3.3 Advanced Voicing Techniques
Modern techniques for playing chords in jazz
Key Concepts
Voice Leading
Modern voicings facilitate smooth voice leading: voices that move in conjunct intervals or semitones. Drop 2 excels in this respect.
Distribution of the Register
Drop voicings open up the close positions, preventing ‘mud’ in the lower register. The low notes need to breathe.
Rootless Voicings
Omitting the root note (left in the bass) frees up space for the 9th, 11th and 13th. This is standard in jazz piano trios.
Quartal Harmony
Composing in fourths rather than thirds creates a modern, open and ambiguous sound. McCoy Tyner made it iconic.
Upper Structures
Triads superimposed on the shell create complex extensions (9, #11, 13) that are easy to visualise and play.
Instrumental Context
Every instrument has its ideal voicings: Drop 2 for guitar, rootless for piano trio, quartal for Hammond organ.
Drop Voicings
Drop 2 Voicings
Concept: Take the second note from the top and move it down an octave.
Cmaj7 Close Position: C-E-G-B (from the bottom)
Cmaj7 Drop 2: C-G-B-E
Drop 3 Voicings
Concept: Take the third note from the top and move it down an octave.
Cmaj7 Drop 3: C-B-E-G
Shell Voicings
Concept: Use only the essential notes (root, third, seventh).
Cmaj7 Shell
C - E - B
(1-3-7)G7 Shell
G - B - F
(1-3-7)Dm7 Shell
D - F - C
(1-3-7)Quartal Voicings
Voicing in Fourths
Concept: Constructing chords by stacking fourths instead of thirds.
Example: C–F–B♭–E♭ (all perfect fourths)
Rootless Voicings
Concept: Omit the root note (left to the bass).
Type A (3-5-7-9)
Cmaj7: E-G-B-D
Type B (7-9-3-5)
Cmaj7: B-D-E-G
So What Voicings
Bill Evans Voicings
Structure: Fourth-fourth-third-fourth (from the bottom)
Dm7: D–G–C–E–A
Upper Structure Triads
Concept: Overlay a triad on the chord shell.
G7 with a D major triad above it:
Bass: G-B-F | Treble: D-F#-A
Result: G13 vs #11
| Basic Agreement | Triad Sopra | Result |
|---|---|---|
| G7 | D major | G13#11 |
| G7 | E flat major | G7#9#5 |
| Cmaj7 | D major | Cmaj9#11 |
Practical Examples of Voicings
Wes Montgomery – Drop 2 Guitar
Analysis: Wes Montgomery defined the sound of jazz guitar by using Drop 2 voicings exclusively. His comping and harmonised melodies utilise Drop 2 voicings across the entire fretboard.
Technique: Drop 2 on all string sets (1234, 2345, 3456). Voice leading by semitones between consecutive chords.
Listen to examplesBill Evans – Rootless Voicings
Analysis: Bill Evans revolutionised jazz piano with his rootless voicings (Type A and Type B). “Waltz for Debby” and “My Foolish Heart” demonstrate these voicings in action with a walking bass line.
Technique: Rootless Type A (3-5-7-9) and Type B (7-9-3-5). Alternate between the two types for smooth voice leading.
Listen to examplesMcCoy Tyner – Quarterly Voicings
Analysis: McCoy Tyner, together with John Coltrane, created the ‘quarter-tone harmony’ sound. ‘Impressions’ and ‘My Favourite Things’ feature stacks of perfect fourths that create modal tension.
Technique: A stack of 3–4 perfect fourths (C–F–B♭–E♭). Move in parallel to create blocks of sound. Left hand: parallel fifths.
Listen to examplesHerbie Hancock – Upper Structures
Analysis: Herbie Hancock uses upper-structure triads to create dense, modern voicings. ‘Maiden Voyage’ features major triads stacked over dominant chords for #11 and #13.
Technique: On V7: major triad from the 9th (D/C7 = C9), from the ♭VI (A♭/C7 = C7♭9#5), from the II (D/C7 = C13#11).
Listen to ExamplesInteractive Audio Examples
Listen to the difference between various types of voicings. Notice how the tone and timbre change.
Study Tips
1. Start with Drop 2 on II-V-I
Practise Dm7-G7-Cmaj7 using Drop 2 on all inversions. Find the smoothest voice leading (where the voices move as little as possible). This is the foundation for guitar playing and arrangements.
2. Memorise Shell Voicings 3–7
Play only the 3rd and 7th (with the root) for each chord in a progression. This fully defines the chord type (maj7, m7, 7). Then add the 5th and 9th as extensions.
3. Rootless Type A and B procedures
For pianists: learn rootless A (3-5-7-9) and B (7-9-3-5) for II-V-I. Alternating between A→B→A creates perfect voice leading. Left hand: play only root notes on 1 and 3.
4. Explore Quarter-note Voicings in Modes
On modal chords (Dm7 Dorian, Em7 Phrygian): build stacks of fourths from the scale. Dm7: D–G–C–F or A–D–G–C. Move in parallel. Instant McCoy Tyner/modal jazz sound.
