 I am often asked about chord voicings. My own approach is usually, very simple. In the tune Icarus, for example, there are hits after the B section (0:55sec.)
The first chord is a Bmaj root position triad with a 3rd (or maj10th) on top.
When dealing with chord voicings on this instrument you want to be
mindful of the intervallic relationships within the particular
voicings, not just from the root, but the relationships between each
note.
 Voicing: R maj3rd Perfect5th maj10th
From the 3rd: min3rd, octave
From the 5th: maj6th
(this is just from low to high voices, notice each interval from each voice)
You can analyze chords in such a way that a particular voicing can be
labeled many different things. Much depends upon the context, or
function of the chord, or the bass note (The Bass is playing an E on
this second chord)
The second chord can be called: B713 no 3rd or Emaj9/A or C#7sus4/A or
if you have synesthesia it might evoke the smell of rose peddles, or
the taste of chocolate covered peanuts, or some deep shade of purple.
Perhaps you would call it Jasper or Linus…
What I mean to say is “I really don’t care what you call it. The voice leading into the next chord is appealing to me.”
Voicing (B713no3rd): b7 R Perfect 5th 13th
Intervallic relationships from the lowest note: maj2nd maj6th min7th
Voicing (Emaj9/A): 5th 9th maj3rd/ VI
Intervallic relationship is the same.
What is more important that which particular label one ascribes to this chord is how it voice-leads into the final chord.
The lowest note resolves down a min2nd.
The next highest voice stays the same.
The next highest voice resolves down a maj2nd
The highest voice resolves up a min 3rd.
The third chord is a first inversion Emaj triad with a 5th added on
top. Much like the first voicing, the middle voice of the triad (G
string) is doubled with an octave (on the high E string).
Voicing Emaj/G#: 3rd 5th Root 5th
Intervallic relationship from the lowest note: min3rd, min6th, min10th
I studied with Jim Hall briefly before enrolling at Berklee. He used
to say that he thought of chord voicings not as the Root, Quality,
Tensions, Inversion, etc. but in shades of different colors. I do not
think that he had a form of the very rare aforementioned disorder of
mixed senses, but I know what he meant.
Personally I think of chords as textures. I like to mix very close and
very wide intervals within my voicings. It is important to mention the
difference in timbre when talking about guitar-specific voicings. On
the piano there is one middle C (C4). On the guitar there are five.
Depending on which string you play a particular note, the timbre can be
drastically different. One need only compare the difference between C4
on the first fret B string and C4 on the 20th fret, Low E string, to
understand the contrast. Mixing the timbre of open strings and pitches
higher up on the fret board gives a rich sound.
Download Full Lesson - Icarus Chord Voicings PDF
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