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&?

c

c

..

.

.

q»§º ˙̇̇̇   ˙˙˙̇

Dm7 G7

˙  ˙

˙̇̇̇   ˙˙˙̇Cmaj7 Fmaj7

˙  ˙

˙̇̇̇   ˙˙˙̇#Bø7 E7

˙  ˙

˙̇̇̇   ˙̇̇̇b #

Am7 A7b 9

˙ ˙&?

..

..

˙˙˙̇   ˙̇̇̇Dm7 G7

˙   ˙

˙˙˙̇   ˙̇̇̇Cmaj7 Fmaj7

˙   ˙

˙̇˙˙   ˙̇̇̇#

Bø7 E7

˙   ˙

˙˙˙̇˙̇˙˙#b 

Am7 A7b 9b 13

˙ ˙

&

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b 

b 

..

..

˙˙˙̇   ˙̇̇̇Gm7 C7

˙   ˙

˙˙˙̇   ˙̇̇̇Fmaj7 Bb maj7

˙   ˙

˙̇˙˙   ˙̇̇̇#

Eø7 A7

˙   ˙

˙˙˙̇   ˙˙˙̇#b Dm7 D7

b 9b 13

˙ ˙&?

b 

b 

..

..

˙̇̇̇   ˙˙˙̇Gm7 C7

˙   ˙

˙̇̇̇   ˙˙˙̇

Fmaj7 Bb maj7

˙   ˙

˙̇̇̇   ˙˙˙̇#

Eø7 A7

˙   ˙

˙̇̇̇ ˙̇̇̇b #Dm7 D7

b 9

˙ ˙

Piano Voicing Overview, p. 142

Practice until you can play it without error or hesitation at the indicated tempo. Practice insegments (two measures at a time, if necessary) until you can play the entire passage. Whencomfortable with the harmony, try playing different styles: swing, bossa, samba, pop, funk, etc.

1. Basic voicings with good voice leading shown through key center cycle:

2. Basic voicings with good voice leading shown through key center cycle:

Piano Voicing Overview

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..

..

˙̇̇   œœœ   œœœDm7 G7

˙̇   ˙̇˙̇̇   ˙̇̇

Cmaj7 Fmaj7

˙̇   ˙̇˙̇̇   œœœ   œœœ

Bø7 E7

˙̇   ˙̇#˙̇̇   ˙̇̇b #

Am7 A7b 9

˙̇   ˙̇

&?

..

..

˙˙̇

  ˙˙̇

Dm7 G7

˙̇   ˙̇ ˙̇̇   ˙̇̇

Cmaj7 Fmaj7

˙̇   ˙̇ ˙̇̇   ˙̇̇#

Bø7 E7

˙̇   ˙̇ ˙̇̇

˙̇

˙b 

Am7 A7

b 9b 13

˙̇ ˙̇#

&?

b 

b 

..

..

˙̇̇   œœœb b    œœœb Gm9 C7 b 13

#9

C7

b 9b 13

˙̇   ˙̇˙̇̇   œœœ   œœœ

Fmaj7 Bb maj7

˙̇   ˙̇˙˙˙   œœœ#   œœœ

Eø7 A7 b 13

#9

A7

b 9b 13

˙̇   ˙̇˙̇̇   œœœ   œœœb 

Dm9 D7 b 13

#9

D7

b 9b 13

˙̇   ˙̇#

&?

b 

b 

..

..

˙̇̇   œœœb b    œœœb Gm9 C7 b 13#9

C7b 9b 13

˙̇   ˙̇˙̇̇   ˙̇̇

Fmaj7 Bb maj7

˙̇   ˙̇˙̇̇   œœœ   œœœ

Eø7 A7 b 13#9A7b 9b 13

˙̇   ˙̇#˙̇̇

œœœN#   œœœb Dm9 D7 b 13#9

D7b 9b 13

˙̇ ˙̇

Piano Voicing Overview, p. 143

3. Example no.1 shown with “drop 2” open voicings through key center cycle. Inner voices aremore easily heard. Some altered dominants have been used, but voice leading remains thesame:

4. Example no.2 shown with “drop 2” open voicings through key center cycle. Inner voices are

more easily heard. Some altered dominants have been used, but voice leading remains thesame:

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..

..........

..

..˙ œ œb 

Dm9 G13 G13b 9

˙̇̇   ˙̇̇ w

Cmaj7

˙̇̇   ˙̇̇ ˙   œb    œb   œ

Dm9 G7 b 13

#9

˙̇̇̇   ˙̇˙˙b b  w

Cmaj7

wwww

&

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b 

b 

..

..

..

..

..

..

˙ ˙Gm9 C13

˙̇̇   ˙̇̇

wFmaj7

www

˙ ˙b Gm9 C7 b 13

#9

˙̇˙˙   ˙̇˙˙b Nb 

wFmaj7

wwww

&? b b 

.

.œœ   J

œœ   Ó

F7

...œœœb    Jœœœ   Ó

.

.œœ   J

œœ   Ó

Bb 7

...œœœb  Jœœœ Ó ‰ J

œœ   Œ

  ˙

˙

b 

b 

F7 C7 b 13

#9

‰   Jœœœb   Œ   ˙̇̇b n

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.œœ   J

œœ   ‰

  .

.

œ

œ

b 

b 

F7 F7 b 13

#9

...œœœb    Jœœœ   ‰   ...œœœb 

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b 

b 

œœ   Œ..œœb b  J

œœBb 7 F7 b 13

#9

Bb 7

œœœb    Œ

..

.

œœœ

b 

nb 

Jœœœb 

wwwww

‰   Jœœ   Œ

..œœ Jœœb b 

F7 Eb 7 D7

b 9b 13

‰   Jœœœb 

Œ...

œœœb 

Jœœœb 

˙̇  Œ   œœb b   œœnn

Gm9

˙˙̇   Œ

œœœb   œ

œœ

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b 

b 

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.˙̇   œœb b   œœnnC9sus4

...˙̇̇   œœœb   œœœ

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.œœ   Jœœb b   Œ ‰

Jœœ

C7 b 13

#9

F7

...œœœ Jœœœb  Œ ‰ J

œœœb 

Œ ‰ Jœœb b   Œ ‰   J

œœD7

#9b 5 G7 b 13

#9

Œ ‰   Jœœœb   Œ ‰   J

œœœb nŒ ‰   J

œœ   œœ   œœb b   œœC9sus4 C7 b 13

#9

F7

Œ ‰   Jœœœ   œœœ   œœœb   œœœb 

Piano Voicing Overview, p. 144

6. Sample F blues chorus shown using basic left hand chords, octave right hand melody,typical comping rhythms:

5. Basic left hand voicings useful when playing with a bass player. Right hand can play singlenotes, octaves, triad shapes, upper extensions, or single line solos over the top.