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  • FREE music lessons from Berklee College of Music

    Voice Leading for GuitarJohn Thomas

    Chapter 1Harmony Review and Introduction toVoice Leading

    Press ESC to cancel sound.

    Check out Berkleeshares.com for more lessonsjust like this one.

    http://www.berkleeshares.comhttp://www.adobe.comhttp://www.macromedia.comShawn GirsbergerText Box 2003 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

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  • 1

    Harmony Review

    Chord Types: Diatonic Seventh Chords

    In jazz, you will encounter only seven kinds of diatonic seventh chords (from major, melodic minor,or harmonic minor keys). This book will show you how to voice lead smoothly and easily betweenthese chords and their variations. The simplest forms of these chord types appear below.

    Note: Major 6 chords fulfill the same function as major 7 chords. Sometimes minor 6 chords can fulfill the same function as minor 7 chords.

    Harmony and Progressions

    In order to move smoothly from chord to chordto voice leadyou must know the rules that govern the behavior and relationship of individual notes and groups of notes (chords) in a chordprogression.

    Chords and chord progressions help to establish tonal areas. In Western music, there are three tonal areas: tonic (T), subdominant (SD), and dominant (D). Each area is associated with a scaledegree and the chord built upon that scale degree. Nearly every type of composition, from the simplest folk song to a Beethoven symphony, is based on movement between these tonal areas.

    CHAPTER 1Harmony Reviewand Introduction to Voice Leading

    CMaj7 C7 C(Maj7) C7 C7( 5) Cmaj7( 5) C 7

    major 7 dominant 7IMaj7 I7 I(Maj7) I7 I7( 5) Imaj7( 5) I 7

    minor-major 7 minor 7 minor 7( 5) major 7( 5) diminished 7Chord Name:Roman Num.:

    Symbol:

    CMaj7 D7 E7 FMaj7 G7 A7 B7( 5)

    IMaj7 II7 III7 IVMaj7 V7 VI7 VII7( 5)T T D DTSD SD

    Fig. 1. Diatonic seventh chords in the key of C

    Fig. 2. Diatonic seventh chords and function in the key of C

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  • CHAPTER 1 Harmony Review and Introduction to Voice Leading

    2

    Chord Functions

    Each chord has a distinct function within a chord progression, depending on its tonal area. Thechords function determines its tendency to establish either motion or stability within a musicalphrase, a song, or a larger composition. Chords that have similar function can substitute for eachother.

    Tonic: In a major key, the tonic area includes chords built upon scale degrees 1, 3, and 6. In major,IMaj7 is the defining sound of the tonic area. In melodic and harmonic minor, I(Maj7) is thedefining sound. Tonic chords have a resting or stable function. Tonic-area seventh chords can substitute for each other because they all share three common tones and have the same harmonicfunction.

    Subdominant: The subdominant area includes seventh chords built upon scale degrees 2, 4, and 6.Chords built on scale degree 4 are the defining sound of the subdominant area. Subdominantchords impart a moderate sense of forward motion in a progression. In major, both II7 and VI7can be substituted for IVMaj7 because they share several common tones and the same harmonicfunction. In melodic minor and Dorian, IV7 can be replaced by II7 or VI7(%5). In harmonicminor, IV7 can be substituted by II7(%5) or %VIMaj7.

    Dominant: The dominant area includes chords built on scale degrees 5 and 7. The V7 chord is the defining sound of the dominant area. Dominant chords tend to sound unresolved because of the tritone interval between chord tones 3 and 7. They impart a strong sense of forward motion ina progression. Although less common, the VII7(%5) chord can be substituted for V7 in major andmelodic minor, because the two chords share the same tritone and have the same harmonic function. In harmonic minor, VII7 can replace V7.

    Secondary Dominant: Every major key, melodic minor key, and harmonic minor key has a dominant. Additionally, every chord has its own dominant, which is the seventh chord located afifth above it. It is referred to as a secondary dominant. (The only exception to this rule is the diminished chord, which has no dominant.) Secondary dominants can help smooth out voice leading between chords and add new dimension and color to every key by introducing notes thatare not in the key.

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  • 3

    Voice Leading in Action:Simple Chord Families on the Guitar Neck

    The term voice leading refers to the way in which individual voices move from chord to chord.The best voice leading occurs when all individual voices move smoothly. You can achieve this bymoving between chords using the same note or moving up or down by a step in the inner voices ofthe chord, whenever possible.

