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Music Theory feature articles

  • Voicings for piano (end)

    Voicings for piano (end) - Harmony Basics - Part 45


    As you already saw, due to orchestration (delegating the root to the instrument carrying the bass line) or simplification (making voicings lighter), you can take away all sort of notes from your voicings, according to your needs. At the same time, in the last couple of articles, I have striven to present to you more concrete examples of the theore…

  • Voicings for piano (continued)

    Voicings for piano (continued) - Harmony Basics - Part 44


    In the previous article we started to discuss how to apply to the piano everything you've seen so far regarding voicings. Today we'll continue doing the same.

  • Left-hand voicings for piano

    Left-hand voicings for piano - Harmony Basics - Part 43


    Today I will change a bit the usual approach of this article series. What I intend to do this time is to leave aside the purely theoretical aspect and put into practice, in a very simple manner, what we've been discussing in the previous articles regarding voicings.

  • Voicings and cadences - Follow-up and end

    Voicings and cadences - Follow-up and end - Harmony Basics - Part 42


    The present article closes the mini-series we started with article 39 focusing on the use of voicings within the most common cadences. And we'll finish studying voicings based on added-tone chords looking at the interrupted cadence and rhythm changes. Let's go!

  • Voicings and cadences - Second-to-last installment

    Voicings and cadences - Second-to-last installment - Harmony Basics - Part 41


    With this article we close the chapter on voicings within the framework of cadences by seeing how you can add tones to the cadence chords in the previous articles.

  • Voicings and cadences - Follow-up

    Voicings and cadences - Follow-up - Harmony Basics - Part 40


    In the previous article we discussed some examples for three types of cadences: seventh chord progressions based on the circle of fifths, the perfect cadence and the plagal cadence. And we also looked at examples of voice movements within these different cadences.

  • Voicings and cadences

    Voicings and cadences - Harmony Basics - Part 39


    Today we'll go once again over what we saw in articles 34 and 36 regarding voice-leading according to cadence, exploring in detail voice movements in relation to the most common cadences.

  • Parallel voices

    Parallel voices - Harmony Basics - Part 38


    The previous article allowed you to get to know chords better, discussing open and drop chords. This week we'll take a look at a case where voices evolve in parallel, with a special focus on octaves and fifths. I know, I know: parallel octaves and fifths are forbidden, right? Indeed, when you want to stick to classic harmony, it is...

  • Drop voicings

    Drop voicings - Harmony Basics - Part 37


    In the previous article we briefly studied the movements of each voice within the context of voice-leading, based on the motion of the root. Today we'll focus on a particular sort of voicing: drop voicings.

  • Voice movement in voice-leading

    Voice movement in voice-leading - Harmony Basics - Part 36


    In the previous article you saw the notes that are best suited to create voicings and those which ought to be avoided. In this one we will focus our attention on voice-leading and certain rules you should consider when exploring this technique.