![]() There are 4 possible alterations to choose from (b9 #9 #11 and #5/b13) and each of these has a different character and flavour. The same applies to choosing alterations over dominant chords. My recommendation would be to identify the voicing styles that you like and tweak the arrangements to fit your taste and preference. In the jazz standard tutorials on the website I try to show a wide selection of voicing techniques and so you will definitely prefer some over others. When arranging jazz standards, it’s very much open to our own interpretation and so if you prefer more open sounds in the voicings then that’s totally fine. There is no ’set-in-stone’ method to voice chords in our 251s when playing jazz standards but it is important to understand a wide variety of voicing techniques so that we don’t always play the same types of voicings when arranging tunes. Hope this helps Eric… any other questions just let me know □Īpologies for the late reply here – I’ve been a little under the weather this week and just catching up on comments/emails. ![]() I demonstrate this technique in many different jazz standard lessons, check out “The Nearness Of You” as an example: – skip to the final chapter of the video on the “4 Bar Ending”. When you finally drop back to the actual I chord, it creates a final sense of resolution – the perfect way to end a tune! The #11 chord a half step higher is not related to the key of the tune, and so it sounds very unusual in relation to the rest of the harmony. This is a useful technique to delay the sense of resolution and add interest to the end of your arrangement.
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