{"id":12485,"date":"2016-02-25T00:00:00","date_gmt":"2016-02-25T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12485"},"modified":"2024-10-10T07:41:18","modified_gmt":"2024-10-10T15:41:18","slug":"diatonic-perspective-part-root-voicing-technique","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/diatonic-perspective-part-root-voicing-technique\/","title":{"rendered":"A Diatonic Perspective To The “Part-Over-Root” Voicing Technique"},"content":{"rendered":"

This post will show you how to play diatonic seventh chords in any key using the “part-over-root” voicing technique.<\/p>\n

Suggested reading: Part-Over-Root Voicing Technique<\/a>.<\/p>\n

In addition to the efforts we’ve made in the past to study major<\/a>, minor<\/a>, and dominant<\/a> chord qualities using the part-over-root voicing technique, we’ll now be exploring these chords from a diatonic perspective.<\/strong><\/p>\n

The term diatonic simply means “progressing through the notes.”<\/em> <\/p>\n

Anything that is done by moving through or creating a relationship between the notes of a given major or minor scale is said to be diatonic.<\/p>\n

If you can spare two minutes, I want to take you back like a slingshot<\/a> for a quick, simple review of diatonic chords. <\/p>\n

If you’re familiar with them already, then scroll down and meet me in the next segment.<\/p>\n

Review of Diatonic Chords<\/b><\/h2>\n

The major scale has seven tones. Here are the seven tones of the C major scale:<\/p>\n

C is first tone.<\/p>\n

D is second tone.<\/p>\n

E is third tone.<\/p>\n

F is fourth tone.<\/p>\n

G is fifth tone.<\/p>\n

A is sixth tone.<\/p>\n

B is seventh tone.<\/p><\/blockquote>\n

These seven notes are also known as the seven diatonic degrees and in chord formation, chords can be formed from every diatonic degree. Check out these triads…<\/p>\n

Chord 1:
\n
\n…C major triad<\/a>.<\/p>\n

Chord 2:
\n
\n…D minor triad<\/a>.<\/p>\n

Chord 3:
\n
\n…E minor triad.<\/p>\n

Chord 4:
\n
\n…F major triad.<\/p>\n

Chord 5:
\n
\n…G major triad.<\/p>\n

Chord 6:
\n
\n…A minor triad.<\/p>\n

Chord 7:
\n
\n…B diminished triad<\/a>.<\/p>\n

 <\/p>\n

Before we proceed, here are the seventh chords too…<\/p>\n

Chord 1:
\n
\n…C major seventh<\/a>.<\/p>\n

Chord 2:
\n
\n…D minor seventh<\/a>.<\/p>\n

Chord 3:
\n
\n…E minor seventh.<\/p>\n

Chord 4:
\n
\n…F major seventh.<\/p>\n

Chord 5:
\n
\n…G dominant seventh<\/a>.<\/p>\n

Chord 6:
\n
\n…A minor seventh.<\/p>\n

Chord 7:
\n
\n…B half-diminished seventh.<\/p>\n

Diatonic Perspectives to Part-Over-Root Voicings<\/b><\/h2>\n

It’s not enough to know that the C major seventh chord:
\n
\n…is basically an E minor triad played over C in the bass:
\n
\nIt is better for us to understand the diatonic relationship between the “part” and the “root.”<\/p>\n

In the case of the C major seventh chord, we can ask the question, “what is the diatonic relationship between the part (E minor triad) and the root (C)?”<\/em><\/p>\n

Let’s look at all diatonic seventh chords in the key of C major and the diatonic relationship between their parts and roots respectively.<\/p>\n

Once understood in C, feel free to transpose them to other keys.<\/p>\n

Chord 1 – C Major Seventh
\n<\/b><\/h3>\n

The diatonic function of the C major seventh chord:
\n
\n…in the key of C major is chord 1.<\/p>\n

Notice the relationship between C (the root) and the E minor triad (the part). The root is the first tone<\/strong> of the C major scale while the part is chord 3.<\/strong><\/p>\n

