{"id":17372,"date":"2017-11-02T00:00:00","date_gmt":"2017-11-02T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=17372"},"modified":"2024-10-05T16:11:17","modified_gmt":"2024-10-06T00:11:17","slug":"week-1-the-polychord-voicing-technique","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/week-1-the-polychord-voicing-technique\/","title":{"rendered":"Week 1: The Polychord Voicing Technique"},"content":{"rendered":"

Our focus on this first week is on the polychord voicing technique.<\/p>\n

A lot of top players in gospel and jazz music use this technique in the rearrangement of chords — especially seventh and extended chords.<\/p>\n

The regular A minor ninth chord:
\n
\n…can be rearranged and played thus:
\n
\n…using the polychord voicing technique and that makes the chord to sound a lot better.<\/p>\n

I guarantee you that investing the next 20 minutes or so in learning how the polychord voicing technique is applied would pay off.<\/p>\n

The Polychord Voicing Technique — Explained<\/h2>\n

Voicing is the consideration of the notes of a chord as voices and the rearrangement of chord tones using vocing techniques.<\/p>\n

The Polychord Voicing Technique — Defined<\/em><\/h3>\n

Our focus is on the polychord voicing technique which is a product of the superimposition of two or more chords to form a bigger chord — which is usually referred to as a polychord.<\/p>\n

For example, the superimposition of the E minor triad (in second inversion):
\n
\n…over the C major triad (in root position):
\n
\n…produces a polychord — the C major seventh chord:
\n
\nThe regular C major seventh chord:
\n
\n…consists of four notes (C, E, G, and B), while the polychord voicing of the same C major seventh chord consists of two triads (the C major triad and the E minor triad.)<\/p>\n

A Short Note On The Concept Of Embedded Chords<\/h3>\n

The reason why the C major and E minor triads are superimposed to produce the C major seventh chord is because both chords are embedded in the C major seventh chord.<\/p>\n

The first three notes of the C major seventh chord (which are C, E, and G) :
\n
\n…are identical with the notes of the C major triad, while the last three notes (which are E, G, and B):
\n
\n…are identical with the notes of the E minor triad.<\/p>\n

How To Determine Embedded Chords<\/h3>\n

Anyone who wants to know the right chords to superimpose to form a polychord must start by determining the embedded chords in any given polychord.<\/p>\n

Although the embedded chords in a given chord can be extended chords as well, embedded chords are either triads or seventh chords most of the time.<\/p>\n

How To Determine Embedded Triads<\/em><\/strong><\/p>\n

Given the Eb major ninth chord:
\n
\n…its embedded chords can be determined by identifying the triads in the Eb major ninth chord.<\/p>\n

The first three notes\u00a0 (which are Eb, G, and Bb):
\n
\n…gives us the first embedded triad — the Eb major triad.<\/p>\n

The next set of three notes\u00a0 (which are G, Bb, and D):
\n
\n…gives us the second embedded triad — the G minor triad.<\/p>\n

The last set of three notes\u00a0 (which are Bb, D,and F):
\n
\n…gives us the third (and last) embedded triad — the Bb major triad.<\/p>\n

Superimposing the following embedded triads in the Eb major ninth chord:<\/p>\n

Eb major triad<\/p>\n

G minor triad<\/p>\n

Bb major triad<\/p><\/blockquote>\n

…would produce its polychord voicing.<\/p>\n

How To Determine Embedded Seventh Chords
\n<\/em><\/strong><\/p>\n

Given the Eb major ninth chord:
\n
\n…its embedded chords can be determined by identifying the seventh chords in the Eb major ninth chord.<\/p>\n

The first four notes\u00a0 (which are Eb, G, Bb, and D):
\n
\n…gives us the first embedded seventh chord — the Eb major seventh chord.<\/p>\n

The next set of four notes\u00a0 (which are G, Bb, D, and F):
\n
\n…gives us the second embedded triad — the G minor seventh chord.<\/p>\n

Superimposing the following embedded seventh chords in the Eb major ninth chord:<\/p>\n

Eb major seventh<\/p>\n

G minor seventh<\/p><\/blockquote>\n

…would produce its polychord voicing.<\/p>\n

Formation Of Polychords<\/h3>\n

In the formation of polychords, two things matter:<\/p>\n

Determining the embedded chords<\/p>\n

Superimposing them the right way<\/p><\/blockquote>\n

For example, superimposing the G minor seventh chord:
\n
\n…over the Eb major seventh chord:
\n
\n…produces the polychord voicing of the Eb major ninth chord:
\n
\nWhile superimposing the Eb major seventh chord:
\n
\n…over the G minor seventh chord:
\n
\n…creates an entirely different polychord (Gm\/EbM7):
\n
\n…which may have the same notes like the Eb major ninth chord but differ in structure and function.<\/p>\n

So, in the formation of polychords, the superimposition of chords must be done with the overall chord in mind.<\/p>\n

For example, the polychord voicing of the Eb major ninth chord must be structurally and functionally identical\u00a0 with the regular Eb major ninth chord.<\/p>\n

