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Voicing With Fifths

BY ANDY LAVERNE
November 1, 2009

Youve probably voiced chords in thirds and sometimes even in fourths. But, how many times have you
voiced chords in fifths? Well, if youve used quartal voicings, you have in fact touched on a form of fifths
voicings. When you invert a perfect fourth, it becomes a perfect fifth. So, a typical quartal voicing of C, F, Bb,
when inverted, becomes a fifth voicing of Bb, F, C.
This type of open voicing has an ambiguity that makes it difficult to identify the chord name, function, or
quality. Its this ambiguity that is actually the strength and appeal of open voicings. A fifth voicing
of Bb, F, C can be used to good effect in multiple contexts. Since these three tones are all contained in the Ab
major scale, any diatonic chord from that scale can be applied to three-note fifth voicing of Bb, F, C, for
example: Abmaj7, Bbm7, Dbmaj7(#4), Eb7, and so on. This consonant/diatonic application makes these
structures useful in a multitude of settings.

Growing Fifths
One quick and easy way to get a fifth voicing under your fingers is to play a quartal voicing consisting of
perfect fourths, like the aforementioned C, F, Bb, and then swap the top and bottom notes. The resulting
voicing will be Bb, F, C.
You can also extend the scope of fifth voicings by stacking a three-note fifth voicing in your right hand on top
of threenote fifth voicing in your left hand. Since all these fifths cover a wide intervallic range, a good choice
is to keep the interval between the two hands to a minimum. The closest interval, a minor second (half step),
creates a wonderful sounding voicing. You have the open spread of the fifths, plus the rub or crunch of the
half step, which gives the two-hand voicing depth. If you move the right-hand voicing up a half step, and keep
the left hand where it is, the chord quality changes from minor to major. The reverse is true as well; move the
left hand down a half step and keep the right hand where it is. In either case, youre now separating the two
groups of fifths by a whole step, which results in a major chord quality.
Fifth voicings can also move in parallel motion, a definite no-no in traditional harmony! If you take a twohand fifth voicing for a minor chord, with the root on the bottom and the hands separated by a half step, you
can then move the voicing up by using the top note as a guide. The top note will outline a major triad built on
the fourth of the minor chord. (Bbm7uses an Eb triad as the top notes, for example). For this consonant/
diatonic application to work, you must adjust the interval between the two hands as follows: The first voicing
has the hands separated by a half step, the second voicing by a whole step, and the third voicing by a half step
again.

Going Linear
Fifths can also be used as a linear device, by means of arpeggiation, as shown in the exercises in this lesson.
Since you are dealing with three-note groups, the rhythmic value of triplets works quite well. By arpeggiating
fifth voicings, you can cover a wide range in a short amount of time.
Whether you incorporate them for tasty chords or compelling melodies, use these new structures to add more
color, texture, and drama to your music!

Ex. 1. 1a shows a three-note quartal voicing and one possible chord application. 1b shows a three-note fifths
voicing with the same notes as 1a, and one possible diatonic/consonant chord application. Next, try the twohand, six-note quartal voicings in 1c, shown with one diatonic/consonant chord application each.
Click here for audio.

Ex. 2. 2a shows a fifths voicing exercise which starts with the left-hand and right-hand chords separated by a
half step. When the right hand moves up a half step, the left hand remains on the same notes, so both hands
are now separated by a whole step. Next, the left hand moves up a half step, the right hand remains on the
same notes, and the hands end up a half step apart. 2b is a descending version of the previous exercise. Going
deeper into voicings for a single chord, 2c shows some consonant voicings using fifths for Bbm11.
Click here for audio.

Ex. 3. To use fifths for linear applications, try the exercise in 3a which arpeggiates the voicings, splitting
them between both hands. In 3b, try a close position fifth voicing, which consists of the intervals of a major
second and a perfect fourth. In 3c, try a close position exercise similar to the one in exercise 2a; 3d is a close
position version of exercise 2c. Clickhere for 3a audio, and here for 3b-d.

Ex. 4. Expand your fifths vocabulary with these structures: a two-hand fifth voicing with a perfect fifth
between the hands (4a), a close position voicing with a perfect fifth between the hands (4b), an open voicing
with a major ninth between the hands (4c), and a close position voicing with a major ninth between the
hands (4d). Click here for audio.

Ex. 5. To use this wisdom in a linear context, try 5a, which distributes close position voicings between the
two hands. 5b mixes things up with some tasty rhythmic displacement. Click here for audio.

Link: http://www.keyboardmag.com/jazz/1303/voicing-with-fifths/27504
[NB: audio file on url]

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