|When would you play this voicing?
Well anytime there’s a minor chord and the melody note is the 11th (4th) of the chord – then it would just be rude not to play this.
So if I see F minor 7 and the melody note is Bb – then that’s your sign!
F G C / Ab Eb Bb
Now, let’s look at some modifications on this voicing:
First, we can make this into a C major 7 #4 chord – just by raising the right hand notes up a half-step:
C G D / E B F#
Note: Some people would call this C maj 7 #11 – and #4 is the same chord as a #11, I just like to use #4 for major chords.
Kenny Barron here talks of his career and demonstrates his lovely playing and a beautiful man he is.I saw him last year in Brisbane it was a beautiful concert with his trio.
When would we use this voicing?
That’s right – when there’s a major chord and the melody note is the #4(#11):
So let’s say the chord sheet says G major 7 and the melody note is C# – then that’s our sign:
G D A / B F# C#
So now we can use this voicing for major chords too!
Here’s another modification we could play:
C G D / Eb Bb
I’m leaving off the top note – the 11th (F) – and cutting the chord short so that Bb is the top note (the minor 7th).
When would you use this voicing?
Think for a moment…
That’s right – when the chord sheet says C minor 7 and the melody note is Bb – the minor 7th.
And you could do the same for C major 7 – just raise the right hand notes up a half-step:
C G D / E B
When would you use this?
Correct – when the chord sheet says C major 7 and the melody note is B (the major 7th).
Go to the piano and explore the Kenny Barron voicing and the 2 modifications we just looked at. Practice building this interval pattern from all 12 notes at random.