{"id":15870,"date":"2016-12-20T00:00:00","date_gmt":"2016-12-20T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=15870"},"modified":"2024-10-07T14:55:31","modified_gmt":"2024-10-07T22:55:31","slug":"finally-cracked-concept-chord-voicing","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/finally-cracked-concept-chord-voicing\/","title":{"rendered":"Finally Cracked…The Concept Of Chord Voicing"},"content":{"rendered":"

We’re exploring the concept of chord voicing in this lesson.<\/p>\n

Attention<\/strong>: This lesson is for everyone who wants to learn about the term chord voicing<\/em>, especially those who are just coming across the term for the first time.<\/p>\n

In addition to a detailed explanation on chord voicing, we’ll also be exploring various chord voicing techniques, ranging from the part-over-root voicing, to the upper-structure voicing, to the rootless voicing, and other voicing techniques.<\/p>\n

The Concept Of Chord Voicing – Explained<\/em><\/h2>\n

The relationship between notes that are heard at the same time (simultaneously), produces harmony. Although there are several harmony types, we’ll be focusing on these two:<\/p>\n

    \n
  • Vocal Harmony<\/li>\n
  • Keyboard Harmony<\/li>\n<\/ul>\n

    “On Vocal Harmony…”<\/em><\/p>\n

    There are four main voice parts in a choir:<\/p>\n

    Soprano,<\/strong> the first voice<\/p>\n

    Alto,<\/strong> the second voice<\/p>\n

    Tenor,<\/strong> the third voice<\/p>\n

    Bass,<\/strong> the fourth voice<\/p><\/blockquote>\n

    When these voice parts sing together, the outcome is vocal harmony.<\/p>\n

    “On Keyboard Harmony…”<\/em><\/p>\n

    The collection of notes in keyboard harmony are generally defined as chords. A chord is a collection of three or more related notes (agreeable or not), sounded together.<\/p>\n

    There are various classes of chords, ranging from triads (like the C major triad):
    \n
    \n…to seventh chords (like the C major seventh chord):
    \n<\/p>\n

    “What Is Chord Voicing?”<\/em><\/h3>\n

    When musicians talk about chord voicing, they are describing the process of conceptualizing keyboard harmony as vocal harmony.<\/p>\n

    In other words, chord voicing is a vocal approach to keyboard harmony. Consequently, the notes of a chord are considered as voices or voice parts. For example, in the C major seventh chord:
    \n
    \n…its notes are considered as voices thus:<\/p>\n

    B:
    \n
    \n…is the soprano<\/strong> voice.<\/p>\n

    G:
    \n
    \n…is the alto <\/strong>voice.<\/p>\n

    E:
    \n
    \n…is the tenor <\/strong>voice.<\/p>\n

    C:
    \n
    \n…is the bass <\/strong>voice.<\/p>\n

    Other Considerations In Chord Voicing<\/h3>\n

    Beyond the vocal approach to keyboard harmony, there are other important things to consider in chord voicing, which include (but is not limited to):<\/p>\n

      \n
    • The movement of the voices (in a chord progression)<\/li>\n
    • The rearrangement of the voices<\/li>\n<\/ul>\n

      We’ll be exploring a variety of techniques that can be used in the voicing (aka – “rearrangement”) of a chord. From the part-over-root voicing technique, to the rootless voicing technique, and more.<\/p>\n

      The “Part-Over-Root” Voicing Technique<\/h2>\n

      In this voicing technique, a chord is rearranged in such a way that its root is isolated from the rest of the chord tones (which are considered as a part.)<\/p>\n

      Applying the part-over-root voicing technique to the C major ninth chord:
      \n
      \n…entails the isolation of the root note (C):
      \n
      \n…and the consideration of the rest of the notes:
      \n
      \n…(which are basically the E minor seventh chord) as a part.<\/p>\n

      The part over root voicing technique is used to voice <\/em>seventh and extended chords.<\/p>\n

      “In A Nutshell…”<\/em><\/p>\n

      The part-over-root voicing technique are mostly used to play extended chords, that exceed the average human hand span. For example, playing the C minor ninth chord:
      \n
      \n…is challenging to play with one hand. However, using the part-over-root voicing technique, it can be rearranged into an Eb major seventh chord:
      \n
      \n…played over C:
      \n
      \n…on the bass.<\/p>\n

      Altogether, the part-over-root voicing of the C minor ninth chord:
      \n
      \nFollowing the same procedure, you can form the part-over-root voicing of any seventh or extended chord.<\/p>\n

