Exposed: The Secrets To Playing Major And Minor Voicings In The Key Of C

You are on this page because you want to learn the secrets to playing major and minor voicings in the key of C.

A knowledge of major and minor voicings will equip you with the knowledge of how to play five out of the seven scale degree chords in any given key.

Precisely, what you’re about to learn will help you play chords one and four (which are major chords) and then chords two three, and six (which are minor chords.)

Before we continue, let’s lay the foundation of this study by taking a look at the seven chord qualities for every degree of the scale.

A Lesson On The Seventh Chord Qualities Of All The Scale Degrees

Quickly, we’ll be reviewing all the seventh chords that can be formed in the key of C major. Using the C natural major scale:

…which is the traditional scale in the key of C, here are the seventh chords that we can form.

Attention: We’ll be forming these seventh chords using the ‘pick-skip technique’ of chord formation, where we would pick a note, skip a note, pick another note, and skip another one.

Starting from C (which is the first tone of the scale):

…to form chord one is as simple as picking C:

…skipping D, picking E:

…skipping F, picking G:

…skipping A, and picking B:

At this point, we’ve encompassed seven degrees of the C major scale from C to B:

…forming a seventh chord:

Following the same procedure, we can form the rest of the chords…

Chord two:

…(from the second tone of the scale) which is D:

Chord three:

…(from the third tone of the scale) which is E:

Chord four:

…(from the fourth tone of the scale) which is F:

Chord five:

…(from the fifth tone of the scale) which is G:

Chord six:

…(from the sixth tone of the scale) which is A:

Chord seven:

…(from the seventh tone of the scale) which is B:

If we form from the eight tone of the scale which is C:

…we’ll be duplicating the chord of the first degree:

…and we don’t want to do that.

Let’s take a closer look at the respective chord qualities of the seventh chords we’ve learned so far.

On the first degree (C) is the C major seventh chord

On the second degree (D) is the D minor seventh chord

On the third degree (E) is the E minor seventh chord

On the fourth degree (F) is the F major seventh chord

On the fifth degree (G) is the G dominant seventh chord

On the sixth degree (A) is the A minor seventh chord

On the seventh degree (B) is the B half-diminished seventh chord

The goal of today’s lesson is to beef up your chordal vocabulary with major and minor voicings, consequently, we’ll be focusing on the major chords (of the first and fourth degrees) and the minor chords (of the second, third, and sixth degrees.)

“Let Me Repeat…”

Chords of the first and fourth degrees are major chords while chords of the second, third, and sixth degrees are minor chords, and we’ll be exploring how these chords are played in this lesson.

Let’s take a step further into learning the chord formation of major and minor chords and their voicing formulas.

Chord Formation And Voicing Formulas

In this segment, we’ll be looking at how major and minor chords are formed, and their voicing formulas (which I’ll explain shortly.)

A Short Note On Voicing Formula

The rearrangement of the notes of a chord, produces its voicing. When the notes of the C major seventh chord:

…is rearranged:

…this rearrangement is known as its voicing.

The voicing formula of a chord is a set of numbers that it can be derived from.

Using the formula 1-5-3-7 over the C natural major scale:

…produces a voicing (aka – “rearrangement”) of the C major seventh chord:

1 and 5 are the first and fifth tones of the C major scale (which are C and G):

…while 3 and 7 are the third and seventh tones of the C major scale (which are E and B):

Altogether, here’s the 1-5-3-7 voicing of the C major seventh chord:

Let’s go ahead and learn the voicing formula for major seventh and ninth chords.

Voicings Of Major Seventh And Ninth Chords – Explored

To form a major seventh chord, lower the root of a major triad by a half step.

On the first and fourth degrees in the key of C major, where we have the C major triad:

…and the F major triad:

…lowering the root note of the chord played on the right hand by a half step produces a major seventh chord.

The C major triad:

…can be used to form the C major seventh chord by lowering the root of the C major triad (which is C):

…by a half step (to B):

…to form the C major seventh chord:

Take note that while doing that, the root (C) was played in the bass.

