Voicings For Turnarounds
In this lesson we will learn how to embellish the 3625 turnaround sections from a chordal and harmonic standpoint.
“Misty” contains a 3625 turnaround at the end of the first A Section and also at the end of the bridge. For both of these 3625s we have a tied melody note though the entire progression which gives us the opportunity to add harmonic fills and melodic embellishment.
Harmonic Techniques For Embellishment
There are a potentially infinite number of ways that we can embellish a turnaround phrase. We start with 3-note voicings to clearly visualise the harmony and then explore the following theory areas to create more harmonically interesting turnaround phrases:
- Extended Chords
- ‘Echo’ Chords in Higher Registers
- Upper Structure Triads
- Tritone Substitutions & Passing Chords
- Inner Voices & Sus Chords
Melodic Techniques For Embellishment
In addition to enhancing the harmony of the turnaround we can introduce melodic embellishment and decoration. We have a dedicated module on improvisation where we cover all of these devices in detail. Towards the end of this lesson we touch upon the following improvisation concepts:
- Targeting 3rds
- Ascending & Descending Arpeggios
- Alterations & Altered Patterns
For more information and practice guidance on these techniques see the lessons in the improvisation module.
Lesson Downloads
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Turnaround Voicings Options File Type: pdf
Related Lessons
This type of passing chord is a dominant chord built a half step up. Dominant chords always have a strong pull to resolve a half step down.
We explore inner voice movement over major, minor, and dominant chords, and then we will apply this information to a well-known jazz standard.
Tritone Substitution is a useful reharmonisation technique that can be used to add harmonic interest and variety to a chord progression.
Practice Tips
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Start by practicing the 3625 turnaround with the basic 3-note spread voicings.
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Extend the voicings to include 9ths and 13ths for a richer and more sophisticated sound.
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Change the bass note to the tritone and keep the same notes in the right hand.
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Play both the regular dominant chord, and the tritone substitute as a passing chord.
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Introduce upper structure triads over the dominant chords and arpeggiate the notes up and down the keyboard.
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Add subtle inner voices to connect the chords in the 3625 progression.
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Utilise sus chords which resolve to altered dominant voicings.
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Experiment with the 3625 arpeggio patterns to prepare for the upcoming module on improvisation.
