{"id":836,"date":"2017-03-20T15:09:25","date_gmt":"2017-03-20T19:09:25","guid":{"rendered":"http:\/\/blog.uvm.edu\/tgcleary\/?p=836"},"modified":"2017-03-30T20:36:30","modified_gmt":"2017-03-31T00:36:30","slug":"harmonic-moss-part-4-the-a-form-voicing-of-the-minor-ii-v-i-progression","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/tgcleary\/2017\/03\/20\/harmonic-moss-part-4-the-a-form-voicing-of-the-minor-ii-v-i-progression\/","title":{"rendered":"Harmonic Moss, Part 4: the &#8216;A&#8217; form voicing of the minor ii-V-i progression"},"content":{"rendered":"<p>The previous posts in the \u2018Harmonic Moss\u2019 series dealt with various voicings, scale outlines and various melodic patterns for the major ii-V-I progression. Although I have another post, <a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2014\/04\/14\/what-is-this-scale-called-charlie-parker-barry-harris-and-the-minor-ii-v-progression\/\">\u2018What Is This Scale Called?\u2019<\/a>, which deals with scale choices over the minor ii-V-I progression, specifically with reference to two Charlie Parker solos on \u2018What Is This Thing Called Love\u2019, the next two posts deal with voicings for the minor ii-V-I and ways of relating scale choices and melodic pattern to them.<\/p>\n<p>This voicing is the one Phil Degreg refers to as the \u2018A form voicing\u2019 of the minor ii-V-i, but it can also be referred to as the \u2018off the 7<sup>th<\/sup>\u2019 voicing, in other words, the one where the rootless three note voicings for the ii chord (which is typically a minor 7 flat five) and the i chord (which is conventionally expressed as a minor 7<sup>th<\/sup> chord but can also be a minor 6, minor 6\/9 or a minor-major 7<sup>th<\/sup> chord) both have the seventh degree of the chord on the bottom of the voicing. One pattern that correlates with this voicing is m. 20-21 of the Miles Davis-Charlie Parker tune \u2018Donna Lee\u2019. (Although Charlie Parker actually plays the third note and fifth notes a half step higher than shown here, the version I have used, which is consistent with how the tune has typically been\u00a0published and played, reflects\u00a0 a more \u2018inside\u2019 scale choice.) In step 4 of the sheet below I suggest this pattern as one of those that I suggest practicing in one hand with the \u2018A form\u2019 voicing of the minor ii-V-I in the other hand.<\/p>\n<p>Besides \u2018What Is This Thing\u2019, other jazz standard tunes in which two-bar minor ii-V and\/or the four bar minor ii-V-i occur at least twice include Luis Bonfa\u2019s \u2018Black Orpheus\u2019, Deitz and Schwartz\u2019 \u2018Alone Together\u2019, Dizzy Gillespie\u2019s \u2018Woody N\u2019 You\u2019 and \u2018A Night In Tunisia\u2019, Kosma and Mercer\u2019s \u2018Autumn Leaves\u2019, Victor Young\u2019s \u2018Stella by Starlight\u2019 and \u2018Beautiful Love\u2019, Toots Theilmans\u2019 \u2018Bluesette\u2019, Harry Warren and Gordon\u2019s \u2018There Will Never Be Another You\u2019, Jerome Kern\u2019s \u2018Yesterdays\u2019 and George and Ira Gershwin\u2019s \u2018Strike Up The Band\u2019.<\/p>\n<p><a href=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-839\" src=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form-791x1024.jpg\" alt=\"\" width=\"640\" height=\"829\" srcset=\"https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form-791x1024.jpg 791w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form-232x300.jpg 232w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form-768x994.jpg 768w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/min-ii-v-patts-A-form.jpg 1275w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The previous posts in the \u2018Harmonic Moss\u2019 series dealt with various voicings, scale outlines and various melodic patterns for the major ii-V-I progression. Although I have another post, \u2018What Is This Scale Called?\u2019, which deals with scale choices over the &hellip; <a href=\"https:\/\/blog.uvm.edu\/tgcleary\/2017\/03\/20\/harmonic-moss-part-4-the-a-form-voicing-of-the-minor-ii-v-i-progression\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":865,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-836","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/836","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/users\/865"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/comments?post=836"}],"version-history":[{"count":6,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/836\/revisions"}],"predecessor-version":[{"id":924,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/836\/revisions\/924"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/media?parent=836"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/categories?post=836"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/tags?post=836"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}