    Read and play through this simple voiceleading exercise. Chords are voice led so that only onevoice moves at a time. Note how the stepwise motion between the chords illustrates how closelythe chords are related. These chord families form the backbone of comping using standard four-partharmony.

    Practice this exercise chromatically, in all twelve keys.

    6.1333

    G4231

    GMaj7

    1

    413

    G7

    13

    4

    2

    G6

    1

    4

    31

    G7sus4

    5. 1423

    C7

    1312

    C7( 9)

    4312

    C7(9)

    4312

    C7( 9)

    4312

    C7

    1432

    C7sus4

    1111

    C7sus4(9)

    4. 333

    2

    G7

    143

    2

    G7( 5)

    143

    2

    G7(11)

    131

    2

    G 7

    3. 342

    1

    G7

    432

    1

    G7( 13)

    432

    1

    G7(13)

    143

    2

    G7( 11)

    2. 324

    1

    G

    324

    1

    G(Maj7)

    333

    2

    G7

    431

    2

    G6

    431

    2

    G 6

    43

    0

    2

    G

    1. 234

    1

    G

    243

    1

    GMaj7

    342

    1

    G7

    34

    1

    2

    G6

    34

    1

    2

    G( 6)

    34

    0

    2

    G

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  • Voice Leading Chord Tones and Tensions

    In the classical voice leading tradition, there are strict rules that govern how individual chord tonesand tensions should move in a harmonic progression. Functional jazz harmony also follows theserules. In general, voice leading favors conservation of motion: chord progressions sound smoothestwhen each note in a chord moves in stepwise motion, or in short leaps of no more than a majorthird, to corresponding chord tones or tensions in the next chord.

    Voice Leading Chord Tones

    In a II7/V7/I progression, for example, the seventh of the II7 chord must resolve to the third ofthe V7 chord. Additionally, the third of the II7 chord must resolve to the seventh of the V7chord.

    When moving from V7 to I (major or minor) the seventh of the V7 chord resolves into the third ofthe I chord. Conversely, the third of the V7 chord resolves to the seventh of the I chord.

    There is an important exception to the rule. When the third or the seventh in either of the firsttwo chords in a II7/V7/I is doubled, only one of the doubled notes resolves to the target note (the third or the seventh of the chord).

    8.2314

    C7

    4132

    C7( 9)

    2413

    C7(9)4121

    C7( 5)

    1413

    C7( 5,9)4131

    C7( 5, 9)

    7.1342

    G

    1

    423

    G(Maj7)2131

    G7

    2

    413

    G6

    1324

    G7( 5)4132

    G 7

    4

    CHAPTER 1 Harmony Review and Introduction to Voice Leading

    D7 G7( 9) CMaj7

    3 77

    3

    II7 V7 IMaj7

    D7(9) G7(13)

    7

    3 73

    CMaj7(9)

    V7 IMaj7II7

    Fig. 5. Resolution of chord tones 3 and 7 in a V7/I progression

    Fig. 4. Resolution of chord tones 3 and 7 in a II7/V7 progression

    Fig. 3. Simple chord families

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  • In the following example, the third of D7 is doubled. The first F does not move, and becomes theseventh of G7. The other F resolves downward to E, which is the thirteenth of G7.

    Fig. 6. Resolutions with doubled thirds

    In fig. 7, the D7 spelled D, A, C, F, C would resolve to a G7 spelled G, D, F, B. You will noticethat in the first chord, the seventh (C) is doubled. The upper C resolves to the third of G7, whichis B. The lower C in D7, however, moves up a whole step to D, the fifth of G7.

    Fig. 7. Resolutions with doubled sevenths

    These are not the only possibilities. The two examples below illustrate how doubled thirds resolveto doubled sevenths, and how doubled sevenths resolve to doubled thirds.

    Fig. 8. Resolutions with doubled thirds and sevenths

    Fig. 9. Resolutions with doubled sevenths

    D7

    3

    3 7

    13

    G7 1113 CMaj7

    II7 V7 IMaj7

    5

    D7

    7

    753

    G7 CMaj7

    II7 V7 IMaj7

    D7

    3

    3 7

    7

    G7

    3

    3

    CMaj7

    II7 V7 IMaj7

    D7(11)

    7

    7 3

    3

    G7(13) CMaj7(9)

    II7 V7 IMaj7

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  • Voice Leading Chord Tensions

    As illustrated in fig. 3, jazz musicians will almost always add color to the basic chords by using tensionsninths, elevenths, and thirteenths placed above the basic seventh chord. Tensions arenonessential notes used to add color to a chord. These tensions are rarely indicated in most jazzcharts, however. Each musician chooses which tensions to use, based on the musical context.

