{"id":17565,"date":"2017-11-29T00:00:00","date_gmt":"2017-11-29T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=17565"},"modified":"2024-10-05T15:45:27","modified_gmt":"2024-10-05T23:45:27","slug":"do-you-know-when-less-is-more-in-chord-voicing","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/do-you-know-when-less-is-more-in-chord-voicing\/","title":{"rendered":"Do You Know When Less Is More In Chord Voicing?"},"content":{"rendered":"

There are so many situations in music where less is more and chord voicing is one of those situations<\/p>\n

Sophisticated voicings are beautiful for the most part and the number of tones in a chord really counts — the bigger, the better. However, there are situations where less is more.<\/p>\n

I’m talking about situations where a fewer notes in a chord can do much more than you think they can.<\/p>\n

If you understand the principles I’m about to share with you in this lesson, you’ll be able to achieve more in harmony, using fewer notes.<\/p>\n

Let’s get started by refreshing our minds on chord voicing.<\/p>\n

“What Is Chord Voicing?”<\/em><\/h2>\n

The notes of a chord can be considered as voicings or voice parts. The notes of the C major seventh chord:
\n
\n…can be considered as voices:<\/p>\n

B<\/strong> is the soprano<\/em> voice<\/p>\n

G<\/strong> is the alto<\/em> voice<\/p>\n

E<\/strong> is the tenor<\/em> voice<\/p>\n

C<\/strong> is the bass<\/em> voice<\/p><\/blockquote>\n

In the consideration of the notes of a chord as voices, these voices are rearranged using techniques known as voicing techniques and the outcome of voicing a chord produces a chord voicing.<\/p>\n

Chords Vs Chord Voicings<\/h3>\n

A chord voicing is just an arrangement of the notes of a given chord. For example, the C major ninth chord:
\n
\n…can be rearranged in such a way that G major sixth chord:
\n
\n…is played over C on the bass:
\n
\n…to form a chord voicing of the C major ninth chord:
\n
\nAlthough both the chord:
\n
\n…and its voicing:
\n
\n…have exactly the same notes (C, E,\u00a0G, B, and D), that differ in arrangement.<\/p>\n

It’s also possible to have other voicings of the C major ninth chord, and that includes (but is not limited to) the drop-2 voicing:
\n
\n…the polychord voicing:
\n
\n…and more.<\/p>\n

Skeleton Voicing: What To Do When Less Is More<\/h2>\n

It’s possible to have more harmony with a fewer number of notes and that’s exactly what our focus in this lesson is on and to achieve that, you’ll have to learn the skeleton voicing technique.<\/p>\n

Let’s go ahead and talk about the skeleton voicing technique.<\/p>\n

A Short Note On The Skeleton Voicing Technique<\/h3>\n

The skeleton voicing technique is a voicing technique where the third and seventh tones of the chord are considered.<\/p>\n

For example, the C major seventh chord:
\n
\n…can be rearranged using the skeleton voicing technique.<\/p>\n

In the skeleton voicing of the C major seventh chord, its third and seventh tones — which are E and B:
\n
\n…are considered.<\/p>\n

So, here’s the skeleton voicing of the C major seventh chord:
\n
\n…with just 50% of the total number of notes in the regular C major seventh chord:<\/p>\n

How To Sound More Playing Less<\/h3>\n

The skeleton voicing is a clear example of the application of less to achieve more. The skeleton voicing of the C major seventh chord:
\n
\n…consists of two of its most important notes (which are its third and seventh tones).<\/p>\n

Due to the fact that the quality of a chord is determined by its third and seventh tones, the skeleton of a chord is enough to determine what chord it is.<\/p>\n

For example, the Eb-Bb skeleton:
\n
\n…is the skeleton voicing of the regular C minor seventh chord:
\n
\n…while the E-Bb skeleton:
\n
\n…is the skeleton voicing of the regular C dominant seventh chord:
\n<\/p>\n

Final Words<\/h2>\n

From what you’ve learned in this blog post, I’m certain that you can make the most out of any given chord quality with as much as two to three notes.<\/p>\n

In another lesson, we’ll go ahead and look at what to do when more is more.<\/p>\n

See you then!<\/p>\n","protected":false},"excerpt":{"rendered":"

In the concept of chord voicing, there are times where less is more. Find out what to do in such situations.<\/p>\n","protected":false},"author":9,"featured_media":22531,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[211,2113,2583,2582,2100],"class_list":["post-17565","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-chord","tag-chord-voicing","tag-shell-voicing","tag-skeleton-voicing","tag-voicing","post-wrapper","thrv_wrapper"],"yoast_head":"\nDo You Know When Less Is More In Chord Voicing? - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In the concept of chord voicing, there are times where less is more. 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