3/23/2023 0 Comments The chromatic scaleSolutions suitable for Diminished Chords can be deduced by slightly modifying the harmonization proposed in Paragraph 5. In particular, the Quasi-Static Solutions, played exactly as they are written, are predominantly suitable for the jazz pianist interested in the so-called "locked-hands" technique. If the arrangement is intended for an ensemble, two consecutive notes, identical in pitch, should always be considered as being tied, at least as far as the Quasi-Static Solutions are concerned. In order to guarantee coherence to the harmonization, the functions of the chords should be always taken into account.įor the sake of clarity, we underline how the harmonized notes coincide with the upper voices. The procedure is carried out by exploiting the inversions of the chord and/or adding tensions, altered or not It is possible to harmonize different notes, even if they are adjacent, by resorting to the same kind of chord. It is advisable (not compulsory) to avoid clusters involving external parts Ĭonsistent with the concept of 4-Way Close (from now onwards 4WC), the interval between the external voices must be no greater than a major seventh Īny major seventh, minor seventh and dominant seventh chord can be tonicized by resorting to the corresponding (functioning) secondary dominant (e.g., G7 can be preceded by D7) Īny dominant seventh chord, if it is regarded as provided with an added flat ninth, can be replaced by a diminished chord built on the (major) 3rd, the 5th, the (minor) 7th, and the flat 9th Īny major seventh and dominant seventh chord can be preceded by the corresponding diminished auxiliary chord (e.g., G7 can be preceded by Gdim7) The motion of the parts must not be contrary: consequently, it can be parallel, direct or oblique In jazz, the fundamental “rules” characterizing an effective harmonization process are the following: In detail, we accurately discuss major seventh, dominant seventh and minor seventh chords, briefly mentioning the half-diminished chords.īy starting from the explicit writing of the so-called 4-Way Close voicings, built on the conventional jazz scales (such as the Be-Bop Major and Minor Scales), several useful harmonizations of the chromatic scale are herein explicitly deduced and thoroughly analyzed. We propose different harmonizations of the chromatic scale in different contexts.
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