    Tensions, like chord tones, have very specific behaviors, as indicated in the following musicalexamples. The resolutions in the examples below are common in II7/V7/I progressions.

    Fig. 10. Tension 9 resolves to 5.

    Fig. 11. Tension 9 can also resolve to 6(13) or 7.

    Fig. 12. Tension #11 resolves to 1.

    Fig. 13. Tension 13 resolves to 9.

    Fig. 14. Tension 13 can also resolve to 1.

    Fig. 15. Suspended 4 or 11 resolves to 1.

    G7 913 CMaj7(9) G7( 9) CMaj7

    9 5 59

    6

    CHAPTER 1 Harmony Review and Introduction to Voice Leading

    9 613G7 C6(9) G7( 9,13) CMaj711 9

    79 6 9

    11G7 CMaj7(9) G7( 11) C7(9)13

    11 1 11 1

    9 9G7 C7(9) G7 CMaj7(9)13 13

    13 9

    13 9

    9 9G7 C6 G7 C7(13)13 1313

    1

    131

    G7sus4(9)

    4/11 1

    C6 G7sus44/11 1

    C6(9)

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  • Whether a 13 goes to a 9 or %9 depends on the construction of the scale that the chord is built on.These scales are called chord scales. Some chord scales have %9 instead of 9, or %13 instead of 13,and so on. (Refer to the appendix for a discussion of chord scales and modes.) Note the resolutionsof 9 and 13 in the chord progression below.

    Finding the Correct Chord Scale: A Guide

    Choose tensions carefully. The quality of the tensions you choose must correspond to the appropriate chord scales and must be compatible with the chords harmonic function. Below is a list of chords and their corresponding chord scales and modes. (Refer to the appendix for moreinformation on chord scales and modes.)

    This chart covers only the scales used most often in traditional functional harmony and improvisation in jazz. However, youll find many other scales being used extensively in modern tunes, such as modal music composed by Wayne Shorter, Herbie Hancock, and other contemporary musicians.

    E PhrygianE7(11)

    III7

    A7

    V7/II7

    913 D7(9)

    II7

    D DorianG7

    V7

    139 E7

    III7

    E PhrygianA7( 11)

    V7/II7

    D7

    II7

    D DorianG7

    V7

    1113

    7

    Fig. 16. Resolutions of 13 and 9 vary according to chord scale.

    IMaj7 (IVMaj7, IIMaj7, IIIMaj7, VIMaj7, and VIIMaj7 when

    Chords Chord Scale

    Ionianpreceded by their respective dominants)

    II7 ( II7, III7, IV7, IV7, and VII77 whenpreceded by their respective dominants)

    III7

    IVMaj7, IIMaj7, IIIMaj7, VIMaj7, and VIIMaj7

    (V7 in major), IV7, I7, IV7, II7, III7, VII7, VI7, II7,or any dominant resolving in major

    VI7 or IV7

    VII7( 5), VI7( 5), or any half diminished chord

    Any minor chord with a major seventh and perfect fifth

    Any substitute dominant (SubV7)

    Any 7( 5) chord with a major 9

    Any dominant (one of the three options for dominants of minor chords)

    Any dominant (one of the three options for dominants of minor chords)especially those resolving to minor chords

    Dominant of any chord with a major third

    Any diminished chord

    Any dominant (one of the three options for dominants of minor chords)can also be used for substitute dominants

    Symmetric Dominant

    Dorian

    Phrygian

    Lydian

    Mixolydian

    Aeolian

    Locrian

    Melodic Minor

    Lydian 7

    Superlocrian

    Altered

    Mixolydian 9

    Whole Tone

    Diminished

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  • Other Smooth Moves: Parallel Movement

    When a chord moves to another whose root is only a second or third away, all voices must move upor down stepwise or in thirds, respectively, to corresponding notes in the second chord: root movesto root, third to third, fifth to fifth, and so on. This is called parallel movement. It is a commonmeans of leading voices and is the easiest one for a guitarist to performhowever, it can only beused when chords move stepwise or in thirds. (Youll see examples of parallel movement in IShould Have Thought About Me and in bars 56 of I Smell Catastrophe, both in chapter IV.)

