Tag Archives: minor pentatonic

finding 5-note 2-hand voicings for half-diminished locrian chords

While focusing on a section of AfuriKo’s recent arrangement of “Kassai” during practice yesterday, I came across a mi7(b5) chord that calls for the locrian chord scale. Remembering Frank Mantooth’s approach in his Voicings for Jazz Keyboard inspired me to research possible 5-note 2-hand voicings for this chord.

So let’s quickly jot down a major scale and list all possible Quartal (Q), Generic Dominant (GD), and So What (SW) voicings that can be built under each scale degree (top note):

major harmony voicing types screen shot 1

The results are summarized in the table below:

voicing type top note
Quartal 1, 4, 5
Generic Dominant 2, 5
So What 3, 6, 7

The next step is to find suitable candidates to aurally represent our half-diminished locrian chord! It feels natural to go with those that:

  • sound best individually when trying them out against the root (C in the key of Db major) in the low register of the keyboard;
  • sound best in the context of a minor II-V-I.

You’ll notice that most of the eligible voicings include all three guide tones (namely b3, b5, and b7), which seems coherent since these notes characterize the mi7(b5) sound. One of the voicings, however, features b3 and b7 only (no b5), but still sounds strong as a mi7(b5) chord (to my ears…) so I went ahead and included it here, too.

1) The Generic Dominant voicing built underneath scale degree 2 has all four chord tones (C, Eb, Gb, Bb) and the 11th (F). Here it is notated below followed by its four inversions:

major harmony voicing types screen shot 4

Two of these inversions contain the interval of a b9. They sound dissonant and not quite appropriate for a mi7(b5) chord, so let’s go ahead and rule them out. We are left with the following three solid-sounding voicings for Cmi7(b5). From the top note down:

  • Eb Bb F C Gb
  • F C Gb Eb Bb
  • Bb F C Gb Eb

Incidentally (or not!), these notes make up the F insen pentatonic (F Gb Bb C Eb), which reveals itself as a very interesting scale to solo over Cmi7(b5).

2) The So What voicing built underneath scale degree 3 is slightly more adventurous, containing only two of the guide tones (Bb and Eb) and three tensions: the b9th (Db), the 11th (F), and the b13th (Ab). Its inversions don’t seem to function so well (again, these perceptions are of course subjective and there are no hard and fast rules…) as a mi7(b5) chord so let’s just keep the following chord, from the top note down:

  • F Db Ab Eb Bb

Now, it turns out this particular set of notes corresponds to the Db major/Bb minor pentatonic, which is thus also a valid choice to solo over Cmi7(b5).

3) The Generic Dominant voicing built under scale degree 5 contains all four chord tones (C, Eb, Gb, Bb), as well as the b13th (Ab). Here it goes with its inversion:

major harmony voicing types screen shot 6

Two of the those voicings (labeled Ab7 above) have a very distinct dominant color, but we can definitely use the other three as strong sounding hald-diminished locrian chords. Spelling them from top to bottom, we have:

  • Ab Eb Bb Gb C
  • C Ab Eb Bb Gb
  • Gb C Ab Eb Bb

4) The Quartal voicing built under scale degree 4 and the So What voicing built under scale degree 6 are in fact inversions of each other:

major harmony voicing types screen shot 5

Although the Db here creates the interval of a b9 with the underlying root (C), it is OK to go ahead and list all inversions for this chord as possible mi7(b5) voicings because b2 is a characteristic note of the locrian mode. From the top note down, we have the following five additional possibilities for Cmi7(b5):

  • Gb Db Ab Eb Bb
  • Ab Eb Bb Gb Db
  • Bb Gb Db Ab Eb
  • Db Ab Eb Bb Gb
  • Eb Bb Gb Db Ab

This last set of notes uncovers the Gb major/Eb minor pentatonic, yet another option to solo over Cmi7(b5).

To sum up, here are all twelve previously found half-diminished locrian voicings:

major harmony voicing types screen shot 8

And finally, let’s put them back in context! I have chosen minor II-V-Is with either V7(b9) or V7alt as the dominant chord:

major harmony voicing types screen shot 7

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away from the roost: reharmonizing the “Chicken”!

This article is also available at www.lessonface.com/content/away-roost-reharmonizing-chicken, along with a downloadable Reharm Worksheet (PDF).

Here are a few notes about Flavio Lira‘s “THE CHICKEN Travels the World,” a cool multi-groove arrangement of “The Chicken.” Flavio invited me to record it over at Lessonface’s studio in New York’s West Village earlier this year, along with some fantastic musicians, most of whom teach on the platform as well. Each of us also got to record a short tutorial (see right below) to showcase something we played in the video. Fun times!