For chord four, you can form the F major seventh chord:

…using the F major triad:

…a primary chord in the key of C by lowering the root of the F major triad (which is F):

…by a half step (to E):

…to form the F major seventh chord:

…and as usual the root of the chord (which is F):

…is played on the left hand.

Now that you’ve learned how the major seventh chord can be voiced, feel free to use the major triad in any inversion. For example, using the C major triad in first inversion:

…I’ll still lower the root (which is C):

…by a half step (to B):

…to form the C major seventh chord:

Using the second inversion of the C major triad:

…I’ll still lower its root (which is C):

…by a half step (to B):

…and this produces the C major seventh chord:

“Let’s Quickly Take A Look At Major Ninth Voicings…”

To form a major ninth chord, go up a perfect fifth from the root of the major ninth chord you want to form, and form a major sixth chord.

Let me show you how it works…

To form the C major ninth chord, play its root (which is C):

…then go up a perfect fifth and form a major sixth chord.

A perfect fifth interval is a product of the relationship between the first (C):

…and the fifth degree (G):

…of the scale:

Due to the fact that a perfect fifth from C:

…is G:

…we’ll be playing the G major sixth chord:

…over C:

…on the bass to form the C major ninth chord:

“The Same Thing Is Applicable To Chord Four…”

On the fourth degree in the key of C (which is F):

A perfect fifth from F:

…is C:

…because in the F major scale:

…the fifth tone is C:

Consequently, playing the C major sixth chord:

…over F:

…on the bass, produces the F major ninth chord:

If you want to learn more about the major sixth chord, get started with our 16 chord in 16 weeks chord program.

Voicing Formula For Minor Seventh And Ninth Chords

To form a minor seventh chord, lower the root of the minor triad by a whole step.

Lowering the root of a minor triad by a whole step produces the voicing of the minor seventh chord which can be played on the second, third, and sixth degrees of the scale.

For chord two (which is the D minor triad):

…we can form a minor voicing (of the minor seventh chord) by lowering its root (which is D):

…by a whole step (to C):

…to form the minor voicing of the D minor seventh chord:

It is important to note that while we’re doing that, the root was played on the bass.

In the same vein, the E minor triad (which is chord three in the key of C):

…can be used to voice the E minor seventh chord:

…by lowering its root by a whole step.

Lowering the root of the E minor triad (which is E):

…by a whole step (to D):

…produces the minor voicing of the E minor seventh chord:

The same thing is obtainable in chord six in the key of C (which is the A minor triad):

Lowering its root (which is A):

…by a whole step (to G):

…produces the minor voicing of the A minor seventh chord:

…which functions as chord six in the key of C.

“Let’s Quickly Learn Minor Ninth Voicings…”

To form a minor ninth voicing, go to the third chord tone of the minor triad, and form a major seventh chord.

Although this sounds a bit difficult, it’s easier than it sounds.

For example, the D minor triad (which is chord two in the key of C):

…has three chord tones…

D:

…which is the first, F:

…which is the third and A:

…which is the fifth.

The third chord tone in the D minor triad is F:

…therefore, playing an F major seventh chord:

…over D (on the bass):

…produces a minor voicing of the D minor ninth chord:

“Alright! Let’s Try The Same Thing For Chord Three…”

The first, third, and fifth tones of the E minor triad:

…are E, G, and B respectively.

Due to the fact that G:

…is the third chord tone in the E minor triad, the G major seventh chord:

…can be played over E (on the bass):

…to voice the E minor ninth chord:

The same thing is obtainable for chord six which is the A minor triad:

…which consists of A, C, and E (which are its first, third, and fifth tones respectively).

Due to fact that C:

…is the third tone in the A minor triad:

…the C major seventh chord:

…over A (which is our root):

…on the bass, produces the minor voicing of the A minor ninth chord:

Having covered how major and minor chords can be voiced in the key of C, let’s go on and explore the voicing techniques that can help you rearrange the notes of these major and minor chords your own way.

