Close and Open Chord Voicings

                The pitches or voices of a chord can be arranged in different orders and formats on a keyboard instrument.  When the lowest and highest pitches of a chord do not exceed the distance of an octave, we say that the chord was played in a close voicing.  The chord tones are packed together in the closest format possible.  This type of voicing makes it easy to play each pitch with one hand.  It also has a sound quality that is useful for certain types of expression.  However, the use of close voicings exclusively can be detrimental to our performance on keyboard instruments.  Many musical situations call for voicings that are more spread apart.

                When the lowest and highest pitches of a chord extend beyond the distance of an octave, we say that the chord was played in an open voicing.  This is achieved by displacing one or more of the pitches an octave further away from its closes possible position.  We can create these types of voicing by tastefully and musically dispersing the chord tones across the keyboard. 

                Drop voicing is a specific technique used to achieve open voicings.  In this technique, the top pitch of the original close voicing is maintained.  The pitches below this are labeled as either the second, third or fourth pitch down from the top.  A drop-2 voicing is the result of lowering the second pitch from the top by one octave.  In a drop-3 voicing, the third pitch from the top is lowered one octave.  In a drop-4 voicing, the fourth pitch from the top is lowered one octave.  Depending on the situation, some drop voicings may result in more musical and tasteful pitch spreads.  Even distribution, with closer intervals in the middle or top of the chord are ideal (although not mandatory).  Especially in lower registers, closer intervals will take on a muddy sound quality. 

                Since the second and fourth pitches from the top of a close voicing are somewhat spread apart from each other, they can both be lowered  to create a drop-2 and 4 voicing.  This voicing often results in an even spread of pitch, and a musically desirable sound.  The second and third or third and fourth pitches are often too close to each other to be lowered simultaneously.  This would create an awkward voicing containing two closely packed low pitches and two closely packed high pitches with a large gap in the middle.  The overall sense of one chord is lost in this type of voicing because the gap disconnects the low pitches from the high ones. 

                The tasteful and musical use of open voicings can provide much needed variety to our harmonic pallet.  When a keyboard player can create both cluttered and open sounding harmonies he or she can more easily express a wide range of sound and emotion.  In addition, since there is more space between the pitches of an open chord voicing there are more options for contrapuntal motion across chord changes.  This allows for better voice leading within the performance.  Open voicings also allow us to use more of the low register of the keyboard without being hindered by a muddy and cluttered sound.  Finally, open voicings bring a connection to the elements being played by the left and right hand.  When playing closed voicings in our right hand and roots in our left, our playing can tend to sound like two disconnected parts.  Open voicings unite the two hands as one connected piece of music.

               This Learning Music With Ray video discusses close and open chord voicings.  In the video, I explain the difference between a close and an open voicing.  I provide visual examples of a C7 chord written on a musical staff in both close and open voicings.  I explain different strategies for obtaining open voicings, and discuss the reasons why we would want to use open voicings.  Finally, I demonstrate these examples of close and open voicings (of a C7 chord) on the piano keyboard.

Connecting Chord Progressions

                While traveling from one chord to the next of a large scale progression, it is possible to use small scale chromatic progression as a mode of transport.  These connecting chord progression provide interest and variety to an otherwise predictable chord progression.  The shortest distance between two points is a straight line, but music is not always about efficiency.  Sometimes the scenic route through a chord progression is more beautiful and expressive. 

                 Referring back to the illustration of typical large scale harmonic motion that I provided in the chord progressions lesson is helpful when studying this concept of connecting progressions.  The ultimate destination in this illustration is the final tonic chord.  However, any chord along the way can be thought of as a temporary target point.  When using this thought process, the composer or performer can think of the target chord as a temporary key center.  Although the large scale key signature has not changed, it is temporarily displaced by a progression that is leading to the target chord.

                The strongest relationship in any chord progression is dominant to tonic movement.  The thought process discussed in the previous paragraph suggests that we are not limited to the dominant and tonic of our main key when experiencing this type of motion.  Any target chord that is major or minor in quality can be approached by its dominant chord.  Although this V of the target may be chromatic to the main key, the strength of the V to I progression causes our ears to allow (even enjoy) a chromatic diversion. 

