Graham English Official Site » chord voicings

Piano Voicings Part 6: Clusters

Graham English — Mon, 07 Aug 2006 14:00:19 +0000

Clusters usually span no more than a fifth and include both half steps and whole steps. Clusters increase tension and when preceding open chords can make them seem wider. Clusters also sound good when rolled.

Piano Voicings Part 5: Kenny Barron Voicings

Graham English — Sun, 06 Aug 2006 15:17:24 +0000

Kenny Barron voicings are composed of two perfect fifths in each hand and separated by a minor second:

This symmetrical voicing can also be played with a major second between the two hands creating a completely different chord quality. Notice the increased tension from the #11 at the top:

Piano Voicings Part 4: Upper Structure Chords

Graham English — Sat, 05 Aug 2006 15:13:12 +0000

Upper structure chords consist of a triad-or triad inversions-over a tritone. Here’s a chart of common upper structures:

Piano Voicings Part 3: Fourth Chords

Graham English — Fri, 04 Aug 2006 15:35:13 +0000

Fourth chords create harmonies reminiscent of McCoy Tyner’s playing. Stacked fourths have a wide open texture and are complimented very well by pentatonic scales. Begin on the third of a major scale and keep adding fourths as your taste dictates. Most voicings include a tritone as well as fourths. Fourth chords, similar to So What chords, can be moved around all scale degrees creating either new chords or variations on the root.

Piano Voicings Part 2: So What Chords

Graham English — Thu, 03 Aug 2006 18:09:34 +0000

So what chords get their name from the song of the same title on Miles Davis’ record, Kind Of Blue. This voicing consists of a series of three perfect fourths with a third on top:

So what chords can be moved up and down all scale degrees of all modes very successfully. Try harmonizing melodies using so what chords:

Piano Voicings Part 1: Left Hand Voicings

Graham English — Thu, 03 Aug 2006 02:28:13 +0000

Left hand piano voicings enable you to play the basic progression of jazz harmony, II-V-I, with good voice leading while freeing your right hand for soloing. The most important notes in these chords are the third and seventh because they determine the chord quality. The root and fifth of the chord don’t require much attention because they are implied by the rest of the chord. Here are the basic left hand voicings in first position:

Here are the left hand voicings in second position:

Try substituting the tritone (augmented 4th/diminished 5th) for the V chord. This substitution is sometimes called a Valt (#5,#9) chord (depending on the root in the bass):

Try altering other scale degrees: