Jazz Piano Voicing

On this page, you will find two methods of basic jazz piano voicings.  There are numerous ways to voice chords, but these two methods will give the pianist a great start to voicing chords.

Jazz pianists must have a basic knowledge of scale/chord relationships to comprehend the concepts behind these voicing techniques.  It may be useful to learn these voicings while studying scales and chords.

When the concept of piano voicings are understood, the pianist should be able to play chords with the left hand while playing scales with the right hand.

Method 1:

This is a technique of voicing known as "Block Voicing" that was effectively used by jazz pianist Red Garland.  Examples of Garland's playing can be found on numerous albums by trumpet player Miles Davis, or tenor saxophone player John Coltrane, as well as recordings under his own name.  This voicing will yield a full and powerful sound.

Left Hand:

For major 9th, dominant 9th, minor 9th chords will consist of the third, fifth, seventh (or sixth), and ninth degrees of the corresponding scale.  The voicings are based on the third or seventh of the scale/chord.  In other words, the third or seventh (or sixth) degree are always the lowest note in the voicing.  The two voicing orders are as follows: 3, 5, 7, 9 or 7, 9, 3, 5.  The choice as to which voicing to use will depend on voice leading (where the chord is coming from and going to) and range.

For half-diminished 7th and diminished 7th chords will consist of the root, third, fifth, and seventh degrees of the corresponding scale.  The two voicing orders are as follows: 3, 5, 7, 1 or 7, 1, 3, 5.  Left hand chords should be voiced between the note "C" one octave below "Middle C" and the note "C" one octave above "Middle C."

Right Hand:

In comping situations the right hand should play the same rhythms as the left hand.  For major 9th chords, the right hand should voice 5, 9, 5.  For dominant 9th chords, the right hand can voice 5, 9, 5 or 1, 5, 1.  For minor 9th chords, the right hand can voice 5, 9, 5; 1, 5, 1 or 11, 1, 11,  For half-diminished chords, the right hand should voice 1, 5, 1 or 11, 1, 11.  For diminished 7th chords, the right hand should voice 1, 5, 1.

Click on the sheet music to the left  see an example of Piano Voicing using Method #1

Click on the sheet music to the right to see an example of Piano Voicing through the cycle using Method #1

Method 2:

This is a technique of voicing known as "Open Voicing" that is used effectively by jazz pianist Horace Silver.  He does not use this style of voicing exclusively, but  examples of these voicings can be found on many of Silver's albums.  This voicing will yield a thinly textured, yet complex sound.

Left Hand:

For major 9th, dominant 9th, minor 9th, half-diminished 7th, and diminished 7th chords will consist of the third and the seventh (or sixth) of the corresponding scale.  The voicings are based on the third or seventh of the scale/chord.  In other words, the third or the seventh (or sixth) degree are always the lowest note in the voicing.  The voicing order is 3, 7 or 7, 3.  The left hand chords should be voiced between the note "C" one octave below "Middle C" and the note "C" one octave above "Middle C."

Right Hand:

In comping situations the right hand should play the same rhythms as the left hand.  For major 9th chords, dominant 9th, minor 9th the right hand should voice 9, 5 or 5, 9.  The choice of voicing order is dictated by which chord tone is nearest to the left hand voicing.  This means that voicing order including both hands will either be 7, 3, 5, 9 or 3, 7, 9, 5.  For half-diminished 7th chords, the right hand should voice 1, 5 or 5, 1.  This means that the voicing order including both hands will be 7, 3, 5, 1 or 3, 7, 1, 5.

Click on the sheet music to see an example of Piano Voicing using Method #2

Comping:

This is a term that jazz musicians use to denote the chordal accompaniment of pianists or guitarists.  It is a loose combination of the terms "accompaniment" or "complement."  The jazz accompanist's role is twofold.  The performer must provide the prescribed harmonies of the given tune and interact rhythmically with the soloist or ensemble.  When thought of in this way, the jazz accompanist is improvising all of the time, unless, of course, there are written musical figures.

Good comping is hard to define and even harder to teach.  It must be musically tasteful and not overdone.  It must communicate the chord changes to the soloist or ensemble in a way that does not interfere rhythmically.  But at the same time, it must propel the music forward.  The best way for young pianists to learn about comping is by listening to some of the great accompanists such as Red Garland, Tommy Flanagan, Wynton Kelly, Hank Jones, Bill Evans, and many, many others.