berklee_piano_voicing_jazz.pdf

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Berklee College of Music

Reharmonization Techniques

Randy Felts

Chapter 10

Basic Piano Voicing Techniques

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Basic Piano

Voicing Techniques

Understanding the basics of piano voicings and the use of common tensions is a first step

in creating effective orchestrations of reharmonized melodies.

Chord Tones

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

1. Include the root of the chord in the voicing (assuming solo piano with no bass

player).

2. Include the basic chord sound.

Chord Type

Basic Chord Sound

(Chord Tones)

3, 5

3, 6

3, 7

4, 7

% 3, % 5, % 7

3, # 5, % 7

% 3, % 5, ” 7

Triads

Sixth chords

Seventh chords

Dominant 7sus4

Minor 7( % 5)

Augmented seventh

Diminished seventh

For seventh chords, the basic chord sound consists of chord tones 1, 3, and 7. For sixth

chords, the basic chord sound consists of chord tones 1, 3, and 6. The third determines

whether the chord is of major or minor quality and the seventh (or sixth) determines the

chord function. The flat seventh gives the chord a dominant function, while a major

seventh yields a tonic or subdominant function. 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.

Altered fifths are always considered part of the basic chord sound.

For best results, the basic chord sound (3 and 7) should be placed, or voiced , within

the following range:

Fig. 10.1. Recommended range for voicing chord tones 3 and 7

basic piano voicing techniques

The following voicings illustrate the correct placement of basic chord sound for common

chord types:

F–

F–6

FMaj7

F–7

F 7

F–7( 5)

F+7

Fig. 10.2. Recommended chord voicings for various chord types

Voice Leading

Following voice leading principles will improve the sound of a progression. Voice leading

connects notes smoothly from chord to chord with a blended, textural sound. It also

makes the voicings easier to play on a keyboard.

Traditional voice leading focuses on the resolution of tendency tones and avoidance of

such intervals as parallel fifths, octaves, and certain doublings of pitches within chords.

Following voice leading rules will lend a recognizable stylistic sound and chord texture.

Current 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. The following guidelines will help you create voice leading that is

consistent with jazz/pop voicing practices.

1. Determine the basic chord sound for each chord.

2. If the root motion moves by perfect fourth or perfect fifth, 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. These

resolutions produce a clear harmonic texture and minimize finger movement

from chord to chord.

CMaj7

F –7

E–7

D–7

CMaj7

(3)

( 7)

(3)

(7)

( 3)

(7)

Fig. 10.3. Correct resolutions for chord tones 3 and 7

3. If root motion moves by unison or second, move the voices in parallel motion.

Parallel motion means that all voices move up or down by a similar amount. In

the example below, D–7 to E–7 finds all voices moving up in diatonic seconds.

(Roll over Beethoven!)

Optional: Change the octave position of the root while other parts move in parallel

motion. For example, see the movement of E–7 to FMaj7 between measures 2 and 3

below.

CMaj7

C 7

D–7

E–7

FMaj7

A–7

D–7

D Maj7

CMaj7

Fig. 10.4. Correct resolutions when voices move in diatonic seconds

4. If roots move by third or sixth, use either parallel or contrary motion between

the roots and the upper voices. Contrary motion means that voices move in

opposite directions: the bass note moves down, while all other voices move

up.

FMaj7 D–7

B Maj7 G–7

FMaj7

FMaj7 D–7

B Maj7 G–7

FMaj7

Contrary motion between roots and upper voices

Parallel motion between roots and upper voices

Fig. 10.5. Correct resolutions when roots move by third or sixth

basic piano voicing techniques

5. 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. Note that the roots of the chords are not included in the inversion

shifts.

C–7

B –7

C–7

B –7

Voice leading moving out of range between

Range problem is corrected by changing the inversion

of the upper chord tones within the duration of F7,

then voice leading normally to B –7.

F7 and B –7. The third of the B –7 chord is

now too low for a clear voicing.

Fig. 10.6. Inversions help keep a progression within range

Voice Leading With Tensions

It is common for jazz-style piano voicings to contain additional tensions along with the

basic chord tones. The following example shows available tensions placed above the

basic chord sound.

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. Be sure to include nondiatonic tensions

in the chord symbol. Labeling for available tensions that are diatonic to the key is not

necessary. In the following examples only nondiatonic tensions are indicated in the chord

symbols, even though diatonic tensions are also being used.

CMaj7

F –7(9) B7(13)

E–7

D–7

CMaj7

Fig. 10.7. Nondiatonic tensions added to chord voicing symbols above the top note of the three-part voicing

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