How to voice chords

[araconan]

Hello,

So voicing chords have always been something that I've neglected in my piano practice, but recently I'm decided that it's definitely something I need to know how to do.

However, after reading online, it seems that in general, advice regarding voicing chords either state to aim the hand, or the arm, towards the note to be voiced. After trying, I have noticed a slight accent on the desired note, but I'm unable to hear a clear distinction. When I try to get a more noticeable difference in volume by playing the note that I want voiced louder (generally with my pinky), the rest of my hand ends up playing equivalently louder.

I'm wondering, first of all, is this the correct method to voice chords? If not, what is? And are there any exercises recommended to increase proficiency in voicing chords?

Thanks!

[dima_76557]

However, after reading online, it seems that in general, advice regarding voicing chords either state to aim the hand, or the arm, towards the note to be voiced.

The general advice (put more "arm weight" on the note that has to come out, hold your hand like this or like that, etc.) is clearly NOT what you need if you want truly artistic results. Voicing cannot be done with the hand used as a unit. It's the separate FINGERS as living organisms within the structure of the chord that are responsible for beautiful voicing. Just experiment. First bring the thumb out, then a finger in the middle of the chord, then the pinky, etc. and you will hear the sound clearly changing without the problems you indicate.

[maitea]

Exactly as Dima says, you can't use your hand as a unit, and need independence.

If you have a triad, with fingering 1-2-4, and you want to have more sound in 4, less, in 1 and a bit more on 2 (just and example). Start playing the note on 4 with the sound you want to hear, when you get it, hold the finger (wrist and arm relax, as usual). Then, whilst you have 4 held, play with the volume and colour you want 1, softer, as you had decided; if you are not happy, try again. 4th finger continues down, no worries if you can't hear the sound anymore, the important it that you preserve the feeling (though if it really bothers you, start from the top!)

When you are happy with how 1 sounded, let the finger held too. Now you have an interval with two distinct finger sensations, can you feel that? Lift your hand and with the sound in your mind as well as the feeling that your fingers had a moment ago try to get there in one go (not spreading the fingers). How was that? If it's still hard try again. Then do the same adding the middle note.

The idea is that you teach yourself/your brain the micro adjustments that you need to make a voiced chord with distinct lines, not one cluster. With a bit of practice the mental idea of the sound of that/a chord will trigger the correct action. Though is always necessary to go back to basics, and practice voicing despite having already a sort of "reflex" for it.

Hope it makes sense and can help a bit!

M

[gregh]

Can someone explain this to me? The way I learned the term, the voicing of the chord is determined by how the notes are arranged-- open, inverted, etc. So a C chord played C-E-G and E-G-C are the same chord, but with different voicings.

You seem to be discussing something different here, playing one note louder than the rest. That's something I know in the context of a classical guitarist playing the notes of the melody louder so they stand out from the harmony. I don't know what they call it, or even if they have a name for it. And if you're not emphasizing the melody, what is the artistic goal?

[faulty_damper]

Can someone explain this to me? The way I learned the term, the voicing of the chord is determined by how the notes are arranged-- open, inverted, etc. So a C chord played C-E-G and E-G-C are the same chord, but with different voicings.

You seem to be discussing something different here, playing one note louder than the rest. That's something I know in the context of a classical guitarist playing the notes of the melody louder so they stand out from the harmony. I don't know what they call it, or even if they have a name for it. And if you're not emphasizing the melody, what is the artistic goal?

You're discussing something else than the OP is asking for but can also be called voicing.  Using your examples:
CEG - the E would be played softer
EGC - the G would be played softer

This is something that choral directors usually ask of the choir to avoid sounding harsh.  Inner voices are generally played softer.

[gregh]

Inner voices played softer so it doesn't sound harsh... Huh, I hadn't thought of that. Although I have sometimes thought that chords sound kind of busy compared to two-note intervals.

I plan to try it out, but I can imagine it would be challenging for the same hand to play different keys simultaneously with different softness.

[maitea]

Hi @gregh

I think in modern/jazz jargon voicing is applied to the distribution of the notes in a chord. But classical musicians we call it chord in root position and its inverstions:

so in C Major:
CEG root position
ECG first inverstion
GCE second inversion

During the baroque, it was common to write down the bass and leave the keyboard player to improvise the upper voices. The composer wrote some numbers, figures underneath the given bass, what we call "figured bass". The numbers for the chords (root positions and 1st and 2nd inversions) are 5, 6, and 6/4 respectively. (though sometimes 5 is left out and taken for granted).

For classical pianists, voicing is about taking each part of the chord individually and shape the sound in a chord. This varies grately, and sometimes the middle part is what wewant to bring our, either because the melody can be hidden, or the harmony brings out something interesting!

M