                The chromatic V to I progression used to approach target chords can be elaborated on in several ways.  The tritone substitution can be used interchangeably with the dominant of the target.  Also, additional chords can be added before the dominant to form a more elaborate progression.  The two-five-one progression is a common example of this.  A further expansion could be the three-six-two-five-one progression.  The possibilities extend to any progression that ends with a five-one motion.  However, the longer the progression becomes, the greater the possibility that the listener will get lost and forget the original key.  It is tasteful to refrain from elaborate chromatic progressions that stray too far from the main key.

                Another technique, beside five-one chromatic progressions, is the use of diminished chords.  A diminished triad or seventh chord who's root is half a step below the target chord's root can be used as another mode of travel.  This technique is successful even when approaching a diminished target chord. 

                 The best way to acquaint ourselves with connecting chord progressions is through practice and exploration.  Remember the concept of target chords and the fact that they can be seen as temporary key centers.  Use either diminished or dominant harmonies to travel to the target chord.  Then build on the connecting progression by adding other chords.  Start with the progressions mentioned in this lesson, practicing them on your instrument.  Then experiment with creating more complex progressions.

                This Learning Music With Ray video discusses the chord progressions used to connect one structural chord to another.  While playing chord progressions, it is common practice to think of the chord we are traveling to as a target or temporary key.  In this video, I discuss chromatic chord progressions that can be used to travel to temporary key centers or target chords.  I refer back to the illustration of large scale harmonic motion and point out ways that target chords could be approached.   I also demonstrate these connecting chord progressions on the piano.

Tritone Substitution:

                A tritone is an interval that is a distance of six half steps.  It could be called an augmented fourth or a diminished fifth.  Tritones are the exact halfway point between the two pitches of an octave.  This means that the inversion of a tritone is a tritone.  If you flip the order of the two pitches of a given interval, the result is the inverted interval.  The inversion of a 2nd is a 7th.  The inversion of a 3rd is a 6th.  The inversion of a 4th is a 5th.  The symmetrical nature of the tritone causes its inversion to be the same interval (still a tritone).

                The shell voicing of a dominant seventh chord consists of the root, 3rd and 7th of the chord.  The distance between the 3rd and 7th of a dominant seventh chord is an interval of a tritone.  This interval is what causes the dominant seventh chord to have so much tension.  This opens the dominant seventh chord up to the most possibilities of upper extensions.  It also creates an interesting option of substitution in dominant harmony.

                Since the 3rd and 7th of a dominant seventh chord are a tritone apart, and a tritone is the exact bisect of an octave, the inversion of these two pitches will form the 3rd and 7th of another dominant seventh chord.  Another way of looking at this is by measuring from the root of the chord.  Dominant seventh chords who's roots are a tritone apart will share the same pitches for their 3rd and 7th.  The rootless shell of one chord will be the inverted rootless shell of the other chord.  In other words, the 3rd of one dominant seventh chord will be the 7th of the other dominant seventh chord in this pairing, and the 7th will be the 3rd of the other chord. 

                This unique relationships causes the two chords to be interchangeable harmonically.  The tritone partner chord of any V7 can be used as a substitute for dominant harmony within that key.  The use of this type of harmonic substitution is called tritone substitution.  This technique is particularly useful in ii-V-I chord progressions.  It allows for more variety within the progression, and a bass line that moves chromatically instead of having cycle of 5th motion.  The included video demonstrates the use of tritone substitution in both major and minor ii-V-I progressions.   

               This Learning Music With Ray video discusses tritone substitution in dominant harmony.  It is a study of the unique relationship between dominant seventh chords who's roots are a tritone apart.  In this video, I discuss the fact that the tritone is the exact midpoint of an octave.  This causes the interval's inversion to also be a tritone.  Then I discuss the impact that this symmetry has on dominant harmony.   Finally, I provide examples of tritone substation in ii-V-I chord progressions on the piano keyboard. 

       

Chord Progressions

                A chord progression is a group of chords that travel or progress through a harmonic sequence.  A progression can vary in size from two to seven or more chords.  They can be either diatonic or chromatic.  There are no set rules for chord progressions, although there are some sequences which tend to occur frequently.   

