The pitches or voices of a chord can be arranged in different orders and formats on a keyboard instrument. When the lowest and highest pitches of a chord do not exceed the distance of an octave, we say that the chord was played in a close voicing. The chord tones are packed together in the closest format possible. This type of voicing makes it easy to play each pitch with one hand. It also has a sound quality that is useful for certain types of expression. However, the use of close voicings exclusively can be detrimental to our performance on keyboard instruments. Many musical situations call for voicings that are more spread apart.
When the lowest and highest pitches of a chord extend beyond the distance of an octave, we say that the chord was played in an open voicing. This is achieved by displacing one or more of the pitches an octave further away from its closes possible position. We can create these types of voicing by tastefully and musically dispersing the chord tones across the keyboard.
Drop voicing is a specific technique used to achieve open voicings. In this technique, the top pitch of the original close voicing is maintained. The pitches below this are labeled as either the second, third or fourth pitch down from the top. A drop-2 voicing is the result of lowering the second pitch from the top by one octave. In a drop-3 voicing, the third pitch from the top is lowered one octave. In a drop-4 voicing, the fourth pitch from the top is lowered one octave. Depending on the situation, some drop voicings may result in more musical and tasteful pitch spreads. Even distribution, with closer intervals in the middle or top of the chord are ideal (although not mandatory). Especially in lower registers, closer intervals will take on a muddy sound quality.
Drop voicing is a specific technique used to achieve open voicings. In this technique, the top pitch of the original close voicing is maintained. The pitches below this are labeled as either the second, third or fourth pitch down from the top. A drop-2 voicing is the result of lowering the second pitch from the top by one octave. In a drop-3 voicing, the third pitch from the top is lowered one octave. In a drop-4 voicing, the fourth pitch from the top is lowered one octave. Depending on the situation, some drop voicings may result in more musical and tasteful pitch spreads. Even distribution, with closer intervals in the middle or top of the chord are ideal (although not mandatory). Especially in lower registers, closer intervals will take on a muddy sound quality.
Since the second and fourth pitches from the top of a close voicing are somewhat spread apart from each other, they can both be lowered to create a drop-2 and 4 voicing. This voicing often results in an even spread of pitch, and a musically desirable sound. The second and third or third and fourth pitches are often too close to each other to be lowered simultaneously. This would create an awkward voicing containing two closely packed low pitches and two closely packed high pitches with a large gap in the middle. The overall sense of one chord is lost in this type of voicing because the gap disconnects the low pitches from the high ones.
The tasteful and musical use of open voicings can provide much needed variety to our harmonic pallet. When a keyboard player can create both cluttered and open sounding harmonies he or she can more easily express a wide range of sound and emotion. In addition, since there is more space between the pitches of an open chord voicing there are more options for contrapuntal motion across chord changes. This allows for better voice leading within the performance. Open voicings also allow us to use more of the low register of the keyboard without being hindered by a muddy and cluttered sound. Finally, open voicings bring a connection to the elements being played by the left and right hand. When playing closed voicings in our right hand and roots in our left, our playing can tend to sound like two disconnected parts. Open voicings unite the two hands as one connected piece of music.
This Learning Music With Ray video discusses close and open chord voicings. In the video, I explain the difference between a close and an open voicing. I provide visual examples of a C7 chord written on a musical staff in both close and open voicings. I explain different strategies for obtaining open voicings, and discuss the reasons why we would want to use open voicings. Finally, I demonstrate these examples of close and open voicings (of a C7 chord) on the piano keyboard.
The tasteful and musical use of open voicings can provide much needed variety to our harmonic pallet. When a keyboard player can create both cluttered and open sounding harmonies he or she can more easily express a wide range of sound and emotion. In addition, since there is more space between the pitches of an open chord voicing there are more options for contrapuntal motion across chord changes. This allows for better voice leading within the performance. Open voicings also allow us to use more of the low register of the keyboard without being hindered by a muddy and cluttered sound. Finally, open voicings bring a connection to the elements being played by the left and right hand. When playing closed voicings in our right hand and roots in our left, our playing can tend to sound like two disconnected parts. Open voicings unite the two hands as one connected piece of music.
This Learning Music With Ray video discusses close and open chord voicings. In the video, I explain the difference between a close and an open voicing. I provide visual examples of a C7 chord written on a musical staff in both close and open voicings. I explain different strategies for obtaining open voicings, and discuss the reasons why we would want to use open voicings. Finally, I demonstrate these examples of close and open voicings (of a C7 chord) on the piano keyboard.
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