Therefore, chord 1:
\n
\n…can be formed by playing chord 3:
\n
\n…over the first tone of the C major scale:
\n
\nHere’s an example in the key of F…<\/p>\n

Playing chord 3 in the key of F major (which is A minor):
\n
\n…over the first tone of the F major scale would produce Amin\/F:
\n
\n…F major 7, which is chord 1 in the key of F major.<\/p>\n

Chord 2 – D Minor Seventh
\n<\/b><\/h3>\n

The D minor seventh chord:
\n
\n…functions as chord 2 in the key of C major.<\/p>\n

See the relationship? The root (D) is the second tone of the C major scale while the part (F major) is chord 4.<\/p>\n

Therefore, chord 2:
\n
\n…can be formed by playing chord 4:
\n
\n…over the second tone of the C major scale:
\n
\nHere’s an example in the key of F…<\/p>\n

Playing chord 4 in the key of F major (which is Bb major):
\n
\n…over the second tone of the F major scale would produce Bbmaj\/G:
\n
\n…G minor 7, which is chord 2 in the key of F major.<\/p>\n

Chord 3 – E Minor Seventh
\n<\/b><\/h3>\n

The E minor seventh chord:
\n
\n…functions as chord 3 in the key of C major.<\/p>\n

The relationship between E (the root) and the G major triad (the part) is that the root is the third tone of the C major scale while the part is chord 5.<\/p>\n

Therefore, chord 3:
\n
\n…can be formed by playing chord 5:
\n
\n…over the third tone of the C major scale:
\n
\nHere’s an example in the key of F…<\/p>\n

Playing chord 5 in the key of F major (which is C major):
\n
\n…over the third tone of the F major scale would produce Cmaj\/A:
\n
\n…A minor 7, which is chord 3 in the key of F major.<\/p>\n

Chord 4 – F Major Seventh
\n<\/b><\/h3>\n

The diatonic function of the F major seventh chord:
\n
\n…in the key of C major is chord 4.<\/p>\n

The relationship between F (the root) and the A minor triad (the part) is that the root is the fourth tone of the C major scale while the part is chord 6.<\/p>\n

Therefore, chord 4:
\n
\n…can be formed by playing chord 6:
\n
\n…over the fourth tone of the C major scale:
\n
\nHere’s an example in the key of F…<\/p>\n

Playing chord 6 in the key of F major (which is D minor):
\n
\n…over the fourth tone of the F major scale would produce Dmin\/Bb:
\n
\n…Bb major 7, which is chord 4 in the key of F major.<\/p>\n

Chord 5 – G Dominant Seventh
\n<\/b><\/h3>\n

The diatonic function of the G dominant seventh chord:
\n
\n…in the key of C major is chord 5.<\/p>\n

The relationship between G (the root) and the B diminished triad (the part) is that the root is the fifth tone of the C major scale while the part is chord 7.<\/p>\n

Therefore, chord 5:
\n
\n…can be formed by playing chord 7:
\n
\n…over the fifth tone of the major scale:
\n<\/p>\n

Here’s an example in the key of F…<\/p>\n

Playing chord 7 in the key of F major (which is E diminished):
\n
\n…over the fifth tone of the F major scale would produce Edim\/C:
\n
\n…C dominant 7, which is chord 5 in the key of F major.<\/p>\n

Chord 6 – A Minor Seventh
\n<\/b><\/h3>\n

The A minor seventh chord:
\n
\n…functions as chord 6 in the key of C major.<\/p>\n

The relationship between A (the root) and the C major triad (the part) is that the root is the sixth tone of the C major scale while the part is chord 1.<\/p>\n

Therefore, chord 6:
\n
\n…can be formed by playing chord 1:
\n
\n…over the sixth tone of the C major scale:
\n
\nHere’s an example in the key of F…<\/p>\n

Playing chord 1 in the key of F major (which is F major):
\n
\n…over the sixth tone of the F major scale would produce Fmaj\/D:
\n
\n…D minor 7, which is chord 6 in the key of F major.<\/p>\n