Voicing Techniques For Major And Minor Chords

Voicing is the consideration of the notes of a chord as voices or voice parts. This consideration leads to the re-arrangement of these voices using techniques known as voicing techniques.

So, a chord voicing simply means the rearrangement of the notes of a given chord.

Although there are several voicing techniques, I’ll be showing you three voicing techniques in this segment, that can help you re-arrange the notes of a chord. We’ll be taking a look at the:

• Part-over-root voicing technique
• Polychord voicing technique
• A & B voicing technique

Have fun as we explore them all.

The “Part-Over-Root” Voicing Technique

In the “part-over-root” voicing technique, the notes are re-arranged in such a way that the root of the chord is isolated, and the remaining tones of the chord are considered as a part.

“It’s Simpler Than It Sounds…”

The part-over-root voicing technique can be used to rearrange (or voice) the C major ninth chord:

To do this, you’ll have to isolate C:

…from the C major ninth chord, playing it an octave lower:

…and then consider the remaining chord tones:

…which are E, G, B, and D as the part (E minor seventh chord).

The part-over-root voicing of the C major ninth chord:

…can be described as Emin7/C, which means that the E minor seventh chord:

…is played over C in the bass:

Now that we’ve covered the introductory aspect of the part-over-root voicing technique, let’s go ahead and explore it.

The “Part-Over-Root” Voicing Of Major Chords – Chord 1 And 4

Let’s quickly explore how chords 1 and 4 (which are basically major chords), can be voiced using the part-over-root voicing technique.

The “Part-Over-Root” Voicing Of Chord 1 (Chord 3/1)

The C major seventh chord:

…which is chord one in the key of C:

…can be voiced using the part-over-root voicing technique by isolating the root note (C):

…from the chord and playing it on the bass:

The remaining part on the right hand is the E minor triad:

…which is chord three in the key of C.

“Pay Attention To This…”

The part-over-root voicing of the C major seventh chord:

…can be understood as chord three (the E minor triad):

…played over the one (C note) on the bass:

“Once Again, Here’s The Part-Over-Root Voicing Of Chord One…”

Chord three on the part:

…played over the one on the bass (root):

So using the E minor triad as chord three and C as the root produces the part-over-root voicing of the C major seventh chord:

“Take Note…”

The right hand part should not be limited to triads. Chord three in the key of C (which is the E minor triad):

…can be played as the E minor seventh chord:

Playing the E minor seventh chord (which is the minor seventh chord for chord three):

…over C (on the bass):

…produces the part-over-root voicing of the C minor ninth chord:

“In A Nutshell…”

The part-over-root voicing of chord one can be described as chord three over one which can be written as chord 3/1. Chord three is the part and one is the root.

Don’t forget that chord three here does not limit you to using a triad:

Feel free to use a minor seventh chord:

…as chord three, over one:

…on the bass.

The E minor triad over one on the bass:

…produces the part-over-root voicing of the C major seventh chord, while the E minor seventh chord over one on the bass:

…produces the part-over-root voicing of the C major ninth chord:

The “Part-Over-Root” Voicing Of Chord 4 (Chord 6/4)

Isolating the bass (F):

…of the F major seventh chord (which is chord four in key C):

…from the chord produces its part-over-root voicing:

…the remaining chord tones on the right hand (which are A, C, and E):

…are considered as the A minor triad (which is chord six) in the key of C.

So, the part-over-root voicing of chord four:

…can simply be explained to the layman as chord six (the A minor triad):

…played over the four (F):

…on the bass.

Remember that you’re not limited to triads (the A minor triad):

Feel free to use seventh chords (the A minor seventh chord):

So, playing the A minor triad:

…over F:

…on the bass, produces the part-over-root voicing of the F major seventh chord:

…while playing the A minor seventh chord:

…over F:

…on the bass, produces the part-over-root voicing of the F major ninth chord:

“Take note…”

The part-over-root voicing of chord four can be understood as chord six (the A minor triad/seventh chord) played over the four (F note) on the bass.

The part-over-root voicing of chord four can be described as chord six over four which can be written as chord 6/4. Chord six is the part and four is the root.

