TUTORIAL 9 (PART 2)
MINOR II V I VOICINGS
Voicing solutions for the Minor II
V I progression are more involved than for the
Major II V I.
Chord symbols for the Minor II V
I in the key of C are:
- Dmi7b5 - G7b9 - Cmima7 or Cmi6
The first approach is to simply chromatically alter or "minorise" our existing Major II V I voicings to accomodate the additions / alterations found in the above symbols. In ex.6 (Type A) and ex.7 (Type B) the voicings for Dmi7 - G7 - Cma7 are "minorised" by:
- Lowering the 5th of II (Dmi7 becomes Dmi7b5)
- Lowering the 9th of V (G7 becomes G7b9)
- Lowering the 3rd of I (Cma7 becomes Cmima7 or Cmi6)
The second approach uses a hybrid mix of voicings to
create a sweet sounding minor II V I package. These
"Hybrid" minor voicings are favoured by jazz pianists
and were used extensively by Bill Evans and many other jazz
pianists.
Hybrid minor voicings create voicings which sound as
IImi7b5, V7alt (or V7#9b13), Imi69 / Imima7
eg: ( In the key of C minor ) Dmi7b5 - G7alt -
Cmi6 however, the specific sounds are not important
other than: once the pianist has decided that the chords
symbols on the music denote a minor II V I sequence, then
the choice of Minorised, Hybrid or any other
voicing system will depend only on such issues as taste and
whether or not the melody is supported by the voicing
choice. The fact that the player's voicing choice may create
sounds slightly different from the written chord symbols is
not crucial.
In examples 8 and 9, note how the generic "G7b9" chord
symbol (functionaly: V in C minor) produces the sound of a
G7alt (G7#9b13) when the hybid voicings are applied.
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