Drop 2 Voicings: What They Are and How to Use Them with Mark Levine's PDF Book
Mark Levine Drop 2 Pdf Piano Pdf: A Comprehensive Guide for Jazz Pianists
If you are a jazz pianist who wants to improve your harmonic vocabulary, voice leading, and comping skills, you need to learn drop 2 voicings. Drop 2 voicings are a type of chord voicing that involves dropping the second highest note of a four-note chord down an octave. This creates a wider spacing between the notes and a richer sound. Drop 2 voicings are widely used by jazz pianists such as Bill Evans, Herbie Hancock, McCoy Tyner, and many others.
Mark Levine Drop 2 Pdf Piano Pdf
Download Zip: https://www.google.com/url?q=https%3A%2F%2Fjinyurl.com%2F2ucMwv&sa=D&sntz=1&usg=AOvVaw3vXGwUAOV6ZtWa9cdNZHDu
In this article, you will learn everything you need to know about drop 2 voicings, including how to create and use them on the piano, how to apply them to different chord types and progressions, and how to get the Mark Levine Drop 2 Pdf Piano Pdf, a popular resource that teaches drop 2 voicings in depth. By the end of this article, you will be able to play drop 2 voicings with confidence and creativity.
The Basics of Drop 2 Voicings: How to create and use them on the piano
Before we dive into the details of drop 2 voicings, let's review some basic concepts that will help us understand them better.
A chord voicing is a way of arranging the notes of a chord on the keyboard. There are many possible ways to voice a chord, depending on factors such as the number of notes, the order of notes, the spacing between notes, the register of notes, and the style of music.
A four-note chord is a chord that consists of four different notes. For example, a C major seventh chord (Cmaj7) is a four-note chord that contains the notes C, E, G, and B. A four-note chord can be voiced in different ways by changing the order or spacing of the notes. For example, Cmaj7 can be voiced as C E G B (root position), E G B C (first inversion), G B C E (second inversion), or B C E G (third inversion).
A drop 2 voicing is a type of chord voicing that involves dropping the second highest note of a four-note chord down an octave. For example, if we take the root position voicing of Cmaj7 (C E G B) and drop the second highest note (G) down an octave, we get a drop 2 voicing of Cmaj7 (G C E B). Similarly, if we take the first inversion voicing of Cmaj7 (E G B C) and drop the second highest note (B) down an octave, we get another drop 2 voicing of Cmaj7 (B E G C).
Drop 2 voicings are usually played with the left hand on the piano, while the right hand plays melodies, scales, or other chords. Drop 2 voicings are especially useful for comping, which is the act of playing chords to accompany a soloist or a melody. Drop 2 voicings can create a smooth and clear harmonic support for the music, without being too dense or cluttered.
The Four Types of Drop 2 Voicings: Root position, first inversion, second inversion, and third inversion
As we saw in the previous section, drop 2 voicings can be derived from four different types of four-note chord voicings: root position, first inversion, second inversion, and third inversion. Each type of drop 2 voicing has its own characteristics and advantages.
Root position drop 2 voicings are formed by dropping the second highest note of a root position four-note chord down an octave. For example, if we take the root position voicing of Cmaj7 (C E G B) and drop the second highest note (G) down an octave, we get a root position drop 2 voicing of Cmaj7 (G C E B). Root position drop 2 voicings have the lowest note as the root of the chord, which gives them a strong and stable sound. They are also easy to play and recognize on the keyboard.
First inversion drop 2 voicings are formed by dropping the second highest note of a first inversion four-note chord down an octave. For example, if we take the first inversion voicing of Cmaj7 (E G B C) and drop the second highest note (B) down an octave, we get a first inversion drop 2 voicing of Cmaj7 (B E G C). First inversion drop 2 voicings have the lowest note as the third of the chord, which gives them a slightly more open and airy sound. They are also good for voice leading, which is the smooth movement of notes from one chord to another.
Second inversion drop 2 voicings are formed by dropping the second highest note of a second inversion four-note chord down an octave. For example, if we take the second inversion voicing of Cmaj7 (G B C E) and drop the second highest note (C) down an octave, we get a second inversion drop 2 voicing of Cmaj7 (C G B E). Second inversion drop 2 voicings have the lowest note as the fifth of the chord, which gives them a more ambiguous and neutral sound. They are also good for creating contrast and variety in your comping.
