“A” Voicings
Here’s a lesson on voicing that were used by guys like Bill Evans and everyone uses these. These are A and B voicing. First we’re going to over the A voicing.
Now, this is in A minor 7, 5-7-1 situation. So we’re going to start in the key of C. So our 2-5-1 would be Dm7-G7-CM7. So for our two-chord, the A voicing starts on the third of the chord so that’s going to be our F, against the D and it’s just the stack on top of that. So you have your F-A-C-E. Over the D we have our minor 3rd, our 5th, our 7th and our major 7th.
Now to make our five-chord our G7-13 will be we’re just going to drop the C the 7th down one half step which is beautiful voice leading to B and this is going to give us G in the base, F our dominant 7th, A our 9th, B our 3rd and E on top which is the 13th. So you have this movement. So it makes it very convenient to get to these changes using one finger movement.
And to resolve through our one-chord our CM7, we’re going to bring down our top finger and our bottom finger, our pinky and our thumb, when D on the top and have an absolute E. So CM9 which you'll have C in the base or E is the 3rd, A is the 6th, B is major 7th and D is the 9th. All the color tones, all in proper voice leading.
So when you practice these learn them in chromatic order in all the cycle, practice cycle of 4th and bring it up through the keys and really get familiar with them.
Now the beauty of this kind of voicing first of all give you a ruthless voicing which if you are playing with a base player its much cooler not to be playing the base if you're a piano player you’d be playing the base note. But you can get to all the altered voicing from this position. So for instance go to our G7 and 13 if you drop you’re a down to that A flat that give you G13-flat9 because you're hitting the flat 9 there.
There’s another one on our five chord that’s G7 flat 9, flat 13 with that D sharp or E flat on top. And there’s the A voicing.
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