    For instance, in measure 1 of the example below, chords move from CMaj7 spelled C, B, E, G toD7 in the key of C. D7 is spelled D, C, F, A. Note that all notes in D7 are located a (diatonic)second above those of CMaj7.

    Accordingly, if you had to move from CMaj7 spelled C, B, E, G to E7, you might spell E7 in thisway: E, D, G, B.

    To summarize, thirds go to thirds, fifths to fifths or thirteenths, sevenths to sevenths, and tonics to tonics or ninths. To those of you who have already been initiated into the world of traditionalharmony, this might sound like heresy. For us jazzers, however, it is the Holy Grail.

    D7 E7 FMaj7 E7

    D7 G7(9) E 7 A 7 D7 G7( 9) CMaj7 G7sus4

    CMaj7 D7 E7 D7 CMaj7 F7(9) E7 A7( 9)Parallel movement

    Parallel movement

    8

    CHAPTER 1 Harmony Review and Introduction to Voice Leading

    Fig. 17. Chord resolutions

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  • Drop-2 Voicings

    The chord voicings you use can make an enormous difference in the quality of your voice leading.One of the most helpful voicings is the drop-2 voicing. Drop-2 voicings are chords played in closeposition, in which the alto (middle) voice is played one octave lower than the original alto, in closeposition.

    This lays well on the guitar fretboard and makes voice leading from one chord to the next easier.Drop-2 voicings are everywhere in jazz guitar voice leading.

    The following drop-2 voicings are in the key of C. Learn and practice them in all twelve keys.

    C7( 5) C7( 5)

    CMaj7 CMaj7

    close voicing

    close voicing

    drop-2 voicing

    drop-2 voicing

    9

    Ionian 6

    1322 4

    231

    314

    1

    21

    2

    1

    1111 1

    114

    Key of GStarting on D string

    Ionian Major 7

    1322

    2314

    33

    3

    11322 1

    111

    3

    1

    14

    Fig. 18. Close and drop-2 chord voicings

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  • Mixolydian

    Mixolydian Sus 4

    Lydian 7

    Mixolydian 9/ 13

    Altered

    Symmetric Dominant

    1 1 1 1 1 12 1 1

    1 1312

    211 2

    43 2

    1

    4

    233

    23

    4 423 3

    14

    222

    224

    112

    1311 1

    431 1

    314 3

    331 1

    32

    4 4

    132 1

    111 4

    111 1

    122

    1322

    2413 1

    121 1

    342 4

    132 1

    21

    4 3321 1

    234 4

    221 1

    324 4

    132 2

    413 2

    43

    1 1222 4

    221 1

    423

    1312

    1211 2

    431 1

    324 2

    2

    12

    1324 4

    231 1

    312

    314

    2 1324 4

    132 1

    21

    4 2

    111 1

    324

    2314

    42

    13 2

    431 1

    31

    4 2221 2

    31

    4 4221 1

    112 2

    131 1

    311

    1342 4

    12

    1 1

    233

    1

    23

    4 423

    12314

    2413 1

    121 1

    342 4

    132 1

    32

    4 3421 2

    31

    4 4

    121 1

    23

    4 4

    321 1

    234 2

    111 1

    324 11

    21 1

    342 4

    121

    1

    243 4

    121

    432

    1 1

    23

    4

    1

    324 4

    231

    10

    CHAPTER 1 Harmony Review and Introduction to Voice Leading

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  • Dorian Minor 7

    Melodic Minor

    Locrian

    Super Locrian

    Symmetric Diminished

    Phrygian

    1111 4

    111 1

    322 4

    23

    11

    314 3

    331 1

    334 4

    132

    1

    222 4

    221

    2131 1

    31

    4

    1214 3

    321

    2314 3

    142

    1

    222 4

    11

    21342 4

    131

    1433

    132

    4

    231

    4 4132 3

    214 4

    132

    2314 22

    2

    1 122

    4

    1312

    131

    4

    121

    4

    1233

    2314 4

    132 1

    22

    42221

    1312 2

    431 1

    31

    4

    133

    4

    1214 3

    321 1

    413 3

    341

    1324 3

    421 1

    21

    4

    1234 42

    3

    1 1

    243

    121

    4 4321

    1324 3

    42

    1111

    223

    1 1

    324

    1314

    4

    132

    Dorian Minor 6

    1

    4

    1

    12

    4

    321

    324

    1 1243 4

    121 1

    2

    34

    11

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