So I heard about this, and asked a few people about what it was, and since nobody knew I figure it must be something very advanced O_O.
So anybody have a clue on what " Hybrid Voices" means or is.
I then read something on Homophony and Polyphony and figured it had to do something with that? Enlighten me please and thanks :P.
EDIT: Scratch that last part, Homophony refers to the way most pop-music is played with a lead melody and accompaniment and Polyphony is what is also known as "counterpoint" ok so, what are Hybrid Voices ? O_O
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I'm guessing it should be hybrid voicings, in which case...
depending on who was saying it, it might mean either:
Slash chords. I've come across these referred to as "hybrid voicings" before. Or...
Chord voicings or grips that can be used for more than one chord. For example, Cmaj6 (C, E, G, A) and Am7 (A,C,E,G) share the same notes. So, you can think "oh I'll play that Am7 shape" when you see a C6 chord in a chart. Beyond that, extended chords can often be seen as two or more chords on top of each other. Just because I was playing it before, Abmaj7 (Ab, C, Eb, G) shares the notes Eb and G with Ebmin7 (Eb, G, Bb). So, you could say Abmaj7 is an Abmaj chord with the root and 3rd of Ebmin added. That's a pretty basic example though.
I've heard the term "hybrid voicings" used in reference to both of these ideas. And, to be fair, the two are interlinked. Sorry, will type more later, gotta dash to check on dinner!
Rightyho, to finish this off....
The reason I said the two concepts are interlinked is this - some slash chords merely indicate which inversion of a chord is being used. E.g. if you saw Am7/G, G is the b7th of Am7, so it's just telling you its an Am7 chord with the 7 in the bass. But other slash chords don't look quite so simple. For example (and off the top of my head, so dunno how popular this chord is....) Cmaj/D. The notes of C major are C, E, G. But there's a rogue D note in our bass. This is because the chord may be indicating a Dm11 with some notes missing. Dm11 in full is D, F, A, C, E, G (1,3,5,7,9,11). Now, we don't need the 5th to indicate the chord, so we can lose the A note, leaving D,F,C,E,G. The F note gives it a minor quality (major would be F sharp). But the extensions (the 7th, 9th, and 11th) give the chord its full colour. Those extensions happen to be C,E,G. So, a Cmaj/D chord can be used in place of a Dm11, or a D chord with some ambiguity as to whether it's major, minor, or dominant. It seems to be popular to refer to slash chords as "upper structure voicings" or "superimposing chords" or other fancy terms. Really, it's guitar speak (imvho) for "playing a massive extended chord and leaving some notes out".
So, slash chords may sometimes be simple inversions, but at other times they may be standing in for a nicely extended crazy chord, which is why the two concepts are interlinked. If hybrid voicings refers to anything else, I've yet to come across it. Hope this helps some.
Now, hopefully Noteboat will visit this thread soon and pass off what I've said, or correct where necessary (I feel sluggish on theory today). And hopefully answer this one....Noteboat, I have a chart (handwritten by a tpt player, fwiw) which has some seriously mad slash chords on it. I think he must either be mistaken, or must be indicating scales for different instruments to use, but we're talking (no joke) stuff like Abmaj7sharp11/Bbmaj7sharp11. One even has three different chord superimposed on each other! Gotta find some time to write out all the notes, but it looks like it's telling the piano player to simply lie down across the entire keyboard. From a Kenny Wheeler tune, if that helps any. Ever seen anything as mad as this? How do you think I should play/think of it? I'm inclined to think the tpt player may be a little mistaken, but he's seriously good on theory and ears, so I'm not sure. Thanks!
Also, presumably, you'd count the melody line interval (e.g. starting a 3rd above the chord) from the full chord once you've sussed what that is. In which case, don't slash chords make it hella confusing to read charts and see/hear where the melody sits in relation to the chord structure? I know there are certain slash chord that are particularly prominent but, as I've yet to use them much, I can't remember which ones they are or what they stand in for.
Yeah, hybrid chords can be either 'slash' chords or 'polychords' - two chords played at once, forming a complex harmony.
Scrybe, you're looking at some wicked polychords. One way to approach them:
Use the chords to find the scale. Abmaj7#11 = Ab-C-Eb-G-D; Bbmaj7#11 = Bb-D-F-A-E. Combined, you've got Ab-A-Bb-C-D-Eb-E-F-G, which is an nine note scale: the Ab Lydian scale with a #5/b6 and b9 added to it. Or look at it as Bb-C-D-Eb-E-F-G-Ab-A. Now you've got a Bb major scale with b5 and b7 added.
You already knew it was going to be something Lydian, because of the #4 (#11) in major type chords. Either scale gives you the #4/b5... which way you look at it depends on how you hear the changes happening.
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Kewl, thanks NoteBoat - so I take it that as I advance in jazzing I'll come across more charts where the slash isn't just a chord plus bass note, but two or more chords on top of each other like these? I caught a chart the other other day (just chords) that had a similar kind of A7/E7 thing going on, but at other times there'd just be a bass note, like A7/E, so I figured whoever wrote the chart must have got it wrong.