      The Drop-2 Voicing Technique<\/h2>\n

      In the consideration of the notes of a chord as voices, there are basically four voices to look out for:<\/p>\n

      Soprano,<\/strong> the first voice<\/p>\n

      Alto,<\/strong> the second voice<\/p>\n

      Tenor,<\/strong> the third voice<\/p>\n

      Bass,<\/strong> the fourth voice<\/p><\/blockquote>\n

      In the drop-2 voicing, the second voice (aka – “the alto voice”) is played an octave below its position. For example, the drop-2 voicing technique can be used to rearrange (or voice) the C major seventh chord:
      \n
      \n…by the determination of the second voice (aka – “alto voice”) in the chord (which is G):
      \n
      \n…and playing it an octave lower:
      \n
      \n…to produce the drop-2 voicing of the C major seventh chord:
      \n
      \n“In A Nutshell…”<\/em><\/p>\n

      The octave transposition of the second voice in a chord an octave below its position, produces its drop-2 voicing.<\/p>\n

      The Upper-Structure Voicing Technique<\/h2>\n

      The upper-structure voicing technique is exclusively for extended chords.<\/p>\n

      It focuses on the rearrangement of an extended chord in such a way that its extensions (ninth, eleventh, and thirteenth tones) or other basic chord tones (root, third, fifth, and seventh) are considered as a upper chord structure.<\/p>\n

      For example, in the C dominant thirteenth sharp eleventh chord:
      \n
      \n…its extensions, which are basically D (the ninth):
      \n
      \n…F# (the sharp eleventh):
      \n
      \n…and A (the thirteenth):
      \n
      \n…can be considered as a D major triad:
      \n
      \n…which is the upper structure triad in the C dominant thirteenth sharp eleventh chord:
      \n
      \nConsequently, playing a D major triad:
      \n
      \n…over a C dominant seventh chord:
      \n
      \n…produces the C dominant thirteenth sharp eleventh chord:
      \n<\/p>\n

      The Rootless Voicing Technique<\/h2>\n

      The rootless voicing technique is one of the chord voicing techniques that is commonly used by advanced players to voice seventh and extended chords.<\/p>\n

      It features the exclusion of the root note in any given chord. For example, in the C major ninth chord:
      \n
      \n…excluding the root note (which is C):
      \n
      \n…leaves us with an E minor seventh chord:
      \n
      \n…which is considered as the rootless voicing of the C major ninth chord:
      \n<\/p>\n

      The Polychord Voicing Technique<\/h2>\n

      The polychord voicing features the superimposition of two or more chords with the goal of achieving an overall harmony. For example, the superimposition of the E minor triad:
      \n
      \n…over the C major triad:
      \n
      \n…produces a C major seventh chord:
      \n
      \n…as its overall harmony.<\/p>\n

      In the same vein, the superimposition of the E minor seventh chord:
      \n
      \n…over the C major seventh chord:
      \n
      \n…produces a C major ninth chord:
      \n
      \n…as its overall harmony.<\/p>\n

      To derive the polychord voicing of a chord, one must be aware of the triads and seventh chords it consists of. For example, the D half-diminished seventh chord:
      \n
      \n…consists of the D diminished triad:
      \n
      \n…and the F minor triad:
      \n
      \nConsequently, the superimposition of the F minor triad:
      \n
      \n…over the D diminished triad:
      \n
      \n…produces the polychord voicing of the D half-diminished seventh chord:
      \n<\/p>\n

      Final Words<\/h2>\n

      The concept of chord voicing presents you with a variety of ways that any given chord can be rearranged.<\/p>\n

      Although most of the chord voicings covered in this lesson are commonly used by gospel and jazz musicians, they can also be applied to other popular music styles like R&B etc.<\/p>\n

      Thank you for your time and see you in another lesson.<\/p>\n","protected":false},"excerpt":{"rendered":"

      If you’re interested in learning about the concept of chord voicing, then this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22691,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[17,211,2113,2374,2373,2161],"class_list":["post-15870","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-basic-songs","tag-chord","tag-chord-voicing","tag-part-over-root-voicing","tag-rootless-voicing","tag-upper-structure-voicing","post-wrapper","thrv_wrapper"],"yoast_head":"\nFinally Cracked...The Concept Of Chord Voicing - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"If you're interested in learning about the concept of chord voicing, then this lesson is for you.\" \/>\n<meta name=\"robots\" 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