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Example 4<br />
Example 5<br />
Example 6<br />
Smooth Voice Leading Based on<br />
Diminished Scales<br />
The above examples are beautiful in sound and<br />
color, but notice the difference when alternating<br />
major and minor triads (root position and<br />
second inversion) with smoother voice leading.<br />
Example 5 offers a preparatory exercise. It<br />
may seem too frightening to play. Notice,<br />
however, that each seperate voice descends in<br />
the diminished scale (half step, whole step,<br />
half step, whole step), a scale jazz artists frequently<br />
use. This exercise alternates between<br />
second inversion major and minor triads<br />
descending over the chord progression.<br />
Practice each hand separately. Notice that<br />
each second inversion triad in the left hand<br />
proceeds the same inversion in the right hand.<br />
The right hand will play A major one beat<br />
after the left hand (Example 6).<br />
Incorporating these classical music techniques<br />
with jazz has deepened my musical<br />
experience and allowed my personal voice to<br />
emerge. It has enhanced my playing in ways<br />
that I never imagined, and added new depths of<br />
color to my sound.<br />
DB<br />
New York-based pianist David<br />
Budway has worked with<br />
Stanley Turrentine, Jeff “Tain”<br />
Watts and Hubert Laws. He<br />
can be contacted through his<br />
web site, davidbudway.com.<br />
June 2009 DOWNBEAT 105
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