Third inversion drop 2 voicings are formed by dropping the second highest note of a third inversion four-note chord down an octave. For example, if we take the third inversion voicing of Cmaj7 (B C E G) and drop the second highest note (E) down an octave, we get a third inversion drop 2 voicing of Cmaj7 (E B C G). Third inversion drop 2 voicings have the lowest note as the seventh of the chord, which gives them a more tense and unstable sound. They are also good for creating resolution and movement in your comping.
The Benefits of Drop 2 Voicings: How they enhance harmonic clarity, voice leading, and comping
Drop 2 voicings are not only easy to create and play on the piano, but they also have many benefits for your jazz piano playing. Here are some of them:
Drop 2 voicings enhance harmonic clarity. By spreading out the notes of a chord over a wider range, drop 2 voicings make each note more audible and distinct. This helps you hear and understand the harmonic structure and function of each chord better.
The Advanced Techniques of Drop 2 Voicings: How to apply them to different chord types and progressions
Now that you know the basics of drop 2 voicings, let's explore some advanced techniques that will help you apply them to different chord types and progressions. These techniques will expand your harmonic vocabulary and make your comping more interesting and creative.
The Major and Minor Drop 2 Voicings: How to construct and play them on the piano
The major and minor drop 2 voicings are the simplest and most common types of drop 2 voicings. They are derived from the major seventh and minor seventh chords, which are the basic building blocks of jazz harmony. Here is how to construct and play them on the piano:
To construct a major drop 2 voicing, start with a major seventh chord in root position (1 3 5 7) and drop the second highest note (5) down an octave. For example, Cmaj7 (C E G B) becomes G C E B.
To construct a minor drop 2 voicing, start with a minor seventh chord in root position (1 b3 5 b7) and drop the second highest note (5) down an octave. For example, Cm7 (C Eb G Bb) becomes G C Eb Bb.
To play a major or minor drop 2 voicing on the piano, use your left hand to play the lowest note with your pinky finger, the second lowest note with your ring finger, the third lowest note with your middle finger, and the highest note with your thumb. For example, to play G C E B, use your left hand to play G with your pinky finger, C with your ring finger, E with your middle finger, and B with your thumb.
To move a major or minor drop 2 voicing up or down a half step on the piano, simply slide your left hand fingers up or down one key. For example, to move G C E B up a half step, slide your left hand fingers up one key to get Ab Db F C.
To move a major or minor drop 2 voicing up or down a whole step on the piano, simply slide your left hand fingers up or down two keys. For example, to move G C E B down a whole step, slide your left hand fingers down two keys to get F Bb D A.
Here is an example of how to use major and minor drop 2 voicings in a common jazz progression: the ii-V-I. The ii-V-I is a three-chord progression that consists of the second chord (ii), the fifth chord (V), and the first chord (I) of a given key. For example, in the key of C major, the ii-V-I progression is Dm7-G7-Cmaj7. To play this progression using drop 2 voicings, you can use the following voicings:
For Dm7, use a first inversion drop 2 voicing: C D F A
For G7, use a third inversion drop 2 voicing: F G B D
For Cmaj7, use a root position drop 2 voicing: G C E B
Notice how these voicings create smooth voice leading between the chords. You can also notice how each chord has a different inversion, which creates contrast and variety in your comping.
The Dominant and Altered Dominant Drop 2 Voicings: How to add tension and resolution with them on the piano
The dominant and altered dominant drop 2 voicings are more complex and colorful types of drop 2 voicings. They are derived from the dominant seventh and altered dominant seventh chords, which are chords that create tension and resolution in jazz harmony. Here is how to construct and play them on the piano:
To construct a dominant drop 2 voicing, start with a dominant seventh chord in root position (1 3 5 b7) and drop the second highest note (5) down an octave. For example, C7 (C E G Bb) becomes G C E Bb.
To construct an altered dominant drop 2 voicing, start with an altered dominant seventh chord in root position (1 3 b5 b7) and drop the second highest note (b5) down an octave. For example, C7b5 (C E Gb Bb) becomes Gb C E Bb.
To play a dominant or altered dominant drop 2 voicing on the piano, use the same left hand fingering as for the major and minor drop 2 voicings. For example, to play G C E Bb, use your left hand to play G with your pinky finger, C with your ring finger, E with your middle finger, and Bb with your thumb.
To move a dominant or altered dominant drop 2 voicing up or down a half step or a whole step on the piano, use the same sliding technique as for the major and minor drop 2 voicings. For example, to move G C E Bb up a half step, slide your left hand fingers up one key to get Ab Db F C.
