the abrupt return of the I chord in C! A quick e:1; ination of the functions of these chords should explain this curious phenomenon; a dominant 7th progreS5.J. down a 5th to a major 7th will alwavs sound like V to I! ! I

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24

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MELODY HARMONIZATION

Anyone who has ever tried to harmonize melodies from rather sketchy lead sheets knows that it is often a challenge to supply interesting chords to a simple melody. This is especially true in the case of many old songs .. found in fake books where usually only the barest outline of the harmony is provided. However, applying the principles of chord functions and substitutions, it is relatively easy to produce harmony which satisfies the pro... gression and/or an interesting variation. The first example shows a four-bar melodic phrase with only one C chord indicated for the entire phrase.

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This is a fairly common harmonic situation.

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EXAMPLE 1

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Embellishment of a harmony which lasts for two measures is shown in examples 3, 4 and 5. Here, the C minor chord is ~Clunded and moved away from chromatically, only to return very soon. This type •of motior creates tension since the chromatic harmonies foreign to the tonality are of sufficient duration and appear in ar accented position in the measure. Example 6 moves a little farther away from the C tonality but still returns to c strong statement of that chord.

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ELECTRONIC KEYBOARD APPLICATIONS

Since there are a number of electric pianos and organs in wide use today, it seems pertinent to mention

. some considerations relative to those instruments as well as some of their possibilities.

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In general, most voicing principles related to the acoustic piano will apply equally well to electronic keyboards. However, there are two general exceptions:

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Thick, closely voiced chords, which sound full on acoustic piano may be too harsh or dissonant when played on electric piano or organ.

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Two or Three-note voicings, which sound thin or weak on acoustic piano, may sound full and strong on an electric keyboard because of electronic amplification.

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Unlike the acoustic piano, which has little sustaining power, an electronic keyboard may be used effectively to play melodic lines in combination with other instruments. Also, various amplifying sources for electric instruments make possible the use of such effects as vibrato, tremelo, reverberation and tone control. In addition, there

1are a number of modifying devices which, when used with an electric keyboard, can produce a rich variety of tone colors. Some of these devices are listed and described below:

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1 2

VOLUME PEDAL - allows the foot to control volume so both hands are available to the keyboard. WAH-WAH PEDAL - essentially a filter which either allows or greatly reduces the number of high frequencies present in the tone quality of the instrument. This is sometimes combined with either the volume or fuzz-tone pedals.

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FUZZ-TONE - a distortion device which adds a tense quality to the tone. This is generally suited only for melodic use as it tends to distort chords too badly.

4

REVERBERATION UNIT - adds a spacious quality to the tone which simulates the illusion of playing in a large hall.

--

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RING MODULATOR - a device which combines the sound of the instrument with that of a variable pitch oscillator to create both a difference tone and a combination tone. The oscillator has a range of about six octaves and the degree of modulation is controllable. At one end of the scale, only the key-

-, 6

board tone is heard and at the other end, the original keyboard tone disappears completely! LESLIE SPEAKER - this is a type of speaker-amplifier which has a speaker horn that is conti;,uously turning in a 360 degree circle. The horn may turn at both slow and fast speeds creating a pleasing tremelo effect.

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PHASE SHI FTER - a device which has a pulsating effect similar to a leslie speaker and creates the illusion of a continuous tone quality change.

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ECHO-PLEX - essentially a tape recorder with an extra playback head so that whatever has just been played (recorded) can be played back immediately at any desired interval of delay and as many times as wanted. The volume of the echo in relation to the original is also adjustable. Since the device employs a tape loop of about two minutes duration, this entire loop may be played back while recording other material on top of that which was previously recorded. Therefore, it is possible for one to play duets, trios, even quartets with himsel f! There are also some interesting feed-back possibilities

-

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which involve increasing the sustain and volume levels past the normal position. Most of the5e devices may be simply patched between the keyboard and the amplifier. However, in the case

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'." Undoubtedly, much of the information In this section will either be obsolete or old hat by the time it .appears in print. However, it is hoped that the ideas presented here will be of some use.

33

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BLUES PROGRESSIONS (IN C) VOICED FOR THE LEFT HAND

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8.

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E b7

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C7

Ami7

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Gmi7

C7

9.

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F7

Cmi7

F7

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Smi7

C7

B b 7 Ami7

07

Gmi7

C7

10.

F M7

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Cmi7

F7

sb 7 )

B0 7

Ob m i7

G~7

07

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C7

Ami7

Ab mi7 Gmi7

Gb

F M7

Ab mi7 Gmi7

Gb ,

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w

2

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E7

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Ami7

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(Jl

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F M7

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A7

Omi7

Eb mi7 Omi7

G7

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cb7

.

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C7

.L

Ab m i7

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.'

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01>7

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Eb 7 Ab M7

Ab mi7

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07

GM7

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13.

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14.

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15.

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16.

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G7

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17.

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EM7

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B7

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I

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0~mi7

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C7

FM7

NOTE: Portions of these progressions could be combined with each other to create hundreds of slight variations of the above. Notice that practically all blues progressions follow a similar basic form, which is as follows: First 4 measures - I chord; Second 4 measures - , IV chord (returning to a I chord or its substitute); Final 4 measures - V chord (or II-V substitute) returning to a I chord.

Ab M7 GM7

G~

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. TURNAROUND PROGRESSIONS A turnaround pro~Jression is uSLlally a .two·!JJr pro(Jlession found ZIt till! end of dll ei~lht·iJdr phrase (Measures 7 'f": Jilt! 8). The turnaround serves scvcrJI purpos(~s; 1 It lelieves the monotony of hearll1~1lhe tonic chord only for d two meJsures, 2 It prepares the IJeuinning of the next JJhrase, .Inti 3 III m,)I1Y cJs'es, it:hclps cl,lrify the form by helping to emphasize the beginning of a new chorus, There are endless possIbilities, of course, but Some common ·~r.:,ll ;r~ turnarounds are shown here. '

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40

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CHORD SYMBOL APPENDIX

Major family - C, CG, CG9, CM7, Cmaj.7, C:r,

C6.

Minor family - Cm, CmiG, Cmin7, c-7, Cm h

.4 I•

I

....

Dominant family - C7, C9, C9+11, C13

1

Half-diminished - Cmi7-5,

1

Diminished - Cdim7, C07

d

1 Augmented - C+, C+7

1 Suspended - C sus., C sus.4, Chord/C pedal or Chord/C bass

1 •

1

Added notes - Cadd 9, Cadd 4

•

1

Omitted notes - C omit 3

•

1

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J 1

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41

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NOTES

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STUDIO PIA, Inc., 224 S. Leb,)llOn St., Lebanon, Ind. 4G052

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;\ :"-LW APPROACH TO JAZZ I\\PROVIS.\T!ON - Volumes 1 through 10 hy Jailley :\eber.;old (record :1I1d book) ......................... S8.95 P \TTI'I~\,S FOR J \ZZ by Jerry Coker. J:lI11L'S Casale. Gary Cl111 pbL'11. :1:1