Now that we’re done with major chords, let’s also take a look at the part-over-root voicing of minor chords, which are chords of the second, third, and sixth degrees.

The “Part-Over-Root” Voicing Of Minor Chords – Chord 2, 3, And 6

Let’s learn how to voice minor chords – chord 2, 3, and 6 – using the part-over-root voicing technique.

The “Part-Over-Root” Voicing Of Chord 2 (Chord 4/2)

The part-over-root voicing of chord two (which is the Dmin7 chord):

…is formed by the isolation of D:

…from the chord. The remaining tones (the F major triad):

…are considered as a part, which can be played over D:

…on the bass to form the part-over-root voicing of the D minor seventh chord:

The F major triad:

…is chord four in the key of C, and is played over D (on the bass):

…which is the second tone in the key of C. Consequently, the part-over-root voicing of chord two can be understood as playing chord four:

…over two:

…on the bass.

You’re not also limited to triads (the F major triad):

…feel free to bring seventh chords (the F major seventh chord):

…into the picture. So, playing the F major triad:

…over D:

…on the bass, produces the part-over-root voicing of the D minor seventh chord:

…while playing the F major seventh chord:

…over D:

…on the bass, produces the part-over-root voicing of the D minor ninth chord:

“Part-Over-Root” Voicing Of Chord 3 (Chord 5/3)

The part-over-root voicing of chord three (the E minor seventh chord):

…can be derived by isolating the root (which is E):

…from other chord tones. The remainder chord tones (which are G, B, and D):

…can be considered as the G major triad (which is chord five in the key of C.) So, playing chord five:

…over three:

…on the bass produces the part-over-root voicing of chord three (chord 5/3):

“Part-Over-Root” Voicing Of Chord 6 (Chord 1/6)

The same thing is obtainable in chord six. The part-over-root voicing of chord six (the A minor seventh chord):

…can be derived by isolating the root (which is A):

…from other chord tones. The remainder chord tones (which are C, E, and G):

…can be considered as the C major triad (which is chord one in the key of C.) So, playing chord one:

…over six:

…on the bass produces the part-over-root voicing of chord six (chord 1/6):

Let’s also learn how to voice major and minor chords using the polychord voicing technique.

The Polychord Voicing Technique

The polychord voicing technique re-arranges the notes of a chord in such a way that one chord is superimposed on another.

A polychord is a chord that contains two or more chords superimposed, and we’ll be learning how major and minor chords can be played using the polychord voicing technique.

Polychord Voicing Of Major Chords – Chord 1 and 4

Chords 1 and 4 are the major chords in the key. Let’s look at how they are played using the polychord voicing.

The Polychord Voicing Of Chord 1 (Chord 3/Chord 1)

In the previous segment, the part-over-root voicing of the C major seventh chord:

…was explained as chord three:

…played over one:

In the polychord voicing, instead of playing chord three:

…over one:

…on the bass, we’ll be using chord three:

…over chord one:

The difference is that we’re fleshing out chord one:

…instead of using a root note:

…on the bass.

So, chord three (E minor triad):

…played over chord one (C major triad):

…forms the polychord voicing of chord one:

…which is the C major seventh chord.

You can enhance the polychord voicing by playing chord one:

…as a major seventh chord:

…and chord three:

…as a minor seventh chord:

Altogether, you’ll have the polychord voicing of the C major ninth chord (chord one):

…which can be described as chord three over chord one (Emin7/Cmaj7.)

Polychord Voicing Of Chord 4 (Chord 6/Chord 4)

The same thing is obtainable in chord four, using the F major seventh chord.

The part-over-root voicing of the F major seventh chord:

…can be described as chord six:

…played over the four:

…on the bass.

In the polychord voicing, instead of playing the four (F):

…on the bass, chord four:

…is played.

“Check it out…”

Chord six (the A minor triad):

…played over chord four (the F major triad):

…to produce the polychord voicing of the F major seventh chord:

It can also get better because you’re at liberty to play chord six:

…as a minor seventh chord:

…and chord four:

…as a major seventh chord:

Altogether, you’ll have the polychord voicing of the F major ninth chord (chord four):

…which can be described as chord six over chord four (Amin7/Fmaj7.)

