Voicing (music)

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In music, a voicing is the inversion of a chord. This is the vertical ordering of the pitches in the chord (which notes are on top, bottom, or in the middle). It is an effective way of representing a chord's sound. The spacing or "simultaneous vertical placement of notes in relation to each other" and "the manner in which one distributes, or spaces, notes and chords among the various instruments" (Corozine 2002, p. 7).

1 1st inversion
2 2nd inversion
3 3rd inversion
4 Slash chords
5 Complex chords
6 Doubling
7 Source

[edit] 1st inversion

Reasons for using 1st inversions:

Improves bass line – allows more flowing and melodic basslines.
Used as substitutes (harmonically) for other chords (using the ii6 for the IV).

Lessens the cadential effect of V and I chords when they do not serve as goals.
Diminished triads almost always used in 1st inversion to negate the augmented interval

Hints for part writing:

Don’t double leading tone
The preferable doubling is of root or fifth
Can use a vi between I and ii
Don’t substitute IV6 for IV or vi6 for vi (clouds the sub-dominant effect, but if desired, it's OK)
V shouldn’t be followed by a vi6 (the ear naturally expects I)

Three part writing:

If you need to use incomplete chords, get rid of 5th – try to keep 3rd.
MUST keep the root unless you want to have an ambiguous sound.

[edit] 2nd inversion

Reasons for using 2nd inversions:

As a passing chord (eg between a 5/3 and a 6/3 where the bass moves by step, and the 5th is sustained with, the other parts moving as passing notes or auxiliary notes). (Passing 6/4: V6/4 and I6/4 are most common although any can be used)

Used in bass arpeggiations, often as an ascending bass line arpeggio. (eg. 5/3-6/3-6/4-5/3, with sustained upper parts).

As part of a suspension or appoggiatura where the 6th and 4th resolve down to the 5th and 3rd respectively, often used at cadences (Cadential 6/4: ii6 – I6/4 – V (delays the arrival of V)); however, the classification of this harmony as containing a second inversion chord in the first place is disputed—many authorities see it as ii6 – V6/4 – 5/3, thus delaying not the arrival of V but the arrival of the consonant form of V.

NOT used as a substitute for root position or 1st inversion - less stable structure- Perfect 4th on bottom is considered a dissonant sonority.

Aug or dim 6/4 chords are not used for same reason.

Pedal 6/4: I – IV6/4 – I OR V – I6/4 – V (again, the change of root from I to IV, or from V to I to V, is disupted; many authorities see these as examples of an unchanging root with voice-leading activity above it).

Part writing:

Voice leading is usually smooth
4 part writing- bass (5th of chord) should be doubled
3 part writing – use all pitches OR get rid of 3rd and double 5th

[edit] 3rd inversion

Reasons for using 3rd inversions:

3rd inversions only come about from using 4-note (or more) chords, eg. the dominant seventh in 3rd inversion (as a 6/4/2) would have the 7th in the bass (which should normally resolve down).

[edit] Slash chords

Main article: Slash chord

There is no functional use of a 9th or larger interval in the bass. Many times the chord is actually labeled incorrectly. Extensions are often written as slash chords. For example a IIm9 chord but with the root of the V7 in the bass. Cm9/F or F11

[edit] Complex chords

Main article: Extended chord

The voicing on piano and guitar are limited to the number of fingers and strings. When presented with a 13th chord on guitar the root, 3rd, 5th, 7th, 9th, 11th and 13th are all present, but since the guitar usually only has 6 strings at least one of these tones must be left out. The least important is the 5th so it may be left out. It is also reasonable to leave out any other tone except the 13th and the root, but depending on the target chord, the chord of approach and the desired sonority one must carefully decide what notes to play. Sus and add chords leave out the chord tone directly below. For example a sus4 would leave out the 3rd and usually resolve to the 3rd. Add chords do not always resolve but still leave out the chord tone directly below. For example add6 could leave out the 5th.

[edit] Doubling

Doubling/Spacing
• Root Position- double the bass (exceptions vi/VI in deceptive cadence-third, final cadence- three roots and one third).
• First inversion- free to make best voice leading (exception- diminished triads- third), avoid parallels and achieve good sonorities.
• Second inversion-bass.
• Never double a tendency tone.
• Spacing-no more that an octave between adjacent upper voices. Parallels
• Parallel PU/P5/P8-Check to see if the two voices on the doubled note move to different places (octaves), Check to see if the root and fifth move in parallel motion (fifths).
• Direct P5/P8- When the soprano and bass move to P8/P5 in parallel motion, the top voice must move by step.
• Consecutive P5/P8- Consecutive P5/P8 in a single pair of voices by contrary motion (avoid).
• Unequal Fifths-P5 to d5 is always ok, d5 to P5 is ok unless it involves the bass voice. Suggested Part Writing Procedures
• After evaluating what elements of the assignment are given, voice the first chord with each voice in the middle of his/her range and correct doubling. Avoid potential spacing errors here.
• Resolve tendency tones first.
• The two voices that doubled a given pitch in one chord must move to different notes in the second chord.
• Make sure that any to voices that are a P5 apart in one chord to not move to notes a P5 apart in the next chord.
• After you have avoided tendency tone and parallel problems, move each voice (especially inner voices) as smoothly as possible to the nearest chord tone that allows for correct doubling in the second chord. Avoid the doubling of tendency tones here.
• Check to make sure that you have added the proper accidentals to raise the leading tone in minor.