Professional Documents
Culture Documents
PART 1
This adventurous approach to voice leading might or might not turn you into a voicing
superhero, but it will enable your fingers and expand your mind
by Mitch Haupers
ave you ever watched a professional dog walker when they’re Mr. Goodchord’s Keyboard Chord Decoder:
takes a lot of practice to make it look so easy. a) b) c) d)
1
World-renowned jazz guitarist Mick Goodrick has tackled the
1 2
1 2 3
1 2
problem (in classic X-men style) with an immense two-volume set (soon 2 3
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to be three) entitled Mr. Goodchord’s Almanac of Guitar Voice-Leading 4
for the Year 2001 and Beyond. Don’t let the title fool you; this method With the chord tones numbered, arrangers will take certain notes
may have been written by a guitarist, but it’s aimed at any musician and drop them down an octave (D) or two octaves (DD). With any
who is interested in exploring harmony and voice leading, including of the inversions shown here, you can take the second note from
keyboardists, composers, and arrangers. the top and drop it an octave, and you’ll have a drop 2 voicing (D2).
In a nutshell, Mick has provided us with every possible three- and If you take the third note down an octave, it’s a Drop 3 (D3). You
four-part diatonic chord that exists within a seven-note scale (triads, can drop more than one note at a time. See Example 1 for
sevenths, hybrids, quartal voicings, and spread clusters). He shows you examples of drop voicings and how they’re named.
how to move from any possible inversion using many voicings, to any
ILLUSTRATION © 2003 RICK EBERLY
42 KEYBOAR D SEPTEMBER 2003 w w w. key b o a r d m a g . c o m
other possible chord or voicing within the scale. That partially explains
why each volume exceeds 300 pages, yet covers only the chords within
Mr. Goodchord’s Keyboard Chord Decoder:
the major, harmonic minor, and melodic minor scales — in the key of What’s a TBN?
C! And he does it without a speck of standard music notation. Mr. Goodchord has a few ways of looking at triads and their
It’s a phenomenal system, and many keyboard players find it to be relationship to a bass note, so there are a few unique terms
of tremendous value (Russell Ferrante and Lyle Mays, to name but two). that crop up. Seventh chords can be thought of as a triad over a
We’ve hatched this article to provide an easy introduction to the system, bass note (a), separated by a third; Mr. Goodchord uses standard
and to give you enough material to work on for quite some time. Even seventh chord terminology for these. When a triad and bass note
though we show you everything in complete cycles and progressions in have a fifth between them (b), Mr. Goodchord calls it a TBN I (triad
C major, by all means start transposing the material and experimenting over bass note I). When a triad and bass note are separated by a
with it right away. The examples in this article are not meant to be seventh (c), Mr. Goodchord calls it a TBN II.
exercises, but springboards. a) b) c)
Em/C G/C Bdim/C
Cycle 2
M Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, Bm7b5
Hm Cm-maj7, Dm7b5, Ebmaj7#5, Fm7, G7, Abmaj7, Bdim7
Mm Cm-maj7, Dm7, Ebmaj7#5, F7, G7, Am7b5, Bm7b5
Cycle 4
M Cmaj7, Fmaj7, Bm7b5, Em7, Am7, Dm7, G7
Hm Cm-maj7, Fm7, Bdim7, Ebmaj7#5, Abmaj7, Dm7b5, G7,
seventh TBNI TBNII
Mm Cm-maj7, F7, Bm7b5, Ebmaj7#5, Am7b5, Dm7, G7
Cycle 6
M Cmaj7, Am7, Fmaj7, Dm7, Bm7b5, G7, Em7 The Mother Lode
Hm Cm-maj7, Abmaj7, Fm7, Dm7b5, Bdim7, G7, Ebmaj7#5 At the heart of the system are progressions — Mr. Goodchord calls them
Mm Cm-maj7, Am7b5, F7, Dm7, Bm7b5, G7, Ebmaj7#5