5. Transcribe the voicings from the masters
Transcribe the comping by Bill Evans (“Waltz for Debby”), Wes Montgomery (“Full House”) and McCoy Tyner (“Impressions”). Analyse each voicing: Drop 2? Rootless? Quartal? Learn from real musical usage.
6. Voice Leading on Standard
Choose a standard (‘Autumn Leaves’, ‘All The Things You Are’). Play it using just one type of voicing (either Drop 2 only, or rootless only). Aim for the smoothest possible voice leading.
7. Combine Upper Structures with Shell
Chord progression: left hand plays a shell (3-7 or 7-3), right hand plays an overlapping triad. G7: left hand B-F, right hand D-F#-A (D major triad). Result: G13#11 with clear separation.
8. Use backing tracks
Practise voicings using iReal Pro or Aebersold. Focus on rhythmic comping: don’t play on every bar. Listen to how different voicings change the colour of the harmony.
Common Mistakes
1. Always play in close position
Problem: Using only closed positions (C-E-G-B) for all chords. In the lower register, it sounds muddy; the notes are too close together and create a harsh dissonance.
Solution: Below middle C, always use open voicings (Drop 2, Drop 3, rootless). Close position only works above middle C. The lower notes need space to breathe.
2. Ignoring voice leading
Problem: Jumping between random inversions without any logical sequence. Dm7 (first inversion) → G7 (root position) → Cmaj7 (third inversion). The parts jump about erratically.
Solution: Choose inversions that minimise movement. If Dm7 has F on top, choose G7 with F or E on top (a semitone’s movement). Drop 2 and rootless inversions are ideal for this. Practise finding the smoothest progression.
3. Rootless without a bassist
Problem: Using rootless voicings when playing alone (piano solo, or with just drums). Without the root note in the bass, the harmony sounds ambiguous or undefined.
Solution: ‘Rootless’ requires a bass player who plays walking bass. If you’re playing solo, add the root note with your left hand (octaves, shell, or stride). ‘Rootless’ is for a trio or combo, not just piano.
4. Quarter Everywhere
Problem: Using quartal voicings on every chord, even on tonal II-V-I progressions. Result: the harmonic direction is lost; everything sounds modal or ambiguous, even when it shouldn’t.
Solution: The quartal chord is ideal for modal jazz (‘So What’, ‘Impressions’) and modern tensions. On tonal progressions (II–V–I), use Drop 2 or rootless voicings to maintain functional clarity. Reserve the quartal chord for colour, not for structure.
5. Upper Structures without a Shell
Problem: Play only the upper structure triad, omitting the 3rd and 7th. Example: on G7, play only D-F#-A (D triad). Without B and F (the 3rd and 7th of G7), the chord is ambiguous.
Solution: Upper structures are ‘above’ the shell. Always include the 3rd and 7th (G7: B–F) in the left hand or in the bass. The upper triad (D–F#–A) adds colour (9, #11, 13), but the shell defines the quality.
6. Do not adapt to the context
Problem: Using the same type of voicing regardless of the context: big band, trio, duo, solo. Each situation requires different voicings to fill the space appropriately.
Solution: Trio: rootless. Guitar-and-vocals duo: full Drop 2/Drop 3. Piano solo: shell + extensions. Big band: close position on saxophones, Drop 2 on brass. Adapt the voicings to the instrumental context.
7. Too thick
Problem: Playing all voicings with 5–6 notes, all the time. Filling every bar with dense chords. Result: harmonic overload; no room to breathe.
Solution: Less is more. Shell voicings (3 notes) are often sufficient. Use dense voicings for accents or climaxes. Leave space: don’t play on every bar. Harmonic dynamics = alternate between dense and simple voicings.
Full Summary
Main Types of Voicings:
- Drop 2/3: Open-close position for smooth voice leading (guitar, arrangements)
- Shell Voicings: 1-3-7 (root notes), which define the character of the chord
- Rootless: Omission of the fundamental (left to the bass), scope for extensions (piano trio)
- Quartal: Fourth stacks for a modal, open, modern sound (Tyner)
- Upper Structures: Triads superimposed on the shell to create complex extensions
Fundamental Principles:
- Voice leading: minimising movement between chords (adjacent degrees)
- Register: below middle C, you need space (open voicings)
- Context: adapting voicings to the instrument and ensemble
- Shell (3–7) defines qualities; extensions add colour
How to practise:
- Drop 2 on II-V-I in all inversions for voice leading
- Alternating Rootless Type A and B on progressions
- Quartal voicings on modal chords (Dm7, Em7)
- Transcribe the comping by Evans, Wes, Tyner and Hancock
Mistakes to Avoid:
- Close position below middle C (muddy sound)
- Ignore voice leading (voices that jump irregularly)
- Rootless without a bassist (harmonic ambiguity)
- Voicings that are too dense, with no dynamic space