Chord 7 – B Half-Diminished Seventh
\n<\/b><\/h3>\n

The diatonic function of the B half-diminished seventh chord:
\n
\n…in the key of C major is chord 7.<\/p>\n

The relationship between B (the root) and the D minor triad (the part) is that the root is the seventh tone of the C major scale while the part is chord 2.<\/p>\n

Therefore, chord 7:
\n
\n…can be formed by playing chord 2:
\n
\n…over the seventh tone of the F major scale:
\n<\/p>\n

Here’s an example in the key of F…<\/p>\n

Playing chord 2 in the key of F major (which is G minor):
\n
\n…over the seventh tone of the F major scale would produce Gmin\/E:
\n
\n…E half-diminished 7, which is chord 7 in the key of F major.<\/p>\n

Check out the table below:<\/p>\n\n\n\n\n\n\n\n\n\n\n
\n

Degree<\/strong><\/p>\n<\/td>\n

\n

Part<\/strong><\/p>\n<\/td>\n

\n

Root<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

1st<\/p>\n<\/td>\n

\n

Chord 3<\/p>\n<\/td>\n

\n

First tone<\/p>\n<\/td>\n<\/tr>\n

\n

2nd<\/p>\n<\/td>\n

\n

Chord 4<\/p>\n<\/td>\n

\n

Second tone<\/p>\n<\/td>\n<\/tr>\n

\n

3rd<\/p>\n<\/td>\n

\n

Chord 5<\/p>\n<\/td>\n

\n

Third tone<\/p>\n<\/td>\n<\/tr>\n

\n

4th<\/p>\n<\/td>\n

\n

Chord 6<\/p>\n<\/td>\n

\n

Fourth tone<\/p>\n<\/td>\n<\/tr>\n

\n

5th<\/p>\n<\/td>\n

\n

Chord 7<\/p>\n<\/td>\n

\n

Fifth tone<\/p>\n<\/td>\n<\/tr>\n

\n

6th<\/p>\n<\/td>\n

\n

Chord 1<\/p>\n<\/td>\n

\n

Sixth tone<\/p>\n<\/td>\n<\/tr>\n

\n

7th<\/p>\n<\/td>\n

\n

Chord 2<\/p>\n<\/td>\n

\n

Seventh tone<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

From the table above…<\/p>\n

\n

Playing chord 3 over the first tone will produce the chord of the first degree.<\/p>\n

Playing chord 4 over the second tone will produce the chord of the second degree.<\/p>\n

Playing chord 5 over the third tone will produce the chord of the third degree.<\/p>\n

Playing chord 6 over the fourth tone will produce the chord of the fourth degree.<\/p>\n

Playing chord 7 over the fifth tone will produce the chord of the fifth degree.<\/p>\n

Playing chord 1 over the sixth tone will produce the chord of the sixth degree.<\/p>\n

Playing chord 2 over the seventh tone will produce the chord of the seventh degree.<\/p>\n<\/blockquote>\n

This is how it works in every key.<\/p>\n

Final Words<\/h2>\n

By now, I have no doubt that you have a newfound diatonic perspective of the part-over-root voicing concept.<\/p>\n

This leaves you with one assignment that you must do without fail. This assignment is for anyone who’s seriously interested in incorporating seventh chords into their playing.<\/p>\n

Practice these chords from key to key using the musical clock:<\/p>\n

\"circleoffiths1\"<\/p>\n

…as a guide. You’re at liberty to choose the order, whether clockwise:<\/p>\n

C
\nG
\nD
\nA
\nE etc.<\/p><\/blockquote>\n

…or, our favorite, counter-clockwise:<\/p>\n

C
\nF
\nBb
\nEb
\nAb etc.<\/p><\/blockquote>\n

Until next time.<\/p>\n

P.S.<\/p>\n

Feel free to post your comments and questions in the comment box below.<\/p>\n","protected":false},"excerpt":{"rendered":"

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