cycles — that encourage you to experience both the harmonic and
Cycle 7
melodic aspects of the progressions as you play them. We use six different
M Cmaj7, Bm7b5, Am7, G7, Fmaj7, Em7, Dm7
cycles for each seven-note scale, which means we cover every possible
Hm Cm-maj7, Bdim7, Abmaj7, G7, Fm7, Ebmaj7#5, Dm7b5
way of moving from one chord to another within a given key. The six
Mm Cm-maj7, Bm7b5, Am7b5, G7, F7, Ebmaj7#5, Dm7
Cycle 5 cycles aren’t numbered 1 though 6 in order, however; they’re named
M Cmaj7, G7, Dm7, Am7, Em7, Bm7b5, Fmaj7 according to the ascending root movement of the cycle. Cycle 2 uses root
Hm Cm-maj7, G7, Dm7b5, Abmaj7, Ebmaj7#5, Bdim7, Fm7 movement of an ascending diatonic second, Cycle 3 moves chords by
Mm Cm-maj7, G7, Dm7, Am7b5, Ebmaj7#5, Bm7b5, F7 ascending diatonic thirds, Cycle 7 uses root movement of a seventh, and
Cycle 3 so on. In the key of C, here are the Cycles for the major scale (M), the
M Cmaj7, Em7, G7, Bm7b5, Dm7, Fmaj7, Am7 harmonic minor scale (Hm), and the melodic minor scale (Mm). See
Hm Cm-maj7, Ebmaj7#5, G7, Bdim7, Dm7b5, Fm7, Abmaj7 chart at left.
Mm Cm-maj7, Ebmaj7#5, G7, Bm7b5, Dm7, F7, Am7b5 When you’re experimenting with voice leading over these cycles, use
voice movement that is as smooth as possible without moving in
Ex. 1. There are many ways to voice a chord, and arrangers know them by name. Knowing these will come in handy when we start working our voice
leading magic. Each of these takes a particular inversion of a close-voiced Cmaj7 chord and redistributes the notes in a particular way. In 1a, we take the
second note from the top and drop it down an octave for a drop 2 (D2 for short, in this article). In 1b, take the third note from the top and drop it an octave;
this is drop 3 (D3). Drop the second and third notes in 1c down an octave to get a drop 2, 3 voicing (D2,3). In1d, drop the second and fourth notes for a
drop 2,4 (D2,4). And finally, drop the second note two octaves and the third note one octave for a double-drop 2, drop 3 (DD2D3). Note how I used
different inversions in the close-voiced chords, yet I ended up with C in the bass for every drop voicing. The trick is to know which close-position chord
in which drop voicing will put the note you want in the bass.
a) b) c)c) d) e)
1
2
1
1 1 3
2
1 2 2 4
2 3 3 3
3 4 4 4
4
Ex. 2. This gives you an idea of how you can take a voicing through each of the cycles described in the text. Each measure contains the first three chords of
one cycle. Here we’re taking a close-voiced triad through the cycles of C major.
a) b) c) d) e) f)
C Dm Em C F Bdim C Am F C Bdim Am C G Dm C Em G
Ex. 3. Here we take an open-voiced triad through the first three chords in the cycles in C major.
a) b) c) d) e) f)
C Dm Em C F Bdim C Am F C Bdim Am C G Dm C Em G
Cycle 2 Cycle 4 Cycle 6 Cycle 7 Cycle 5 Cycle 3
Ex. 4. Here the scale is C harmonic minor, we’re using seventh chords in four-way close voicing, and were taking the voicings through cycle 4. We’re also using
the Mr. Goodchord Universal Notation System. Standard music notation doesn’t quite do justice to all that is contained within the Mr. Goodchord system.
To start with, not all musicians can read notation. Our thinking was that any and all musicians who know where the notes are on their chosen instruments
would be able to use this system. The arrows represent direction of movement between voices (either up or down). The dashes represent common tones between
two adjacent chord tones (and therefore no movement between chords in that voice). The vertical stacks of note names are the chord structures, and the
names above them are the standard chord symbols.