                Diatonic can be defined as: of or using only the seven tones of a standard scale without chromatic alterations (The Free Dictionary by Farlex).  Therefore, diatonic chord progressions contain chords build on only the seven pitches within a given key signature.  A triad or seventh chord can be built using each pitch of a major or minor scale as a root for the chord.  These chords are given roman numeral labels that correspond to the scale degree within the key that is the root of the chord.  In major keys, the diatonic triads and seventh chords are simply constructed by utilizing the root, third, fifth and seventh (in the case of seventh chords) of each scale degree while remaining within the given key signature.  A list of the diatonic triads and seventh chords in the key of C major is provided below.   

                In minor keys, the diatonic triads and seventh chords are constructed in almost the same way.  However, a slight adjustment needs to be made for two of the chords.  The five chord and the seven chord both can act as harmonies that lead to the one chord, so they must possess a leading tone.  The natural minor scale contains no leading tone, since the interval between the 7th and 8th scale degrees is a whole step.  The harmonic minor scale was created to provide a leading tone when needed for harmonic motion.  The key signature of this scale is used when constructing the pitches of the five and seven diatonic chords in minor keys.  The key signature of the natural minor scale is used for the construction of all other diatonic minor chords.  A list of the diatonic triads and seventh chords in the key of C minor is provided below.

                The restrictive nature of diatonic key signatures cause the triads and seventh chords of diatonic progressions to have set qualities.  For example, the one chord of any major key will always be a major triad or seventh chord.  The six chord in a major key will always be a minor triad or seventh chord.  A summary of all of these qualities is found in the chart below.

                In addition, the set qualities of the diatonic chords in a given key cause them to possess certain traveling or progression characteristics.  These characteristics are identified by special names that are assigned to each chord.  In order from the one chord to the seven chord, these names are tonic (1), supertonic (2), mediant (3), subdominant (4), dominant (5), submediant (6) and subtonic (7).

                Within the larger scheme of harmonic movement, all songs end on the tonic harmony.  This final cadence is usually achieved by a dominant chord that resolves to the tonic.  The dominant chord is usually approached by either a two or four chord.  Subdominant or supertonic harmony can be approached either directly from the tonic, or by the use of the seven, three or six chords.  This type of large scale harmonic motion corresponds to the names given to each diatonic chord (as listed in the previous paragraph).  An outline of this large scale harmonic typical harmonic motion is provided below.

                Small scale harmonic progressions can take on any form.  There are many fragmented chord progression that can precede the main cadence of a piece of music.  This allows for an extensive amount of usable chord progressions.  In the included video, I demonstrate several of these progressions.

                In addition to diatonic chord progressions, chromatic progressions are also used in music.  There are several common methods for utilizing chromatic chord progressions.  Mixture is a method in which chords from the parallel minor diatonic sequence are used within a major diatonic progression.  Circle of 5th (two-five-one) progressions can be used to created temporary alternate key centers.  In this type of situation, a chord you are traveling to (like a four chord) could be temporarily perceived as a one chord, and a two-five-one progression can be used to travel to this chord.  Chromatic leading chords can also be used to travel to diatonic chords.  The most popular chromatic leading chord is the diminished seventh chord that is a half step below the chord you are traveling to.  Seventh chords with altered upper extensions can be used to introduce chromatic pitches.  Finally, tritone substitution can be used to created altered two-five-one progressions.  Every dominant seventh chord shares a tritone shell (3rd and 7th) with another dominant seventh chord a tritone away.  These two dominant seventh chords can be used interchangeably in two-five-one progressions.

                The best way to acquaint yourself with common chord progressions is to listen to the progressions used in the music on your playlists.  Listen first to the bass line and use it to determine the roots of the chords.  Then listen for the upper tones to establish the quality of the chords.  In addition, experiment on either a guitar or piano forming various chord progressions.  Listen to the character of each progression and the relationships between the different chords.  Expand your knowledge by developing strategies for connecting progressions.  The study of chord progressions can be an advanced musical topic, but an understanding of this topic will unlock the knowledge needed for even larger future topics.

                This Learning Music With Ray video discusses chord progressions.  It is a study in the typical harmonic patterns used when traveling from one chord to the next in a sequence.  In this video, I discuss both diatonic and chromatic chord progressions.  I provide a detailed illustration of the diatonic triads and seventh chords found in both major and minor keys.  I discuss the large scale harmonic motion that is found in most pieces of music.  Finally, I provide examples of common diatonic and chromatic chord progressions (including ii-V-I progressions, mixture, altered chords, chromatic leading chords and tritone substitution).