Now, let’s try and make the most of the present article and focus on things I did not mention in the tutorial video…

  1. The original piece (“The Chicken” by Pee Wee Ellis) is a funk tune with a bluesy feel. Although its chord changes don’t follow the most common 12-bar blues format, the tune does possess one of the foremost features of the blues: the appearance of the IVth degree as a dominant chord (Eb7) in its 5th bar. Besides, blues scales and minor pentatonics (Bb minor in particular, as in the famous break in bar 12 for instance) suit the chord grid perfectly (for more on the use of blues scales, take a look at this post, an in depth analysis of a solo by one of Mr. Ellis’ close fellow funkateers!);
  2. Screen Shot 2018-02-14 at 3.10.51 AM

  3. Where the keyboard solo starts in the arrangement, Flavio deliberately penciled in a BbMa7 chord (instead of the original Bb7), which gives this section a more “tonal” feel (as opposed to the original “bluesy” feel, characterized by some amount of ambiguity and crunchiness caused by the presence of both the major third – from the Bb7 chord – and the minor third – from the Bb minor pentatonic or blues scale frequently used to improvise over Bb7). Flavio further enhances that sense of tonal harmony with a II-V resolving to Gmi7, the VIth degree in the key of Bb major. D7 is what we call a secondary dominant resolving to that Gmi7, and the Ami7(b5) is D7’s related II chord (incidentally, it is also the VIIth degree in the key of Bb major). The Bb7 preceding Ami7(b5) is a sub V of VII (in other words, the tritone substitute of E7, which would have been a “regular” secondary dominant to Ami7(b5));
  4. Screen Shot 2018-02-14 at 3.19.40 AM

  5. By now, our ears may well have been accustomed to a Bb major tonal context… And when the Eb7 chord finally hits (at the pinnacle of a nice rhythmic ascending chromatic motion), it can quite plausibly be heard as a modal interchange chord (the IVth degree of Bb dorian) rather than the characteristic IV7 blues chord mentioned earlier.

To sum up, we have a deliberate choice of Flavio’s to depart from the original blues context of the tune and delve into a more tonal realm for this section of his arrangement. Our chicken is, at the very least, cage-free, and at best truly multi-dimensional, traveling through various grooves and harmonic devices! More seriously though, this classic reharmonization technique has in fact been used since the bebop era. Take a jazz standard like “Au Privave” for example: it is a perfect illustration of how Charlie Parker departs from a simple F blues progression to get to a tonal 12-bar form in the key of F major, complete with II-Vs, secondary dominants, and modal interchange.

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pentatonic possibilities 1: major and minor pentatonics

Pentatonics are 5-note scales. Technically, any ordered sequence of 5 notes can be called a pentatonic. But the most common and widely used pentatonic is without doubt the one obtained by reordering a series of 5 notes stacked on top of each other in fifths (for example, the series “C G D A E” gives us “C D E G A” once reordered). This particular pentatonic comes in its “major” form (C D E G A), and its relative “minor” form (A C D E G).

So, what do I mean by “pentatonic possibilities?” Well, pentatonics tend to break up the diatonic quality of 7-note major and minor scales because of their intervallic content. So, to create fresh melodic shapes and give a more edgy feel to your lines while improvising over changes, you might ask yourself: what pentatonic scales can I use over these chords? Chords derive from modes, and modes from harmony types, so the question may be rephrased as: what pentatonic scales can be extracted from the various harmony types?

For the purpose of this particular post, I will limit myself to what I call the “common” pentatonic scale (the one discussed in the first paragraph). Let’s have a look at major harmony first. The pentatonics listed in the first and last column of the table shown below are extracted from the key of C major (C D E F G A B). Their “major” forms are listed in the left-hand side of the table along with their relative “minor” forms on the right-hand side, and the roman numerals represent the scale degrees for each pentatonic:

major harmony pentatonic possibilities
C D E G A I Maj. pent. <=> VI min. pent. A C D E G
F G A C D IV Maj. pent. <=> II min. pent. D F G A C
G A B D E V Maj. pent. <=> III min. pent. E G A B D

Natural minor harmony is equivalent to the Aeolian mode. Therefore, the pentatonic possibilities in natural minor are the same as in major harmony (the roman numerals indicating the scale degrees, however, would have to change due to the shift to relative minor).

Now, let’s have a look at melodic minor harmony. It turns out only one pentatonic scale can be extracted from this harmony type. It is shown in the table below in the key of C melodic minor (C D Eb F G A B):

melodic minor harmony pentatonic possibilities
F G A C D IV Maj. pent. <=> II min. pent. D F G A C

Finally, neither harmonic minor nor harmonic major harmony bear common pentatonic possibilities, due to a flatted 6th scale degree in both instances. However, some interesting “exotic” pentatonics can be derived from those harmony types…

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