Share
VIDEOS 1 TO 50
Music Theory Tutorial 99 - Chord Inversions and Voicing
Music Theory Tutorial 99 - Chord Inversions and Voicing
Published: 2013/07/12
Channel: CalebTheVideoMaker2
Neo Soul Chords for Beginners: Simple Principles for Voicing Them
Neo Soul Chords for Beginners: Simple Principles for Voicing Them
Published: 2017/05/20
Channel: MangoldProject
Music Is Movement: Smooth Voicing of Chords
Music Is Movement: Smooth Voicing of Chords
Published: 2015/12/31
Channel: Jazz at Lincoln Center's JAZZ ACADEMY
Midi Music Theory 54 - What is Voicing?
Midi Music Theory 54 - What is Voicing?
Published: 2016/07/13
Channel: Composing Gloves
Jazz Piano Chord Voicings - Chord Voicing Rules
Jazz Piano Chord Voicings - Chord Voicing Rules
Published: 2016/11/26
Channel: Walk That Bass
Beautiful Gospel Guitar Voicing
Beautiful Gospel Guitar Voicing
Published: 2016/04/09
Channel: Cody T Johnson
Chord Voicing Secrets: Cluster Chords
Chord Voicing Secrets: Cluster Chords
Published: 2014/12/25
Channel: MangoldProject
Harmony and Chord Tricks: The 7-1-5 Voicing
Harmony and Chord Tricks: The 7-1-5 Voicing
Published: 2014/12/12
Channel: MangoldProject
contemporary gospel voicing with Alain Merville
contemporary gospel voicing with Alain Merville
Published: 2015/04/30
Channel: wheatworkspro
Voicing piano hammers
Voicing piano hammers
Published: 2014/07/26
Channel: strawberrycreamtube
Shell Voicing Music Examples
Shell Voicing Music Examples
Published: 2013/07/19
Channel: Chris Fitzgerald
Jazz Piano Lesson 7 - A & B voicing
Jazz Piano Lesson 7 - A & B voicing
Published: 2013/03/20
Channel: Glenn Seddon
3 horn voicing tutorial
3 horn voicing tutorial
Published: 2013/01/15
Channel: Tom Kubis
Michael Karlberg Voicing A Grand Piano
Michael Karlberg Voicing A Grand Piano
Published: 2013/03/28
Channel: Carlingford Music Centre
Jazz Guitar Lesson: Chord Voicing and Comping
Jazz Guitar Lesson: Chord Voicing and Comping
Published: 2009/08/10
Channel: Berklee Online
Jazz Chords and Voicing - Part 1
Jazz Chords and Voicing - Part 1
Published: 2013/09/14
Channel: debreved
OPEN CHORD VOICINGS: How to create a clean sounding voicing
OPEN CHORD VOICINGS: How to create a clean sounding voicing
Published: 2011/05/16
Channel: jazztutorial
Advanced Music Theory for Trance/EDM Episode 2: Open Voicing & Closed Voicing BIG BREAKDOWNS
Advanced Music Theory for Trance/EDM Episode 2: Open Voicing & Closed Voicing BIG BREAKDOWNS
Published: 2013/06/19
Channel: Zen World
SATB Voice Leading - Root Motion, Open & Closed Voicing
SATB Voice Leading - Root Motion, Open & Closed Voicing
Published: 2013/02/20
Channel: Byron Weigel Music Theory
Voicing ALL League of Legends Champions (EVEN THE MEN!) - Rated E
Voicing ALL League of Legends Champions (EVEN THE MEN!) - Rated E
Published: 2013/09/22
Channel: Rated E With Elspeth
Tinga Stewart Voicing  Play the music  dub  for Run Things Intl
Tinga Stewart Voicing Play the music dub for Run Things Intl
Published: 2015/11/29
Channel: REGGAEDUBSCENE- Reggae/Dancehall /ska Music History
How to Play Ambient Guitar #2 - Voicing Chords for Ambient  Swells
How to Play Ambient Guitar #2 - Voicing Chords for Ambient Swells
Published: 2015/09/02
Channel: Chords Of Orion
Piano Lesson on Chord Voicing and Melody
Piano Lesson on Chord Voicing and Melody
Published: 2012/07/24
Channel: Pianist Magazine
Alt Chord Voicing
Alt Chord Voicing
Published: 2008/11/24
Channel: musmin7
GUITAR THEORY: Voicing 7th Chords and Beyond
GUITAR THEORY: Voicing 7th Chords and Beyond
Published: 2012/02/17
Channel: creativeguitarstudio
Herbie Hancock Chord Voicing - Minor 11th Chord Piano
Herbie Hancock Chord Voicing - Minor 11th Chord Piano
Published: 2015/01/18
