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Good observations, DPV. And eq

Good observations, DPV. And equally good additions!

Tonight's voicing is a common tone, quartal resolution! I'm basing this on some of DPVs suggestions.

Open voicings join together most smoothly when there is carefully controlled, smooth, melodic voice-leading. Nothing works as smoothly as having a common root and a minimum of travel in the other components of the voicing. So here's a beauty based all on 4ths with a beautiful V (bII maj) - I substitute type of resolution. This open vociing also fits a snall hand very nicely:

Key of Bb:

LH: Bb Eb Ab, RH: Db Gb Cb, to
LH: Bb D G, RH: C F Bb

Analytically, this is a Cb 13 vocied with the major 7th in the root, to a Bb 9.

The bottom note remains unchanged while all the other voices move down 1/2 step chromatically!

Simple, yet elegant.

Have to love those stacked fourths...

And the beauty of it is that it's not only easy to find in any key for a beginner (just build triadic fourths in both hands from any starting point, keep the left hand pinky note and drop all the stacked fourths down 1/2 step), but since the MOST important fourth interval in that voicing resolved to a major third (the first interval of the voicing), even though the rest are all still stacked fourths from the second note, the resultant voicing doesn't SOUND ambiguous, as most quartal voicings do! It resolves beautfully because the ear focuses on that Bb Eb to Bb D resolution, the rest of the tones adding color, from tension to rest with a very triadic type of sound, though very quartally based. It's all in the set up, the way the bII was voiced with the 7th in the root that became the tonic of the resolution!

Needless to say, this should be practiced from any chosen arbitrary starting point.

More tomorrow night along this type of harmonic logic.