2.6 Voice leading
The art of linking chords with fluid, musical movements
Fundamental Concepts
Give preference to movements involving consecutive joints (2nd, 3rd) rather than large leaps
Hold the notes that are repeated between chords
External voices are pulling in opposite directions in the pursuit of maximum independence
Tension notes (7th, accidents) resolve by a semitone
Each voice has its own distinctive melodic profile
The 3rd and 7th in the chord: essential notes for jazz accompaniment
What is Voice Leading?
Voice leading is the art of moving each voice from one chord to another with the greatest possible fluidity and musicality. It is one of the fundamental principles of harmony, in both classical music and jazz.
When you play a chord progression, every note in each chord belongs to a ‘voice’ — soprano, alto, tenor, bass. Voice leading determines how each of these voices moves from one chord to the next. Good voice leading makes the progressions sound natural, fluid and pleasing to the ear.
Types of Motorbikes
There are four basic types of motion between two objects:
↑↓ Opposite Direction
The two voices move in opposite directions. This is the most independent and preferred pattern for the outer voices (bass and soprano). Maximum harmonic richness.
→↑ Oblique Motion
One voice remains steady (a sustained note or pedal) whilst the other moves. This creates continuity and connection. It is common in jazz progressions.
↑↑ Similar motorbike
The two voices move in the same direction but at different intervals. Use with caution for external voices — risk of parallel octaves.
↑↑ Parallel Motion
The two voices move in the same direction over the same interval. Parallel octaves and fifths should be avoided in traditional counterpoint.
Basic Rules
Rule 1: Give Preference to Movement by Degrees
Each note should move by a 2nd or a 3rd wherever possible. Large leaps (greater than a 5th) should be resolved in the direction opposite to the leap. An ascending octave leap can be balanced by a subsequent descending step.
Rule 2: Make the most of Shared Notes
When two chords share one or more notes, those notes may remain in the same voice. This creates a connection between the chords and reduces the overall movement.
E and G are notes common to both Cmaj7 and Am7 — they can remain unchanged.
Rule 3: Solve the Seventh
The dominant seventh (tension note) resolves downwards by a semitone or a whole tone. The leading tone (the third of the dominant) resolves upwards by a semitone to the tonic. This creates a sense of cadential resolution.
Rule 4: Avoid Parallel Octaves and Fifths
In classical four-part counterpoint, parallel octaves and fifths between the same two voices are prohibited because they cause the voices to blend, losing their independence. In jazz, this rule is more flexible, but avoiding them generally remains a good principle.
Guide Tones in Jazz
In jazz, the guide-tone technique simplifies voice leading by focusing on the essential notes: the third and seventh of each chord. These two notes define the chord’s quality (major, minor, dominant) and create an internal melodic line that moves fluidly through the progressions.
Why the 3rd and 7th?
Determine whether the chord is major or minor. It is the most distinctive note.
It creates tension (dominant) or colour (maj7/m7). It resolves in a predictable way.
Guide Tones through II-V-I in C
| Agreement | 3a | 7a | Movement |
|---|---|---|---|
| Dm7 (II) | It | Do | — |
| G7 (V) | A ← F → A (+tritone) or | F ← C → F (+4a) | Swap: 3rd ↔ 7th |
| Cmaj7 (I) | E ← B → E (+4a) | B♭ ← F → B♭ (+tritone) | Smooth resolution |
Guide Tones Viewer
Voice Leading in the Context of Jazz
Rootless Voicings
Jazz pianists often omit the root note of chords (leaving it to the double bass), creating four-note voicings with the third, seventh and extensions. These voicings flow beautifully because of the absence of the ‘weight’ of the root note.
| Agreement | Rootless (Type A) | Rootless (Type B) |
|---|---|---|
| Cmaj7 | E – G – B – D | C – D – E – G |
| Dm7 | F – A – C – E | D – E – F – A |
| G7 | F – A – C – E | C – D – F – A |
| Am7 | D – E – G – B | G – B – C – E |
Voice Leading with Tritone Substitution
In a tritone substitution, the G7 is replaced with a D♭7. The harmonic effectiveness of this substitution depends precisely on the voice leading: the 3rd and 7th of the G7 (B and F) are the same notes as the 7th and 3rd of the D♭7 (C♭ = B and F). The guide tones remain unchanged!
Practical Exercises
Exercise 1: Tone Lines Guides
Play only the 3rd and 7th of each chord through the II-V-I progression in all 12 keys. Start with your right hand, then alternate the inversion. Sing the notes as you play them.
Exercise 2: 4-part voicing
Harmonise a simple 4-part melody (SATB). Write the chords beneath the melody and ensure each voice moves as little as possible. Check that there are no parallel octaves.
Exercise 3: Rootless Voicings
Learn the rootless Type A and B voicings for all seventh chords. Play them throughout the circle of fifths. Alternate between the two types to create smooth voice leading.
Exercise 4: Analysis of Arrangements
Transcribe the chorus of a jazz piano piece (e.g. Bill Evans’ ‘Autumn Leaves’). Analyse each voicing: identify the guide tones, stepwise movements, leaps, and how tension and resolution are handled.
Recommended Tracks
Study voice leading by listening to these masters:
Masterclass on voice leading in piano. Evans was obsessed with the fluidity of the voices. Study ‘Autumn Leaves’ and ‘My Foolish Heart’.
Modal voicings with sophisticated voice leading. “Maiden Voyage” features beautifully executed sus4 chords.
Quartal voicings (in fourths) with powerful voice leading. An approach that is completely different from traditional voice leading.
Live improvisation: listen to how Jarrett builds and weaves the parts together in real time, creating complex harmonic textures with ease.
Summary — Voice Leading
Guiding Principles:
- Proceeding step by step (2nd, 3rd) is always preferable
- Keep the common notes in place
- Resolve 7th dominant → down, sensitive → up
- Give preference to the opposite direction in external entries
- Each voice has its own, distinct melody
Jazz Approach:
- Guide tones (3rd + 7th) as the framework of voice leading
- Rootless voicings of Types A and B through chord progressions
- The 3rd and 7th swap places from the II to the V (tritone swap)
- The classic rules are guidelines, not absolute laws
- The ear is the final arbiter