The Sound One (S1) in chord progressions, used exclusively to create that jazz piano (or guitar, or arpeggiated for horns) sound: I once ran a showcase band at MacEwan, and was getting into some arrangements that called for this S1 sound. I was working with a very interesting go-to-kind of guy on guitar in the band. He didn't know how to voice a G7(#9#5) chord per se, but he knew how to voice dominant 13 chords. So I asked him on the spot to play a Db13 chord / G bass and lo and behold we had the asked for G7(#9#5) chord voicing. He was surprised but realized that basically, he already had voicings for altered dominant chords which were virtually the same as V13 chords a tritone away. I was prompted to tell him this, because I had been working this "Sound" thing and that was an action that came out of that study. So why do this and not stick exclusively to the "normal" extension replacement of seventh chord tones (9 for 1, 13 for 5 etc.)? Because with t
Showing posts from November, 2012
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I'm putting together a series of blogs on " The Sound ," a voicing idea with some connected but divergent paths creating transformations of chord quality and chord progression. In this introduction the concept of the Sound is introduced, as well as how it naturally interrelates with the bebop cli ch é. The basic Sound has been heard in jazz piano for over half a century now and we all know it so well it is often referred to as the " Stock 13 " chord. I first learned it from the guys I was playing with in the 1960's and heard more about it from a jazz piano book series by John Mehegan, who featured it in what he called A and B voicings which used Fma7(b5) as an example of a G13 chord. The A version was this closed voiced chord in root position and the B version was the second inversion of that. This particular voicing was described by my friend Mike Nock, as " The Sound " ...heard all over the world where and when jazz was played.