Ex. 5. Here is Example 4 in standard notation, using the most basic rhythm. Note that common tones between chords can be re-played, as between bar lines
here, or they can be held, as with the lower notes within each bar.
4
4
➥
Ex. 6. This example shows D3 seventh chords moving through cycle 4 of the C major scale. The repeat signs surrounding the voice leading work the same
way as they do in ordinary music notation — simply repeat what is between them. This is in “long form,” which means you have to play through the cycle
a number of times before you arrive at the original voicing you started with. This may be two, three, or even four times through, depending on the chord
type and cycle.
Cmaj7 Fmaj7 Bm7b5 Em7 Am7 Dm7 G7 Cmaj7 Fmaj7 Bm7b5 Em7 Am7 Dm7 G7
G ∞ F F ∞ E E ∞ D D ∞ C C ∞ B B ∞ A A ∞ G
■ ∞ E E ∞ D D ∞ C C ∞ B B ∞ A A ∞ G G ∞ F F ∞ ■
■ B ∞ A A ∞ G G ∞ F F ∞ E E ∞ D D ∞ C C ∞ B ■
∞C C ∞ B B ∞ A A ∞ G G ∞ F F ∞ E E ∞ D D∞
Ex. 8. Here is one possible rhythmic realization of Example 7. This goes through just one cycle; when you play it, continue through the full form.
etc.
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Ex. 9. Here’s another approach to Example 8.
12
8
Ex. 10. This is cycle 6 with open triads in C major. As in cycle 3, there is only one moving voice. This means that the other two voices are common tones.
12
etc.
8
Ex. 12. This takes the cycle 3 progression of Example 7 and adds a bit of cross-hand fun.
L.H.
12
8
etc.
12
8
➥
46 KEYBOAR D S E PTE M BE R 2003 w w w. key b o a r d m a g . c o m
how to play
Mr. Goodchord
Ex. 13. Let’s try out open triads over cycle 5 in C major.
C G Dm Am Em Bdim F C G Dm Am Em Bdim F C G Dm Am Em Bdim F
■ ∞E ∞ D D ∞ C∞ B B∞ A ∞
G G ∞ F ∞ E E ∞ D ∞ C C ∞ B ∞ A A ∞ G ∞ F F∞ ■
■ ∞G G ∞ F ∞ E E ∞ D ∞ C C ∞ B ∞ A A∞G ∞ F F ∞ E ∞ D D ∞ C ∞ B B∞ A∞■
C ∞ B ∞ A A ∞G ∞ F F ∞ E ∞ D D ∞ C∞B B ∞ A ∞ G G ∞ F ∞ E E ∞ D∞ C
Ex. 14. You could set off the single common tone against the two moving tones like this; note that this lends itself well to three-bar phrases, as the voice
leading repeats every three chords. This starts on the last chord in the cycle.
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4
etc.
4
Ex. 15. Cycle 4 is known as the Circle of Fifths outside of Mr. Goodchord’s workshop. Open voicings, C major.
C F Bdim Em Am Dm G C F Bdim Em Am Dm G C F Bdim Em Am Dm G
■ ∞E ∞ F F ∞ G ∞A A ∞ B ∞ C C ∞ D ∞ E E ∞ F ∞ G G ∞ A ∞ B B ∞ C ∞ D D∞■
■ G ∞ A ∞ B B ∞C ∞ D D ∞ E ∞ F F ∞ G∞ A A ∞ B ∞ C C ∞ D ∞ E E ∞F∞ G ■
∞C C ∞ D ∞ E E ∞ F ∞ G G ∞ A ∞ B B ∞C ∞ D D ∞ E ∞ F F ∞ G ∞ A A∞ B∞
Ex. 16. This realization of Example 15 is similar to that in Example 14, but you can hear how the different cycle gives it a whole different sound.
4
4
etc.
4
4
Ex. 17. Cycle 7 covers a lot of keyboard real estate quickly. Start higher or lower on the keyboard, or transpose up or down an octave to accommodate.
