chord voicings

The term voicing refers to the arrangement of pitches within a particular chord, i.e., how a chord is "voiced." As the name implies, i.e., "voicing", the idea of creating a chord using human voices to generate the pitches is perhaps a good place to start this discussion. In choral music, music for singers, the voices within the ensemble are usually divided into four distinct ranges. These are named from lowest to highest; bass, tenor, alto and soprano. Sound familiar? Good. So, in analyzing the voicing of a chord, theorists use these vocal terms to describe the arrangement of pitches within a chord. For example, let's look at the following four voice chord and identify each of it's pitches in terms of what chord degree they are articulating. Using a vanilla C major triad for illustrative purposes. Example 1.

Cool with the clefs, notes and pitches etc.? The above voicing, created from major and minor thirds, i.e., tertian harmony, is said to be in root position, in that the tonic pitch of the chord, C, is in the bass voice and that the tonic pitch is "doubled" in the voicing. So why such a large gap between the bass and tenor pitches? Chord voicings are oftentimes simply based on the naturally occurring overtone series, which when created by whatever means and analyzed, naturally has wider intervals between the lower pitches, closer intervals toward the top of the series. What is the main problem of using smaller intervals in the lower area of the voicing? Let's let our ears be the guide. Example 1a.

Well? The first root / 3rd sounds a bit dark and unfocused? Too dark or muddy as the players term it? That's what happens when the smaller intervals are placed so low in pitch. Is that a problem? Oftentimes yes, as the ensemble sound is affected by too many low notes together. Too heavy to swing? Could be. Can it rock? Totally. So as always, it simply depends upon the sound we are after and perhaps what emotional statement we are trying to aurally portray. Hear how the sonority clears as the interval between the bass and tenor voice expands? Click again.

Recognizing these intervals this in context can take a while, after which we each have our favorites. Are there other voicing configurations of the C major triad presented above? Of course there are, but you knew that right? Part of a players artistic signature / musical "magic" is in how they choose to voice their chords. This applies to all of the styles of American music, whereby certain voicings have become character or cliché to a particular style. Really? For sure. Let's look at some of the other possible voicing configurations of the C major triad. In the following example, we'll start with the same root position, C major triad as above in example 1, then gradually re-voice the chord to other possibilities. Example 2.

From the above music, we can see how there are any number of ways to voice this C major triad and we have yet still to add any of the color tones available to further shade and enhance the chord. In the first measure of example 2 above, the tonic of the chord C, is said to be in the lead. This important phrase simply describes which chord degree is in the soprano or top most voice of the chord. In the second and fourth bars above, the 3rd of the chord, the pitch E, is said to be in the lead. The third measure has our chord voiced with the 5th chord degree, G, in the lead. O.k. with the term chord degree? Cool with these musical terms used to describe the voicing of a chord? A very simple but potentially important way to describe what is happening within the chord voicing from a musical standpoint. 

So why is this musical terminology potentially so important? Well, for a couple of reasons. When putting musical arrangements together with other players, it is a handy way to let the other players know how we are voicing our chord, i.e., third in the lead, fifth in the lead etc. When we come up with voicings we like, they can become a sort of formula which is easy to remember, reshape and share with others. That when creating arrangements of the melody of a song using chords, we oftentimes place the melody pitches "in the lead" of the harmony, so as to bring forth and better hear the melody and it's good to know what chord tone a particular pitch is. That to a certain degree, so much of learning the theory of any subject is in knowing the vocabulary used to describe it's elements.

Lets add a bit of color to our C triad creating a tonic major seventh chord type. We create this chord by simply adding the diatonic seventh of the parent scale to the triad. Here is a chart to compare the spelling of the pitches of the two chords. Example 3.

We can see from the above chart the C major triad contained within both chords. Easy enough eh? So, how does this effect how we can voice our chords? Compare the following voicings. Example 3a.

Even though all of the voicings in example 3a are all in root position, i.e., C in the bass, each of the chords has a slightly different timbre, creating slightly different hues of this tonic major seventh color. Will they all function the same? Yep, pretty much. So, how do we choose which one to use where in what music? I knew you'd ask that. 

First consideration in choice might be determined by what the melody pitch is when we need this chord. Melody pitches are often treated like the queen bee, all powerful and always deferred too. A second consideration concerns how we choose to move from one chord to another. This is another topic for another page that us theorists commonly call voice leading. A third consideration is in understanding the artistic / emotional potential of each of the different voicings in regards to the nature of the story we are trying to tell. Here we begin to really split the hairs artistically, but by doing so, we prepare ourselves for the discussion of the development of one's artistic signature. This is potentially what makes a creative musician a "creative musician." Let's dance a bit about architecture. Here are the chords again. Example 3a.

From my subjective perspective, the first voicing of example 3a, which uses a major tenth between the root and the third, has a very stable, earthy quality. I would use this voicings in a situation where a warm and tender tonic major seven color is needed, so perhaps a love song in a ballad tempo. The second voicing of example 3a, using the root / fifth pairing as it's basis, for me has a brighter quality to it. I would choose this color in a more joyous major tonal environment, say, as in a Latin / Bossa Nova flavored composition. The third and fourth voicings, by nature of it's root / major seventh foundation, contains a wee bit more dissonance by my hearing, creating a slightly less stable tonic color. I might employ this color in a more uptempo, bebop environment, where this tonal instability goes by to quickly to really be noticed, while the overall chord still is able to function properly. Or if the music needs to be fragile to mirror the emotional content of the song, this root / major 7th voicing might be a good choice. Cool with these descriptions? These are my interpretations of these voicings and where in the music I might employ them to create a proper musical ambiance.

What your interpretation will be is what your interpretation will be. There is no right or wrong in this, we simply let our spiritual musicality be the guide. Needless to say, discovering a voicings' emotional content is a lifelong, potentially ever evolving process of artistic discovery and coolness. When we listen to players who consciously and consistently choose one voicing over another, based on their own personal understanding of the emotional potential of a particular voicing, their storytelling ability takes on a new depth of intimacy and character. Passion, humor, sadness and joy seem to magically spring forth from their music. When we listen to unfamiliar melodies and music and recognize the players by their tone, articulation, phrasing, pitch selection and voicings, aren't we simply aurally recognizing their artistic signature?

Well enough of my musings eh? Of course, we could add other colors to our tonic major seventh chord, and examine possible voicings and speculate about their emotional character, but perhaps it is better to simply present the possible musical resources and allow the creative musician to explore? So, lets review some basic principles of creating voicings and move along.

Review. The fundamental source for how chords are voiced in American music is the overtone series. That wider intervals in the bass and tenor voices create a clearer overall sonority. That there is no right or wrong voicing, but the potential perhaps for one configuration of pitches to better express our artistic statement than another. And that how each of us decides to voice our chords is an ever evolving, creative and natural artistic process, searching for the best chord colors to express our ideas.

Thinking styles of American music, the following generalizations regarding voicings emerge. Example 4.

Are there other theoretical ideas on how to voice chords? Of course, the manipulative potential of the musical resources used to create American music is perhaps the most sophisticated system of music ever devised in our recorded planetary history. Really? Well... I think so. Click onward for more possibilities my friend.

"If opportunity doesn't knock, build a door."

Milton Berle