| It always amazes me when I hear different piano | | | | means that for a pianist our 9th is already understood |
| players and how they voice their chords. Voicing is | | | | as part of the chord and is the top note. |
| one of those skills that is not talked about a lot but in | | | | Next, it’s generally a good idea to play the bass |
| my experience makes the biggest difference in a | | | | note in the left hand which is C of course. Then the |
| pianist’s overall sound. | | | | next 2 most important notes are the 3rd and the 7th |
| What does voicing mean exactly? Simply put, voicing | | | | because these notes give the chord its flavor. |
| is the way chords are played which gives them their | | | | Consider playing the 7th in the left hand above the |
| timbre or richness. In other words it’s how many | | | | bass note. That would mean playing the C with finger |
| notes are played, the distance between each of the | | | | 5 (baby finger) and B with finger 1 (thumb). |
| notes and the quantity and quality of extensions. | | | | Then, play the 3rd, 5th and melody (9th) in the right |
| There are literally thousands of ways to play a single | | | | hand with the 1st, 2nd and 5th fingers respectively. |
| chord. There are also millions of ways to play a chord | | | | What’s left? The 13th or A which, you can cover |
| progression if you consider that each chord can be | | | | with the 3rd finger of the right hand. So, from bottom |
| played a thousand different ways. However, it’s | | | | to top you would have the notes in this order; C B E G |
| likely a good idea to start off with a few solid | | | | A and D. That right there is a very rich sounding chord |
| possibilities instead of a thousand. | | | | and you’d have to go a long way to find one richer. |
| For example, let’s take a Cmaj7 chord. The chord | | | | However, this is only one way of voicing the chord. |
| itself is simple enough and is made up of C E G and B. | | | | Like I said before there are literally thousands of ways. |
| However, depending on how rich you want the chord | | | | My suggestion is this; learn one way at a time until it |
| to sound you can also add D and A to the chord as | | | | becomes second nature. Voicing the root and 7th in |
| extensions. Why? Because D and A come from the | | | | the left hand and covering the 3rd and the melody in |
| C major scale and do not clash with the basic chord. | | | | the right hand is a very good system to start with. |
| These are what we call extensions. In other words a | | | | Then with your left over fingers in the right hand cover |
| good pianist will already consider D and A in their chord | | | | the 5th and any other extension that’s available. |
| voicing when they see the chord symbol Cmaj7. It | | | | This works for all chords including major, minor, |
| doesn’t have to be written Cmaj7 (9 13) for them | | | | dominant and diminished chords. |
| to understand this. | | | | Once you’ve learned this way of voicing chords it |
| So, how would a pianist then voice this chord? Well, | | | | becomes much easier to tackle a new formula |
| for starters, that depends on the melody. Whatever | | | | because this one is already clear and concrete and will |
| the melody note is will become the highest note of the | | | | help you hear very clearly the difference between the |
| chord. For example, let’s say D is the melody note | | | | chords. Until next time, keep practicing. |
| of prominence while the chord is being played. That | | | | |