&

?
c
c
.
.
.
.
q

Dm7 G7

Cmaj 7 Fmaj 7

#
B7 E7

b
#
Am7 A7
b
9

&
?
.
.
.
.

Dm7 G7

Cmaj 7 Fmaj 7

#
B7 E7

#
b
Am7 A7
b
9
b
13

&
?
b
b
.
.
.
.

Gm7 C7

Fmaj 7 B
b
maj 7

#
E7 A7

#
b
Dm7 D7
b
9
b
13

&
?
b
b
.
.
.
.

Gm7 C7

Fmaj 7 B
b
maj 7

#
E7 A7

b
#
Dm7 D7
b
9

Piano Voicing Overview, p. 142
Practice until you can play it without error or hesitation at the indicated tempo. Practice in
segments (two measures at a time, if necessary) until you can play the entire passage. When
comfortable with the harmony, try playing different styles: swing, bossa, samba, pop, funk, etc.
1. Basic voicings with good voice leading shown through key center cycle:
2. Basic voicings with good voice leading shown through key center cycle:
Piano Voicing Overview
&
?
.
.
.
.

Dm7 G7

Cmaj 7 Fmaj 7

B7 E7

b
#
Am7 A7
b
9

&
?
.
.
.
.

Dm7 G7

Cmaj 7 Fmaj 7

#
B7 E7

b
Am7 A7
b
9
b
13

#
&
?
b
b
.
.
.
.

b
b

b
Gm9 C7 b
13
#
9
C7
b
9
b
13

Fmaj 7 B
b
maj 7

E7 A7 b
13
#
9
A7
b
9
b
13

b
Dm9 D7 b
13
#
9
D7
b
9
b
13

#
&
?
b
b
.
.
.
.

b
b

b
Gm9 C7 b
13
#
9
C7
b
9
b
13

Fmaj 7 B
b
maj 7

E7 A7 b
13
#
9
A7
b
9
b
13

N
#

b
Dm9 D7 b
13
#
9
D7
b
9
b
13

Piano Voicing Overview, p. 143

3. Example no.1 shown with drop 2 open voicings through key center cycle. Inner voices are
more easily heard. Some altered dominants have been used, but voice leading remains the
same:
4. Example no.2 shown with drop 2 open voicings through key center cycle. Inner voices are
more easily heard. Some altered dominants have been used, but voice leading remains the
same:
&
?
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
b
Dm9 G13 G13
b
9

w
Cmaj 7

b
b

Dm9 G7 b
13
#
9

b
b
w
Cmaj 7
w
w
w
w
&
?
b
b
.
.
.
.
.
.
.
.
.
.
.
.

Gm9 C13

w
Fmaj 7
w
w
w
b
Gm9 C7 b
13
#
9

b
N
b
w
Fmaj 7
w
w
w
w
&
?
b
b
.
.

F7
.
.
.

b
J

.
.

B
b
7
.
.
.

b
J

b
b
F7 C7 b
13
#
9

b
n
.
.

.
.

b
b
F7 F7 b
13
#
9
.
.
.

b
J

.
.
.

b
&
?
b
b

.
.

b
b
J

B
b
7 F7 b
13
#
9
B
b
7

b

.
.
.

b
n
b
J

b
w
w
w
w
w

.
.

b
b
F7 E
b
7 D7
b
9
b
13

.
.
.

b
J

b
b

n
n
Gm9

&
?
b
b
.
.

b
b

n
n
C9sus4
.
.
.

.
.

b
b

J

C7 b
13
#
9
F7
.
.
.

b

J

b

J

b
b

J

D7
#
9
b
5 G7 b
13
#
9

J

b

J

b
n

J

b
b

C9sus4 C7 b
13
#
9
F7

J

b
Piano Voicing Overview, p. 144
6. Sample F blues chorus shown using basic left hand chords, octave right hand melody,
typical comping rhythms:
5. Basic left hand voicings useful when playing with a bass player. Right hand can play single
notes, octaves, triad shapes, upper extensions, or single line solos over the top.