If you've practiced combination triad voicings in all 12 keys, then you are much more likely to immediately recognize them in a Bill Evans recording. This is the hardest (and slowest) step, but it's also the highest-yield. Improve your ear through ear training exercises. Maybe those older recordings could become transcriptions that you tackle after gaining some practice on clearer recordings. Old recordings have pitch issues and may sound muddy, which can make the task extremely difficult (or impossible, in some cases). When first learning to transcribe chord voicings, life will be much easier if you start out on recordings where you can hear the notes clearly.
Try out well-known voicings from that style of jazz and from the particular pianist. use the same voicings in many different songs. Many important pianists like Bud Powell, Red Garland, Bill Evans, Chick Corea, etc. Research some info about the pianist you're listening to, and familiarize yourself with the styles of that era. These won't always be present though, so this will only help some of the time. Pull up a lead sheet (or create one yourself), and when listening to a voicing, you can look for important tones from the chord (e.g., the 3rd and 7th). The voicings usually follow the chord progression of the song. This can inform which notes to try singing in step 2. Try to use these qualities to identify the intervals being used. 2nds sound crunchy, 3rds sound more closed and traditional, 4ths sound more amorphous, 5ths sound open, etc. This can help you determine whether the note is present.ĭifferent intervals have sound different. Listen to see if the note you sing is being matched in the voicing on the recording. Pick one of those notes, and test it out in the following way: sing the candidate note while you play the chord back again in the recording. Try singing the notes you think you hear. Pause the recording immediately after the chord sounds. excluded in the voicing and (b) the ordering of the notes. They may not all be present in the voicing, but now it's a matter of (a) figuring out which of the candidate notes are included vs. In the C13b9 example, you'd be on the lookout for C, Db, E, G, A, Bb. The chord quality is different from the voicing, of course, but if you can identify that you're hearing a C13(b9) chord, then you'll immediately have some candidate notes to try and listen for. This really is the first step, and it's already been mentioned by others. In many jazz piano contexts, the lowest note in a piano voicing will rarely be the root. Transcribe the lowest and highest notes of the chord voicing first, as these are usually the easiest to hear.
In addition to the tips described in other posts, here are some common techniques:
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