• This is a collection of assorted resources - not a complete, step-by-step system!
• Free for personal use (if you share please attribute me).
• The key is to explore & internalise the ideas before applying them to your instrument.
I have many students ask me to show them some hip voicings, or in fact they tend to show me theirs! But generally they haven't taken the time to understand the sound as a whole, the make-up of the intervals, the different possible effects of tessitura, and more than likely cannot use this hip voicing in more than a couple of keys and on one certain chord type.
This means they are wasting a precious resource. And further, if it must be shoe-horned into the music, the rest of the music will suffer - it won't be a natural expression of the moment.
It is essential to start from the melody, the bass movement & guide tones, adding complexity piece by piece so that you hear every single note in a voicing, and thus move from one chord to another, not only hearing the melody of the upper line, but with effective interior voice-leading and control over the density, no matter what the style.
From Bert Ligon
these are Drop-2 + bass, 5-note voicings, through a diatonic
cycle: Drop 2 Cycle
Standard 3-5-7-9 and 7-9-10-13 voicings applied to Stella by Starlight
: Rootless voicings
From guide tones to 6-note chords in one page! Dominant 7ths
HARMONISED BEBOP SCALES
4-way close voicings through major and dominant bebop
scales: ; Harmonised bebop scales
Applying drop-2 chords to Polkadots and Moonbeams
: Polkadots Drop-2
SO WHAT VOICINGS
A brief explanation of the classic voicing made famous by Bill Evans
[example on Maiden Voyage
]: So What voicings
WALTER BISHOP JR
My transcription of this
video where Walter Bishop Jr applies his voicing
concepts to On Green Dolphin St
: Walter Bishop Jr
Applying some reharmonisation principles to the melody of I Should
: I Should Care reharmonisation
Will post some material here once I have it tidied up enough for public consumption ... soon!