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Inner Voice Leading
by
Per Danielsson
Download the sheet music
When learning a jazz tune it is important to analyze the composition in great detail. Every
jazz standard has unique elements that have set them apart as classics. It’s the jazz performers
responsibility to be aware of these elements in order to create a unique and personal version of the
composition. If we disregard the composition when we improvise and harmonize, all jazz tunes
would sound the same since we then would only use the chord changes as a base.
The unique part of playing solo piano is that we are fortunate to be able to create orchestrations.
Instead of playing a song with just melody, chords and improvisation, we have the possibility of
creating counter melodies, inner voices, alternate harmonization, different rhythmic concepts, etc.
This is where we as piano players can learn a lot from the classical composer. Listen to classical
composers like Debussy and Ravel, as well as Beethoven, Mozart and Bach and you’ll soon notice
the amount of attention that is paid to the details of the inner voices. This concept can easily be
translated to our jazz playing even if the style of music is very different.
The most important practice technique in jazz is to listen to recordings of the great jazz masters.
Listen, transcribe, imitate and try to figure out what they are doing. Analyze the piece in detail,
write down what you like and then apply it to your own playing, in your own personal way. You don’t
have to steal material note for note. Instead, copy and analyze concepts. That way you have the
freedom to add your own musical touch.
Inner voices and voice leading
There are many different ways of creating voice leading and nice flowing inner voices. One
technique that I start out my student with, is how to transition from a suspended chord to an altered
chord and then resolve it the next harmonic structure. When I say resolve it, I don’t necessarily mean
resolving it to the tonic, more like setting up the next harmonic structure.
The following couple of bars will serve as a foundation for this exercise. Let’ assume this is a
ballad and our goal is to create a nice harmonization with inner voice leading.
Before starting to work on the inner voices a basic harmonization has to be done. In order to
make it sound good you have to have knowledge of chord structure and voicings so you can turn
this lead sheet into a nice sounding jazz piece. When knowledgeable about harmonization, you’ll
soon find out that there are endless combinations of inner voices and substitutions for you to use.
Basic Harmonization
Let’s take the above harmonization and change the Dominant chords to suspended chords.
Keep the suspension for one beat and then resolve it to an altered Dominant chord before its release
to the next chord.
Final Harmonization
As you can see, by using the sus-alt-release method, inner voices are almost automatically
created. Make sure to bring out these inner voices when you play. Much like you would do when you
play a Bach piece, the theme should always be heard. If you haven’t played Bach before I highly
recommend that you start NOW!
Minor chords with a major 7th
Another easy trick to create inner voices is by adding a major 7th on the minor chord. This
can be done in the form of a descending line from the tonic of the minor chord.
This is how it works: Instead of playing the flat 7, play the root of the chord and then move the voice down in half steps.
Harmonization
Notice the descending line in the left hand that this harmonization creates. This is perhaps
one of the most useful inner voice leading tricks there is. Next time you listen to your favorite pianist playing a ballad I’m sure you are going to hear this technique.
Let’s incorporate this technique into the first example. What we end up up with is very different
from our first simple harmonization.
By practicing these techniques, inner voice leading will soon become a natural part of your
playing and it will greatly improve your sound and skill.
Good Luck,
Per Danielsson
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