Techniques of Improvised Voicings

As piano and guitar players, we not only improvise over melody and rhythm, we also have the opportunity to improvise harmonic material. To be able to accomplish this, we need to have an in depth understanding of voicings. There are different approaches to achieve this. The first essential element in this process is to have knowledge of specific, functional voicings. You may then begin to experiment with sounds and shapes. Sounds are created using certain scales over specific chords. Shapes are created by using various combinations of intervals and chord structures. For example the scale that would fit over a C7b9#9#11 would be C half/whole diminished. Therefore, any of the notes in that scale could be added to the chord. Some notes will be harmonically stronger, but the overall sound of the chord is the C half/whole diminished scale.

The following progression is a structured way to approach voicings.

The following examples display a more flexible approach to the voicings.
The technique used in creating this sound based approach is diatonic intervals and chords moving over a specific scale. Play each eighth note against the conventional left hand voicing and carefully listen to its sound (the bass note is a reference note, not part of the voicing). After familiarizing yourself with the individual sounds, start to improvise using the intervals and structures in the following examples.

Harmonic structures over D Dorian scale.

Harmonic structures over C melodic minor scale, played over a B7 altered chord. This scale is also known as Fully Altered scale or Jazz Melodic minor. It covers all the altered upper extensions.

Harmonic structures moving over G Lydian scale.

By using this approach we are able to create a flexibility and freedom you don't get using only standard voicings. Experiment with different harmonic structures over a specific scale. This approach does not replace the method of knowing exact voicings and how they apply, but is an extention of conventional voicings. This is useful both when soloing and accompanying. When familiar with this concept, the next step would be to move entire voicings (left hand and right hand) over a specific scale. But begin with structured voicing in left hand and diatonic movement in the right to familiarize yourself with different sound possibilities.

Good Luck.
Per Danielsson