Here is an example of how to use dominant and altered dominant drop 2 voicings in a common jazz progression: the tritone substitution. The tritone substitution is a technique that involves replacing a dominant seventh chord with another dominant seventh chord that is a tritone (three whole steps) away from it. For example, in the key of C major, the tritone substitution of G7 is Db7. To play this progression using drop 2 voicings, you can use the following voicings:
For Dm7, use a first inversion drop 2 voicing: C D F A
For Db7, use a root position drop 2 voicing: Ab Db F B
For Cmaj7, use a root position drop 2 voicing: G C E B
Notice how these voicings create tension and resolution between the chords. You can also notice how the tritone substitution creates a chromatic movement in the bass line.
The Diminished and Half-Diminished Drop 2 Voicings: How to create contrast and movement with them on the piano
The diminished and half-diminished drop 2 voicings are the most symmetrical and versatile types of drop 2 voicings. They are derived from the diminished seventh and half-diminished seventh chords, which are chords that create contrast and movement in jazz harmony. Here is how to construct and play them on the piano:
To construct a diminished drop 2 voicing, start with a diminished seventh chord in root position (1 b3 b5 bb7) and drop the second highest note (b5) down an octave. For example, Cdim7 (C Eb Gb A) becomes Gb C Eb A.
To construct a half-diminished drop 2 voicing, start with a half-diminished seventh chord in root position (1 b3 b5 b7) and drop the second highest note (b5) down an octave. For example, Cm7b5 (C Eb Gb Bb) becomes Gb C Eb Bb.
To play a diminished or half-diminished drop 2 voicing on the piano, use the same left hand fingering as for the other types of drop 2 voicings. For example, to play Gb C Eb A, use your left hand to play Gb with your pinky finger, C with your ring finger, Eb with your middle finger, and A with your thumb.
To move a diminished or half-diminished drop 2 voicing up or down a half step or a whole step on the piano, use the same sliding technique as for the other types of drop 2 voicings. For example, to move Gb C Eb A up a half step, slide your left hand fingers up one key to get Ab Db F Bb.
Here is an example of how to use diminished and half-diminished drop 2 voicings in a common jazz progression: the minor ii-V-i. The minor ii-V-i is a three-chord progression that consists of the second chord (ii), the fifth chord (V), and the first chord (i) of a given minor key. For example, in the key of C minor, the minor ii-V-i progression is Dm7b5-G7b9-Cm6. To play this progression using drop 2 voicings, you can use the following voicings:
For Dm7b5, use a root position half-diminished drop 2 voicing: Gb D F Bb
G B D
For Cm6, use a second inversion minor drop 2 voicing: C G Eb A
Notice how these voicings create contrast and movement between the chords. You can also notice how the diminished and half-diminished chords create a symmetrical and chromatic sound.
The Mark Levine Drop 2 Pdf Piano Pdf: What it is and how to get it
Now that you have learned some advanced techniques of drop 2 voicings, you might be wondering where you can find more examples and exercises to practice them. One of the best resources for learning drop 2 voicings is the Mark Levine Drop 2 Pdf Piano Pdf.
The Content and Structure of the Mark Levine Drop 2 Pdf Piano Pdf: What it covers and how it is organized
The Mark Levine Drop 2 Pdf Piano Pdf is a digital book that teaches drop 2 voicings in depth. It is written by Mark Levine, a renowned jazz pianist, educator, and author of several books on jazz theory and practice. The Mark Levine Drop 2 Pdf Piano Pdf covers the following topics:
The theory and history of drop 2 voicings: How they were developed and used by jazz pianists such as Bud Powell, Barry Harris, Bill Evans, and others.
The application and practice of drop 2 voicings: How to use them in different musical contexts such as soloing, comping, arranging, and composing.
The variations and extensions of drop 2 voicings: How to modify and embellish them with different alterations, substitutions, additions, and embellishments.
The examples and exercises of drop 2 voicings: How to play them in different keys, chord types, progressions, styles, and tunes.
The Mark Levine Drop 2 Pdf Piano Pdf is organized into four chapters, each with a different focus and level of difficulty. The chapters are:
Chapter 1: The Basics of Drop 2 Voicings: This chapter introduces the concept and construction of drop 2 voicings, and shows how to play them in root position and inversions.