Application Of The Polychord Voicing Technique In Chord Progressions<\/h2>\n

Let’s go ahead and check out how the polychord voicing technique can be applied in chord progressions. Although it can be applied in a variety of chord progressions, we’ll be focusing on these chord progressions:<\/p>\n

The 1-4 chord progression<\/p>\n

The 2-5-1 chord progression<\/p>\n

The 7-3-6 chord progression<\/p><\/blockquote>\n

Attention:<\/strong> All the examples in this segment would be given in the key of C major.<\/p>\n

Check them out!<\/p>\n

The 1-4 Chord Progression<\/h3>\n

The 1-4 chord progression consists of a root progression from the first tone to the fourth tone of the C major scale:
\n
\n…which is from C:
\n
\n…to F:
\n
\nUsing the C major ninth chord:
\n
\n…and the F major seventh chord:
\n
\n…we can derive the following polychords:<\/p>\n

The polychord voicing of the C major ninth chord<\/p>\n

The polychord voicing of the F major seventh chord<\/p><\/blockquote>\n

“Which Can Be Put Together In A 1-4 Chord Progression…”<\/em><\/p>\n

Chord 1:
\n
\nChord 4:
\n<\/p>\n

The 2-5-1 Chord Progression<\/h3>\n

The 2-5-1 chord progression consists of a root progression to the first tone through the second and fifth tones of the C major scale:
\n
\nFrom D (which is the second tone):
\n
\n…to G (which is the fifth tone):
\n
\n…then to C\u00a0 (which is the first tone):
\n
\nUsing the D minor ninth chord:
\n
\n…the G dominant ninth chord:
\n
\n…and the C major ninth chord:
\n
\n…we can derive the following polychords:<\/p>\n

The polychord voicing of the D minor ninth chord<\/p>\n

The polychord voicing of the G dominant ninth chord<\/p>\n

The polychord voicing of the C major ninth chord<\/p><\/blockquote>\n

“Check Them Out…”<\/em><\/p>\n

Chord 2:
\n
\nChord 5:
\n
\nChord 1:
\n<\/p>\n

The 7-3-6 Chord Progression<\/h3>\n

In the 7-3-6 chord progression in the key of C major:
\n
\n…the root moves from the seventh tone (which is B):
\n
\n…to the third tone (which is E):
\n
\n…then to the sixth tone (which is A):
\n
\nUsing the B half-diminished seventh chord:
\n
\n…the E dominant seventh [flat ninth] chord:
\n
\n…and the A minor ninth chord:
\n
\n…we can derive the following polychords:<\/p>\n

The polychord voicing of the B half-diminished seventh chord<\/p>\n

The polychord voicing of the E dominant seventh [flat ninth] chord<\/p>\n

The polychord voicing of the A minor ninth chord<\/p><\/blockquote>\n

“Check Them Out…”<\/em><\/p>\n

Chord 7:
\n
\nChord 3:
\n
\nChord 6:
\n<\/p>\n

Application Of The Polychord Voicing Technique In Songs<\/h2>\n

In addition to the application of polychords we learned in the previous segment, let’s breakdown a few songs like:<\/p>\n

Oh how I love Jesus<\/p>\n

Thank You, Lord<\/p><\/blockquote>\n

…and how they can be played with polychords.<\/p>\n

Example #1 – Oh How I Love Jesus<\/h3>\n

Oh (chord 1):
\n
\n…how I love\u00a0 (chord 3):
\n
\n…Je-sus (chord 6):
\n
\nOh (chord 2):
\n
\n…how I love (chord 5):
\n
\n…Je (chord 1):
\n
\n…sus (chord 5):
\n
\nOh (chord 1):
\n
\n…how I love (chord 3):
\n
\n…Je-sus be (chord 6):
\n
\n…cau-ause he (chord 2):
\n
\n…first loved (chord 5):
\n
\n…me (chord 1):
\n<\/p>\n

Example #2 – Thank You, Lord<\/h3>\n

Thank (chord 1):
\n
\n…you (chord 3):
\n
\n…Lord (chord 6):
\n
\nThank you (chord 2):
\n
\n…Lord (chord 5):
\n
\nThank (chord 1):
\n
\n…you (chord 3):
\n
\n…Lord (chord 6):
\n
\nI just want to (chord 2):
\n
\n…thank you (chord 5):
\n
\n…Lord (chord 1):
\n<\/p>\n

Final Words<\/h2>\n

Using the concept of embedded chords, you can rearrange any seventh or extended chord to become a\u00a0 polychord; achieving a fuller sound.<\/p>\n

Go ahead and practice the songs and chord progressions learned in all twelve keys.<\/p>\n

See you in the next lesson, next week!<\/p>\n","protected":false},"excerpt":{"rendered":"

If you’re interested in learning the polychord voicing technique and how it can be applied in chord progressions and songs, then this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22549,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9,20],"tags":[17,2563,2561,2562,94,2100,2163],"class_list":["post-17372","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","category-playing-songs","tag-basic-songs","tag-embedded-chords","tag-polychord-voicing","tag-polychord-voicing-technique","tag-polychords","tag-voicing","tag-voicing-technique","post-wrapper","thrv_wrapper"],"yoast_head":"\nWeek 1: The Polychord Voicing Technique - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"If you're interested in learning the polychord voicing 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