See the related lesson links and practice tips below for links to these theory studies. These voicings can be played with or without the root. This same idea can be applied the the 251 in the opposite inversion and notice that the same technique is used where we drop the 2nd to top note. Octave lower to create a ‘drop 2’ configutation. Notice that the 2nd highest note is “dropped” into the lower Here is a visualisation for the drop 2 voicings using a 251 in Bb Major. These include drop 2 vocings, Barry Harry voicings, quartal voicings, upper structure triads, and chromatic 25s. In addition to basic rootless voicings, we explore a selection of more advanced comping styles and voicing configurations. We then apply a wide range of harmonic and melodic devices for the comping and improvisation. The demonstration starts with the head played as a single note melody and then harmonised with Barry Harris Voicings. We use the blues head “Bud’s Blues” which is commonly in the key of Bb. ![]() In this lesson we explore comping and improvisation over the Bb Blues.
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