Comments on: chord voicings http://music.linear1.org/2007/03/23/chord-voicings/ transfusing emptiness into vacancy Wed, 14 Oct 2009 23:08:00 -0400 http://wordpress.org/?v=2.8.4 hourly 1 By: Rob http://music.linear1.org/2007/03/23/chord-voicings/comment-page-1/#comment-9375 Rob Fri, 27 Apr 2007 05:22:27 +0000 http://music.linear1.org/2007/03/23/chord-voicings/#comment-9375 The real key there is that my formulas will work out best if the root or fifth is in the melody, and least well for the third or seventh, since I place those on the bottom mainly. So the melody notes in the first phrase of Autumn Leaves are the thirds of the chords, which isn't a great start. So I wouldn't pick that example. The real key there is that my formulas will work out best if the root or fifth is in the melody, and least well for the third or seventh, since I place those on the bottom mainly.

So the melody notes in the first phrase of Autumn Leaves are the thirds of the chords, which isn’t a great start. So I wouldn’t pick that example.

]]> By: pepearm http://music.linear1.org/2007/03/23/chord-voicings/comment-page-1/#comment-9013 pepearm Thu, 26 Apr 2007 11:41:52 +0000 http://music.linear1.org/2007/03/23/chord-voicings/#comment-9013 Hi, my question is this: Let's say I choose a jazz standard i.e. Autum Leaves or All of me, and want to harmonize some parts of the melody by using quartal voicing but starting from the melody note downwards, as tis is the way I was asked to. Would this work out well without loosing the feeling of the original melody? The hint here is that I MUST start from melody note down. How can this be done? Hi, my question is this: Let’s say I choose a jazz standard i.e. Autum Leaves or All of me, and want to harmonize some parts of the melody by using quartal voicing but starting from the melody note downwards, as tis is the way I was asked to. Would this work out well without loosing the feeling of the original melody? The hint here is that I MUST start from melody note down. How can this be done?

]]> By: Rob http://music.linear1.org/2007/03/23/chord-voicings/comment-page-1/#comment-7504 Rob Mon, 16 Apr 2007 01:36:17 +0000 http://music.linear1.org/2007/03/23/chord-voicings/#comment-7504 I would definitely say it takes getting used to rootless. On your other question, I find the best sounds come when the voice spacing is closer up high and wider down low, as a general rule. My readings in psychoacoustics indicate that's becuase the harmonic series is spaced wide low and close high--seems reasonable. But in any case, I like to keep the tritone interval on the bottom. I won't say that your solution doesn't work, it just doesn't usually occur to me as I build chords. I would definitely say it takes getting used to rootless.

On your other question, I find the best sounds come when the voice spacing is closer up high and wider down low, as a general rule. My readings in psychoacoustics indicate that’s becuase the harmonic series is spaced wide low and close high–seems reasonable. But in any case, I like to keep the tritone interval on the bottom. I won’t say that your solution doesn’t work, it just doesn’t usually occur to me as I build chords.

]]> By: whitecraneboxing http://music.linear1.org/2007/03/23/chord-voicings/comment-page-1/#comment-7503 whitecraneboxing Mon, 16 Apr 2007 01:14:41 +0000 http://music.linear1.org/2007/03/23/chord-voicings/#comment-7503 Nice post! I was just talking to my piano teacher about these. I haven't seen those #11 or alt voicings before though (from flattening the root of a So What chord), they sound good. I was thinking that for the dominant chords, I'd just take the major stacked fourths voicing and just raise the 6th in the left hand to a flat7. Or build stacked major fourths voicing off the b7 of the dominant. Any comments on that ? I've been working on smooth voice leading with these kinds chords, has been a little tricky, and a little tedious b/c without the root, the harmony tends to sound very spacey and I don't feel a very strong cadence; or at least I'm not used to it yet. Thanks for the fresh perspective and good luck with your 100 Standards. Nice post! I was just talking to my piano teacher about these. I haven’t seen those #11 or alt voicings before though (from flattening the root of a So What chord), they sound good. I was thinking that for the dominant chords, I’d just take the major stacked fourths voicing and just raise the 6th in the left hand to a flat7. Or build stacked major fourths voicing off the b7 of the dominant. Any comments on that ?

I’ve been working on smooth voice leading with these kinds chords, has been a little tricky, and a little tedious b/c without the root, the harmony tends to sound very spacey and I don’t feel a very strong cadence; or at least I’m not used to it yet. Thanks for the fresh perspective and good luck with your 100 Standards.

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