OPEN PIANO CHORD VOICINGS
To have a full sound and also back others these open piano voicing’s seemed to work well.
For all Major seventh chords.
Left hand 3 and 6
Right hand 2 5 1
For all Minor sevenths
Left hand b3 and 6
Right hand 2 5 1
For all Dom 7th chords
Left hand 3 and b7
Right hand 2 5 1
For Dom 7th b13 chord this is a great sounding chord
Left hand 3 and b7
Right hand b3 b6 1
For Augmented chords
Left Hand 3 and 6
Right Hand 2 #5 1
From this you can work out the Diminish chords for yourselves.
Notice very little hand movement needed to accomplish these sounds and when confronted with up tempos these voicing’s come in handy plus they sound good when comping behind others. They are open sounding chords that leave room for others BUT THE REAL TRICK HERE is use the notes found in the chord it self for tonal movement from one chord to the other.
EXAMPLE C MAJ 7
LEFT HAND 3 AND 6 E A
RIGHT HAND 9 5 1 D G C
Now after placing your hands down on the keyboard in chord position NOTICE the how the chord spreads across from C one octave below middle C to the C above middle C. That is the range you will want to keep your voicing’s in not to low not to high on the keyboard right in the middle. Your first note choice you use in inter tonal movement will be in your right hand. Pick any one the notes in the chord and you have 6 choices C E G A B D we will use E in the right hand now in your left hand choose a note say B because that is the maj 7th of the chord now one more in the right hand and we will call this the release chord tone because it should lead into the next chord and that note will be E which will lead right into the F chord. So first the chord then right hand tonal move {one note only} then left hand tonal move the right hand tonal move in to the next chord. Try doing this thru the circle of fourths or fifths leading from one chord to the next. When you start to work these out you will start to notice how little movement you need to make a professional sounding chords.

A little footnote before you ever hit 1 when playing MELODIC LINES based on major sevenths play a 9 first then one
Example C Maj 7th BEFORE I PLAY A C NOTE I TRY TO PLAY THE D NOTE FIRST. Also you can use the fourth with minor chords which gives you seven note choices. With practice and time you will be able to voice chords right and leave room for others. Hope this helps DPVJAZZ

I just took the voicing through 12 keys and I like it. It's easy and produces a good sound.

Thanks,
Ryan

hmmm

it seems to me you are stating that the 6(13) should be substituted on minor seventh chords...

typically this is not a superior choice as the seventh becomes dissonant melodically with a sixth in the lower part of the voicing... It also eliminates the primary non-root voice leading in the ii-V-I progression (7 to 3)


if the chord is a minor-major seventh chord or a m6/9 the sixth is a great choice! Often this chord is used as a tonic sound, as opposed to the dorian modality of the m7 chord...

other than that these are all useful voicings

jazz on!

forgive me for being dense here.

"For all Major seventh chords.
Left hand 3 and 6
Right hand 2 5 1"

so for C, that would be

left hand right hand
e a d g c?

is that a maj 7th chord?

sorry, am being dense, i need to keep on reading to understand. thanks,

these are jazz voicings implying extended harmony, often these voicings imply that a bass player is playing the root of the chord

QUOTE] tweebin
These are jazz voicing implying extended harmony, often these voicing imply that a bass player is playing the root of the chord

Yes for sure if you have a bass player but if you do not all you have to do is hit the root note and since you have already worked the chord out again a one finger movement. Keeping it simple IS THE BEST WAY.
[QUOTE] tweebin
It seems to me you are stating that the 6(13) should be substituted on minor seventh chords...

Typically this is not a superior choice as the seventh becomes dissonant melodically with a sixth in the lower part of the voicing... It also eliminates the primary non-root voice leading in the ii-V-I progression (7 to 3)

Take four tunes and voice them both ways and see what sound you like better and ask your self if comping behind a soloist which voicing would open it up more.

Blue Bossa
Black Orpheus
Song for My Father
A Night in Tunisia

Remember inter tonal movement from one chord to the next the old tug and pull game. I feel if my hand is on the sixth I use one note movement 6th to the b7th and that’s it. And if the soloist decides to use the flat seventh in there line it will create a tension in the line but that is not always a bad thing.

[QUOTE] Agathis

Forgive me for being dense here
Sorry, am being dense,

Hey THATS TWICE STOP THAT You are always welcome to come by and see me at my restaurant in Phoenix and I have a piano there I will SHOW YOU how to do this no charge you just have to show up and ask. If you e-mail me we can set it up. DPVJAZZ

please don't alter the grammar and spelling of my original quote... the correct plural of voicing is voicings.

the b7 over 6 doesn't create a linear tension, rather it creates a harmonic tension, created by a direct clash in harmony. It is true that these are not always bad, but by doing this you are taking that choice away from the person playing the solo, who is expecting the chord that is agreed upon in common practice.

that said, often m7 is over used in lead sheets, especially when the function of the chord is a tonic, rather than a minor ii. In the minor ii function, though, the 7-3 resolution in the ii-V progression is a critical movement, in fact "the" critical counterpoint to its root movement. In actuality a more "open" sound results in the delay or elimination of the resolution, instead creating an V7sus sound. eg F Bb Eb G C = F7sus or another voicing.

anyhow, although I agree that simplicity is important, and small movements create effective motion and progression in voicings, there is certainly more than one way to skin a cat!

I use Microsoft word spell check when I post so I did not intentionally mean to alter your post I just click and assume that is the correct grammar sorry if it upset you. I agree with what you’re saying and from that yes approach it that way if that is what your hearing and that works with who you are playing with.
As I said before voice the chords both ways to those tunes I listed and decide which sounds good to your ear and if you need to adjust do it whether for your self or for the group. Something that helps everybody playing is never live or die by someone else way or method get out there and check all it out then decide which works for you and that will be your sound. DPVJAZZ

Everyone knows what he meant.

Ryan

sure, I accept the spell-check explanation.