CBdim Am G F Em Dm C Bdim Am G F Em Dm C Bdim Am G F Em Dm
■ ∞E ∞ F ∞A ∞ B ∞ C ∞ E ∞F ∞ G ∞ B ∞ C ∞ D∞ F ∞ G ∞A ∞ C ∞ D ∞ E ∞ G ∞ A ∞ B ∞D∞■
■ ∞G ∞ B ∞C ∞ D ∞ F ∞ G ∞ A ∞ C ∞ D ∞ E ∞ G∞ A ∞ B ∞ D ∞ E ∞ F ∞ A ∞ B ∞ C ∞ E ∞ F ∞■
∞C ∞ D ∞ E ∞ G ∞ A ∞ B ∞ D ∞ E ∞ F ∞ A ∞ B∞ C ∞ E ∞ F ∞ G ∞ B ∞ C ∞ D ∞ F ∞ G ∞ A∞
Ex. 18. This alternating staccato texture sounds good over Example 17.
4
4
etc.
4
4
Ex. 19. Cycle 2 provides us with a classic example of conjunct/disjunct voice leading, since we’re moving our voices in the opposite direction of the root movement.
CDm Em F G Am Bdim C Dm Em F G Am Bdim C Dm Em F G Am Bdim
■ ∞E ∞ D ∞B ∞ A ∞ G ∞ E ∞ D ∞ C ∞ A ∞ G ∞ F ∞ D ∞ C ∞ B∞ G ∞ F ∞ E ∞ C ∞ B ∞ A ∞ F∞■
■ ∞G ∞ F ∞ E ∞ C ∞ B ∞ A ∞ F ∞ E ∞ D∞ B ∞ A∞ G ∞ E ∞ D∞ C ∞ A ∞ G ∞ F ∞ D ∞ C ∞ B∞ ■
F D ∞ C ∞ B ∞ G F ∞ E ∞ C∞ B ∞ A ∞ F ∞ E ∞ D ∞ B ∞ A G ∞ E ∞ D∞
∞
C ∞ A∞G ∞ ∞ ∞ ∞
44
➥
48 KEYBOAR D SEPTEMBER 2003 w w w. key b o a r d m a g . c o m
how to play
Mr. Goodchord
about how to arrive at these chord structures. Hopefully, this will
free you to spend more time experimenting with different ways to
We’re not telling you how or where to play these chord structures play them. In the second part of this article, we’ll work more with
on your instrument. The whole idea is to provide you with all the four-part chords, as well as some quartal and cluster voicings. Take
possibilities within the three scale types, so you don’t have to think all the time you need to work with this material and enjoy it! ➥
Ex. 21. Because of the presence of so many common tones, moving one voice and sustaining the voices in cycle 6 is relatively easy. This etude explores the
relationship between common tones and moving voices. Play slowly enough to achieve a sense of the chord progression. If you have a real piano, utilize the
combined effect of both the damper and sustain pedals to emphasize the moving voice while maintaining the chord structure beneath.
1
64
L.H.
6
4
5
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54 44
Ex. 22. Mick Goodrick wrote this piece 15 years ago (excerpt shown below) after subbing for Bill Frisell on a tour with Bass Desires. This “pre-Mother Lode”
composition contains many of the voicings and chord types that eventually made their way into the voice leading books. There are triads, TBN 1 and TBN
2 chords, and seventh chords. The first chord of the piece is an example of a DD2D3 voicing (C/F). Note the inclusion of seventh chord voicings that have
a flat ninth between the seventh of the chord and the root note — what a great sound! Play through the voice leading in C major, cycle 6, using TBN 1
and D2,4, as well as DD2D3. You’ll hear some similarities to this piece.
Rubato
1
( )
9
Excerpts copyright ©2003 by Mr. Goodchord Publications from Mr. Goodchord’s Almanac of Guitar Voice-Leading for the Year 2001 and Beyond. All rights reserved. Used by permission.