Chapter 2: The Major and Minor Drop 2 Voicings: This chapter explores the major and minor drop 2 voicings in detail, and shows how to use them in common jazz progressions such as the ii-V-I and the turnarounds.
Chapter 3: The Dominant and Altered Dominant Drop 2 Voicings: This chapter dives into the dominant and altered dominant drop 2 voicings in detail, and shows how to use them in common jazz progressions such as the tritone substitution and the backdoor progression.
Chapter 4: The Diminished and Half-Diminished Drop 2 Voicings: This chapter examines the diminished and half-diminished drop 2 voicings in detail, and shows how to use them in common jazz progressions such as the minor ii-V-i and the cycle of fifths.
Each chapter contains clear explanations, diagrams, notation, audio examples, exercises, tips, tricks, and quizzes to help you learn drop 2 voicings effectively. The Mark Levine Drop 2 Pdf Piano Pdf is suitable for jazz pianists of all levels, from beginners to advanced players.
The Benefits and Drawbacks of the Mark Levine Drop 2 Pdf Piano Pdf: How it can help and hinder your jazz piano learning
The Mark Levine Drop 2 Pdf Piano Pdf is a great resource for learning drop 2 voicings, but it also has some benefits and drawbacks that you should be aware of. Here are some of them:
The benefits of the Mark Levine Drop 2 Pdf Piano Pdf are:
It is comprehensive and thorough. It covers all aspects of drop 2 voicings in depth, from theory to practice. It gives you a solid foundation and understanding of drop 2 voicings that you can apply to any musical situation.
berkman: This is a book by Randy Halberkman, a jazz pianist and educator, that focuses on drop 2 voicings and their applications. It is more practical and accessible than the Mark Levine Drop 2 Pdf Piano Pdf, but also less comprehensive and thorough.
The Drop 2 Challenge by Jovino Santos Neto: This is a video course by Jovino Santos Neto, a jazz pianist and composer, that teaches drop 2 voicings and their variations. It is more interactive and engaging than the Mark Levine Drop 2 Pdf Piano Pdf, but also less structured and organized.
The Drop 2 Voicings for Jazz Piano by Brent Vaartstra: This is a blog post by Brent Vaartstra, a jazz guitarist and blogger, that explains drop 2 voicings and their uses. It is more concise and simple than the Mark Levine Drop 2 Pdf Piano Pdf, but also less detailed and complete.
These are some of the other resources that you can use to learn drop 2 voicings, either as alternatives or supplements to the Mark Levine Drop 2 Pdf Piano Pdf. You can choose the one that suits your needs, preferences, and budget best.
Conclusion: A summary of the main points and a call to action
In this article, you have learned everything you need to know about drop 2 voicings, including how to create and use them on the piano, how to apply them to different chord types and progressions, and how to get the Mark Levine Drop 2 Pdf Piano Pdf, a popular resource that teaches drop 2 voicings in depth.
Drop 2 voicings are a type of chord voicing that involves dropping the second highest note of a four-note chord down an octave. This creates a wider spacing between the notes and a richer sound. Drop 2 voicings are widely used by jazz pianists such as Bill Evans, Herbie Hancock, McCoy Tyner, and many others.
Drop 2 voicings can enhance your harmonic vocabulary, voice leading, and comping skills. They can also make your jazz piano playing more interesting and creative. They are easy to create and play on the piano, and they have many benefits for your jazz piano playing.
The Mark Levine Drop 2 Pdf Piano Pdf is a digital book that teaches drop 2 voicings in depth. It is written by Mark Levine, a renowned jazz pianist, educator, and author of several books on jazz theory and practice. The Mark Levine Drop 2 Pdf Piano Pdf covers all aspects of drop 2 voicings in depth, from theory to practice. It gives you a solid foundation and understanding of drop 2 voicings that you can apply to any musical situation.
The Mark Levine Drop 2 Pdf Piano Pdf is a valuable but demanding resource for learning drop 2 voicings. It costs $49.95, which is not cheap for a digital book. It is also only available on the official website of Mark Levine, which means you cannot find it on other platforms or stores. It contains a lot of information and material that can be overwhelming and difficult to digest. It requires a lot of time and effort to study and master. It is not for the faint-hearted or the lazy.
, preferences, and budget best.
Drop 2 voicings are a powerful and versatile tool for jazz piano playing. They can help you improve your harmonic vocabulary, voice leading, and comping skills. They can also make your jazz