G # on F #–7(9) and G # on B7(13) are available as tensions on these individual chords, though they are not diatonic to the key, C major. The following example shows available tensions placed above the basic chord sound. It is common for jazz-style piano voicings to contain additional tensions along with the basic chord tones. Inversions help keep a progression within range Voice Leading With Tensions Note that the roots of the chords are not included in the inversion shifts. If the basic chord sound appears to be heading out of range as the progression is voice-led, change the inversion of chord tones within the duration of a single chord and then continue voice leading normally into the next chord. Correct resolutions when roots move by 3rd or 6thĥ. Contrary motion means that voices move in opposite directions: the bass note moves down, while all other voices move up. If roots move by roots move by 3rd or 6th, use either parallel or contrary motion between the roots and the upper voices. Correct resolutions when voices move in diatonic secondsĤ. For example, see the movement of E–7 to FMaj7 between the second and third measures below. Optional: Change the octave position of the root while other parts move in parallel motion.

In the example below, D–7 to E–7 finds all voices moving up in diatonic seconds. Parallel motion means that all voices move up or down by a similar amount. If root motion moves by unison or second, move the voices in parallel motion. Correct resolutions for chord tones 3 and 7ģ. These resolutions produce a clear harmonic texture and minimize finger movement from chord to chord.

If the root motion moves by perfect 4th or perfect 5th, resolve chord tone 3 in the first chord to chord tone 7 of the second, and chord tone 7 in the first chord to 3 in the second, as shown in the following examples. Determine the basic chord sound for each chord.Ģ. The following guidelines will help you create voice leading that is consistent with jazz/pop voicing practices.ġ. Following voice leading rules will lend a recognizable stylistic sound and chord texture.Ĭurrent jazz and pop composers are less concerned with traditional voice leading rules, but still strive for balanced note spacing and reasonably smooth connection from one chord to the next. Traditional voice leading focuses on the resolution of tendency tones and avoidance of such intervals as parallel 5ths, octaves, and certain doublings of pitches within chords. It also makes the voicings easier to play on a keyboard. Voice leading connects notes smoothly from chord to chord with a blended, textural sound. The following voicings illustrate the correct placement of basic chord sound for common chord types: Recommended chord voicings for various chord types Voice Leadingįollowing voice leading principles will improve the sound of a progression. Altered 5ths are always considered part of the basic chord sound.įor best results, the basic chord sound (3 and 7) should be placed, or voiced, within the following range: Recommended range for voicing chord tones 3 and 7 Chord tone 5 is not considered part of the basic chord sound unless it has been raised or lowered (altered), or is part of a triad. The flat 7th gives the chord a dominant function, while a major 7th yields a tonic or subdominant function. The 3rd determines whether the chord is of major or minor quality and the 7th (or 6th) determines the chord function. For 6th chords, the basic chord sound consists of chord tones 1, 3, and 6.

Include the root of the chord in the voicing (assuming solo piano with no bass player).įor 7th chords, the basic chord sound consists of chord tones 1, 3, and 7.

To create effective piano voicing for various chord qualities, be sure to follow these guidelines:

Understanding the basics of piano voicing and the use of common tensions is a first step in creating effective orchestrations of reharmonized melodies. The following information on piano voicing is excerpted from the Berklee Press book Reharmonization Techniquesby Randy Felts.

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