Channel: PianoGroove
Voicing of Chords - Close and Spread Triads
Voicing of Chords - Close and Spread Triads
Published: 2017/08/04
Channel: Nathaniel School of Music
Tonal, Modal and Polytonal ii  V  I Jazz and Classical Chord Voicing
Tonal, Modal and Polytonal ii V I Jazz and Classical Chord Voicing's
Published: 2016/09/23
Channel: Rick Beato
Guitar Top Voicing Demonstration by Dana Bourgeois
Guitar Top Voicing Demonstration by Dana Bourgeois
Published: 2017/09/25
Channel: Northern Lights Music
Practical Music Theory Know-How (Voicing Seventh Chords)
Practical Music Theory Know-How (Voicing Seventh Chords)
Published: 2017/09/14
Channel: Groove3
Piano and Guitar Harmony Lesson: Voicing Ideas using Sus4 and Sus2 Chords
Piano and Guitar Harmony Lesson: Voicing Ideas using Sus4 and Sus2 Chords
Published: 2013/07/04
Channel: MangoldProject
Piano Tutorial 3: Voicing 7th chords
Piano Tutorial 3: Voicing 7th chords
Published: 2016/07/07
Channel: Grace Immanuel Bible Church
Open voicing vs closed voicing - Church piano tips
Open voicing vs closed voicing - Church piano tips
Published: 2010/01/22
Channel: Greg Howlett
Dominant (7th) Chord Voicing Ideas for Piano
Dominant (7th) Chord Voicing Ideas for Piano
Published: 2015/05/17
Channel: MangoldProject
How to make better sounding chords (voicing + music theory)
How to make better sounding chords (voicing + music theory)
Published: 2016/07/27
Channel: ieolia
13 flat 9 voicing in the key of C
13 flat 9 voicing in the key of C
Published: 2016/07/12
Channel: jsmithmusic
Inverted Pedal Notes: Voicing and Harmony Tutorial
Inverted Pedal Notes: Voicing and Harmony Tutorial
Published: 2014/05/04
Channel: MangoldProject
Voicing Music Camp Audition
Voicing Music Camp Audition
Published: 2014/11/17
Channel: christa gray
2 Minute Jazz Piano #11: Voicing Melodies
2 Minute Jazz Piano #11: Voicing Melodies
Published: 2009/10/06
Channel: Peter Martin
Open Voicing (Part 1) - Diatonic Triads - Jason Zachariah - Nathaniel School of Music
Open Voicing (Part 1) - Diatonic Triads - Jason Zachariah - Nathaniel School of Music
Published: 2015/08/10
Channel: Nathaniel School of Music
Music Cyclops B12: Close Voicing
Music Cyclops B12: Close Voicing
Published: 2013/11/26
Channel: musiccyclops
How To Play Piano: Chord Voicing
How To Play Piano: Chord Voicing
Published: 2012/08/21
Channel: ImprovPianoTips
Cutty Ranks  voicing  Limb by Limb  dub  for Run Things Intl  wayne Lonesome sound
Cutty Ranks voicing Limb by Limb dub for Run Things Intl wayne Lonesome sound
Published: 2015/02/11
Channel: REGGAEDUBSCENE- Reggae/Dancehall /ska Music History
Rock and Roll Organ Lessons : Rock and Roll Chord Voicing Tips
Rock and Roll Organ Lessons : Rock and Roll Chord Voicing Tips
Published: 2008/04/22
Channel: expertvillage
Voicing Piano Chords in 4ths
Voicing Piano Chords in 4ths
Published: 2011/04/23
Channel: Duane Shinn
TEDxFedSquare - Mike McClellan - Voicing Emotions Through Music.mov
TEDxFedSquare - Mike McClellan - Voicing Emotions Through Music.mov
Published: 2011/09/22
Channel: TEDx Talks
An Easy And Great Way of Voicing Simple Chords: "Interlocked" Voicings
An Easy And Great Way of Voicing Simple Chords: "Interlocked" Voicings
Published: 2016/06/08
Channel: MangoldProject
Piano Tutorial 2: Voicing triads
Piano Tutorial 2: Voicing triads
Published: 2016/07/07
Channel: Grace Immanuel Bible Church
Fender Rhodes Piano Repair // Voicing
Fender Rhodes Piano Repair // Voicing
Published: 2008/12/16
Channel: Vintage Vibe
Major 7th Voicing On The Guitar - Cedarstone School of Music
Major 7th Voicing On The Guitar - Cedarstone School of Music
Published: 2015/06/08
Channel: Cedarstone School of Music
NEXT
GO TO RESULTS [51 .. 100]

