TUTORIALS 1 Intervals 2 Triads 3 7th Chords 4 Major & Minor Scale Tone Harmony 5 Modes of the Major Scale 6 Composite Minor Scale Tone Harmony 7 The Major II-V-I Progression 8 The Minor II-V-I Progression 9 Type A&B Left Hand Piano Voicings HOME ABOUT MIKE NELSON ABOUT JENNY WRENN CONTACT ABOUT US (WNP) JAZZ EDUCATION [including FREE Tutorials] RECORDINGS LINKS CLIENT PAGES GIGS - WHAT'S ON

TUTORIAL 9 - Type A & B Left Hand Voicings The II V I progression occurs frequently in jazz harmony. Many tunes in the standard jazz repertoire are made up of a series of II-V-I, II-V and V-I building blocks strung together. PART 1: MAJOR II V I VOICINGS If we express the chord symbols using root position chords (ex.1) we soon grow tired of the sound. Jazz pianists prefer to use the "TYPE A & B" left hand voicing system. Some relevant points: As can be seen from ex.2 & 3, Type A and Type B are inversions of each other. (Learn both types in all keys). The voicings sound most effective within the range of a major 6th above and below middle C. Smooth voiceleading will usually determine which type to use. A/B voicings are more complex than the chord symbols would suggest. This is standard practice - jazz pianists are expected to make more of the harmony than the basic chord symbol would imply. Unlike ex.1, the Type A/B voicings do not have the chord root on the bottom of the voicings. This allows the bass player freedom to choose how to "anchor" the harmony. When playing solo, too much use of Type A/B voicings without stating the roots of the chords can begin to sound somewhat ambiguous. The jazz pianist may choose to anchor the harmony by stating the "FOUNDATIONS" of the chords (usually the roots although for variety 3rds, 5ths and even 7ths may be used). In the following example (ex.5) 2 note foundations based on the roots of the chords are used in combination with Type A voicings to accompany the melody. [Pt.2 - MINOR II V I VOICINGS] ©Mike Nelson 2001