Module 9 — Voice Leading and Chord Voicings
This module is about making harmony sound smooth, intentional, and sophisticated.
You already know the basic idea:
Don’t jump to root position every time. Keep common tones and move the other notes by the smallest practical distance.
Now we’ll turn that into a system you can actually use.
9.1Start with the problemTake:9.2Think in voices, not chord blocksSuppose you play:9.3Common tones firstWhen moving from one chord to the next:9.4Half-step motion is especially powerfulSome of the strongest voice leading happens by semitone.9.5Guide tonesFor seventh chords, the most important internal notes are usually:9.6Shell voicingsA shell voicing uses only essential notes.9.7Why the fifth is often omittedThe fifth usually contributes less information about chord quality than:9.8Left-hand shell voicingsTry this:9.9But avoid very low close intervalsIf you play:9.10Closed versus open voicingClosed Cmaj7:9.11Drop-2 ideaA very useful voicing concept:9.12Top-note controlSuppose your melody note is E and chord is Cmaj7.9.13Top melody and inner voicesSuppose melody is:9.14Bass and melody are your two most important voicesWhen arranging solo piano, think:9.15Example: smooth bass under C-G-Am-FRoot bass:9.16Contrary motionA beautiful effect occurs when:9.17Oblique motionAnother kind of voice leading:9.18Similar motionBoth voices move in the same direction but by different intervals.9.19Parallel motionTwo voices move in the same direction by the same interval.9.20Voice-leading exercise with one handPlay:9.21ii–V–I with guide tonesUse C major.9.22Add roots separatelyNow left hand:9.23Add color tonesNow add:9.24Voice-leading before chord complexityDo not think:9.25Inner-line exerciseHold a C major harmony.9.26Another inner linePlay:9.27Chords can be chosen for voice leadingSuppose you want:9.28Chromatic bass linesTry:9.29Pedal and voice leadingSmooth voice leading can let you use less pedal.9.30Finger substitutionSometimes you want to hold one note while changing others.9.31Voicing below the melodySuppose melody is C.9.32Melody note may be an extensionSuppose chord is Cmaj7 and melody note D.9.33Melody A over Cmaj7Cmaj7:9.34Avoiding clashes with melodySuppose melody note is F over Cmaj7.9.35Register solves many dissonancesPlay E and F adjacent.9.36Rootless voicings — previewIf a bassist is playing G, pianist may omit G entirely.9.37A simple jazz voicing systemFor ii–V–I in C:9.38Now omit roots in the right handThe right hand should increasingly think:9.39Voice-leading a pop progressionTake:9.40Voice-leading exercise by nearest noteTake any chord.9.41But don't make everything perfectly smoothIf every voice always moves by the smallest possible interval, harmony can become too static.9.42Creating liftSuppose first phrase uses middle-register voicings.9.43Creating relaxationAt the final cadence:9.44Voice leading through repeated chordsEven when chord doesn't change, inner voices can.9.45Suspensions as voice leadingExample:9.46AnticipationYou can also introduce a note from the next chord early.9.47Voice leading creates phrasingGood voice leading should not be purely technical.9.48Your practical workflow for any progressionGiven chord symbols:9.49Daily drill: two-note guide tonesPractice these ii–V–I chains:9.50Daily drill: 3-note shellsC:9.51Daily drill: melody on topChoose progression:9.52Daily drill: bass on purposeTake:9.53Mini arrangement projectTake a simple melody you know.•Homework for Module 9Practice:•Module 9 mini-test1. What are guide tones in a seventh chord?