RE: [Harp-L] C7 +4 ????



WVa Bob wrote:
>>and what voicing would you [or anybody else reading this,
>>for that matter] recommend for, say, the B7+4 [or the Gb7+4] in "Girl from
>>Ipanema"?

Hey Bob,

I take it you're talking about voicing these chords on piano?  If so,
then the following may help.

In general, you don't *have* to put in the extensions listed in the
chord chart - they are guidelines and are are frequently wrong in
chord charts - unless it's Aebersold, where they take care to be
correct - I bet your chart is from Aebersold if it's that specific.
For something like a #11, chances are it's already in the melody.  For
the first line of the bridge in that song, it's the F which is #11
against B7.  I could be wrong with that, that's off the top of my
head, but from memory, the first line of the bridge is 7 8 7 6 7 6 5 6
in Gb, where 7 = F.

Anyway, enough of that.  Here are some voicings.

A voicing I like for a 7#11 chord is 1 3 b7 #11, where the left hand
takes 1 3, and the right hand take b7 #11.   A variation of this has
been mentioned already by Winslow, but the voicing suggested was 1 3
#11 b7 if I remember correctly.

It depends on the context, where you have been, where you are going
to, and how far you are down on the piano.  On the last point, your
B7#11 should work if the D# is in the octave below middle C.  For a
chord like this with a root any lower than that B and I would start
shifting that voicing up into another octave.

The B7#11 you're talking about is on the bridge, right?
Gbmaj7 | Gbmaj7 | B7 | B7

You could use a two voicings that will move nicely between each other.
 For the Gbmaj7, play 1 7 in left hand, and 3 5 in right hand.  So
that's Gb F with fingers 1 and 5 in the left hand, and Bb Db with
thumb and 3 (middle finger) in the right hand.  Then the move to B7#11
can happen smoothly *with minimal motion in both hands* - there we go
- the golden rule of voicings.  Let's see if I can chart this out:

Gb7maj7  -> B7#11 chord
Gb (5L)    -> B (3L)
F   (1L)    -> D# (1L)
Bb (1R)   -> A (1R)
Db (3R)   -> F(3, 4, or 5 in right hand)

So the answer is, it depends... :-)

Isn't your brother a piano player?

>>.I wasn't sure how to best voice the arpeggios of those chords...

Do you mean how to arpeggiate the chord on a harp?  However you like,
starting on any note of the chord, and skipping up in 3rds in the
scale you have decided will be most appropriate...

I hope this helps.

Eugene




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