WIKIPEDIA ARTICLE

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Various voicings: V/V-V-I progression. About this sound 1st ,[1] About this sound 2nd,[2] About this sound 3rd,[3] About this sound 4th, About this sound 5th[4] and About this sound 6th[5]

In music theory, voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" or "simultaneous vertical placement of notes in relation to each other."[6] It includes the instrumentation and vertical spacing and ordering of the musical notes in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each note.

Examples[edit]

The following three chords are root-position C major triads voiced differently:

Close position About this sound Play 
Open position About this sound Play 
Open position, doubled fifth About this sound Play 

All the three voicings above are in root position, while the first is in close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triad chords, close root position voicing is the most compact voicing, with the notes in major third intervals and the root in the bass note. Close and open harmony are harmony constructed from close- and open-position chords, respectively.

Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:

Beethoven Sonata 10 andante.

Whereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op. 111 (1822) , composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:

Beethoven, Arietta from Piano Sonata 32. Listen

Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."[7] William Kinderman (1987, p.64) finds it "extraordinary that this sensitive control of sonority is most evident in the works of Beethoven's last decade, when he was completely deaf, and could hear only in his imagination."[8] Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite Ma Mère l'Oye (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely spaced chords. This is especially apparent in bars 5-8 of the following extract:

Pavane de la Belle au Bois Dormant. Listen

Speaking of this piece, which also exists in an orchestral version, Austin (1966, p. 172) writes about Ravel’s technique of "varying the sonority from phrase to phrase by telling changes of register."[9] The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."[10]

The chords that open and close Stravinsky's Symphony of Psalms

Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G major chord very softly, at the limits of audibility.

Doubling[edit]

Octave doubling in John Philip Sousa's "Washington Post March", m. 1-7[11]About this sound Play .
Non-octave doubling in Debussy's Sarabande from Pour le Piano (For the Piano), m. 1-2[11]About this sound Play .

Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement[12] while octave doubling (and doubling at other intervals, also called parallelism[11]) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).

Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his English Suite no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.[11]

The Italian sixth moving to V. About this sound Play  Note that the third of the first chord (tonic, C) is doubled.

Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).[13]

Some pitch material may be described as autonomous doubling in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's Don Giovanni.[14]

Drop voicings[edit]

One nomenclature for describing certain classes of voicings is the "drop-n" terminology, such as "drop-2 voicings", "drop-2-and-4 voicings", etc. (sometimes spelled without hyphens). This systems views voicings as being built from the top down (probably from horn-section arranging where the melody is a given). The implicit, non-dropped, default voicing in this system is where all voices are in the same octave, with the individual voices being numbered from the top down. The highest voice is the first voice or voice 1. The second-highest voice is voice 2, etc. There is no provision in this nomenclature for having more than one voice on the same pitch.

A dropped voicing is where one or more voices are lowered by an octave relative to the default state. Dropping the first voice is undefined; a drop-1 voicing would still have all voices in the same octave and would result in a new first voice. There is no provision in this nomenclature for indicating the dropping of voices by two or more octaves or for having the same pitch represented in multiple octaves.

A drop-2 voicing is where the second voice is lowered by an octave. For example, a C triad has three "drop-2 voicings": reading down from the highest voice, C E G (the G has been dropped an octave), G C E, and E G C, which can be heard as the voicings supporting the first three melody notes (following the introductory phrase) of the Super Mario Bros. video game theme.

These are the drop-2-and-4 voicings for G7: (reading from the top down) G D F B (F and B have been dropped an octave), F B D G, D G B F, and B F G D. Various drop combinations are possible, given enough voices, such as drop-3, drop-2-and-3, drop-5, drop-2-and-5, drop-3-and-5, etc.

See also[edit]

Sources[edit]

  1. ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.269. Seventh Edition. ISBN 978-0-07-294262-0.
  2. ^ Benward & Saker (2003), p.274.
  3. ^ Benward & Saker (2003), p.276.
  4. ^ Benward & Saker (2009). Music: In Theory and Practice, Volume II, p.74. Eighth edition. ISBN 9780073101880.
  5. ^ Benward & Saker (2009), p.74.
  6. ^ Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects. Pacific, MO: Mel Bay. p. 7. ISBN 0-7866-4961-5. OCLC 50470629. 
  7. ^ Barford P. (1971, p.147) "The Piano Music – II" in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.
  8. ^ Kinderman, W. (1987) Beethoven's Diabelli Variations. Clarendon Press, Oxford.
  9. ^ Austin, W. (1966) Music in the 20th Century. London, Dent.
  10. ^ Austin, W. (1966, p334) Music in the 20th Century. London, Dent.
  11. ^ a b c d Benward & Saker (2003). Music: In Theory and Practice, p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.
  12. ^ Benward & Saker (2009). Music in Theory and Practice: Volume II, p.253. Eighth Edition. ISBN 978-0-07-310188-0.
  13. ^ Benward & Saker (2009), p.106.
  14. ^ Guion, David M. (1988). The Trombone: Its History and Music, 1697-1811, p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.

Disclaimer

None of the audio/visual content is hosted on this site. All media is embedded from other sites such as GoogleVideo, Wikipedia, YouTube etc. Therefore, this site has no control over the copyright issues of the streaming media.

All issues concerning copyright violations should be aimed at the sites hosting the material. This site does not host any of the streaming media and the owner has not uploaded any of the material to the video hosting servers. Anyone can find the same content on Google Video or YouTube by themselves.

The owner of this site cannot know which documentaries are in public domain, which has been uploaded to e.g. YouTube by the owner and which has been uploaded without permission. The copyright owner must contact the source if he wants his material off the Internet completely.

Powered by YouTube
Wikipedia content is licensed under the GFDL and (CC) license