Polychord Voicing Of Minor Chords – Chords 2, 3, And 6

Let’s take a look at the polychord voicing of minor chords, which are chords of the second, third, and sixth degrees.

Polychord Voicing Of Chord 2 (Chord 4/Chord 2)

We understood the part-over-root voicing of chord two (Dmin7):

…as playing chord four:

…with the two:

…on the bass.

In the polychord voicing of chord two, we’ll be playing chord four:

…over chord two:

So we’ll be having an F major triad:

…over a D minor triad:

…and that produces the polychord voicing for the D minor seventh chord (chord two):

Chord two can also be enhanced by playing an F major seventh chord:

…over the D minor seventh chord:

…to form the polychord voicing of the D minor ninth chord (chord two):

Polychord Voicing Of Chord 3 (Chord 5/Chord 3)

The part-over-root voicing of chord three:

…simply has to do with playing chord five (the G major triad):

…over the three:

…on the bass.

In the polychord voicing technique, chord five:

…is played over chord three:

…to form the polychord voicing of the E minor seventh chord (chord three):

…which we can enhanced by playing the G major seventh chord:

…over the E minor seventh chord:

…to form the polychord voicing of the E minor ninth chord (chord three):

Polychord Voicing Of Chord 6 (Chord 1/Chord 6)

The polychord voicing of chord six:

…can be derived from part-over-root voicing of chord six, which can be understood as playing chord one:

…over the six:

…on the bass.

Instead of playing the regular root note (A):

…we’re playing chord 6 (the A minor triad):

So, it’s chord one (the C major triad):

…over chord six (the A minor triad):

Which can be enhanced by playing the C major seventh chord:

…over the A minor seventh chord:

…to produce the polychord voicing of the A minor ninth chord (chord six):

“In A Nutshell…”

If you’re interested in voicing major and minor chords by superimposing left and right hand chords, then the polychord voicing technique is for you.

Let’s round up by learning the A & B voicing technique.

The A & B Voicing Technique

The A & B voicing technique focuses on the position or orientation of the third and seventh tones of a chord, which are the most important tones in a chord.

Saying that the third and seventh tones are the most important chord tones doesn’t mean that other tones are not important. The third and seventh chord tones are just considered important because they determine the quality of a chord.

When a chord is voiced in such a way that the third is played before the seventh, that voicing is considered an A voicing. Conversely, when a chord is also voiced in such a way that the seventh is played before the third, that voicing is considered as a B voicing.

Using the A & B voicing technique, you can change the orientation of the third and seventh tones of a chord. You can determine whether you want the third to come before the seventh (A voicing), or the seventh to come before the third (B voicing).

“Quick Application Of The A & B Voicing Technique”

When any chord (whether major or minor) is voiced , you can determine whether it is in its A voicing, or in its B voicing, by checking out for the orientation of its third and seventh tones.

“Here’s A Case Study…”

Attention: We’ll be using the voicing formula for minor seventh chords we learned earlier, which helps us form a minor seventh chord by lowering the root of the minor triad by a whole step.

Lowering the root of the D minor triad:

…which is D:

…by a whole step (to C):

…produces the D minor seventh chord:

In this voicing of the D minor seventh chord:

…the seventh (C):

…is played before the third (F):

Consequently, this voicing:

…can be called the B voicing of the D minor seventh chord.

So that’s pretty much what the A & B voicing technique has to do with.

“Just Before We Round Up”

Getting to this segment lets me know you’re serious about learning major and minor chord voicings in the key of C.

Before we end today’s lesson, let’s take a look at all the seventh and ninth chords we’ve covered in this lesson.

Seventh Chords

For chord one:

For chord two:

For chord three:

For chord four:

For chord six:

Analysis Of The Voicings

Ninth Chords

For chord one:

For chord two:

For chord four:

For chord six:

Analysis Of The Voicings

Thank you for your time and endeavor to do the activity for this lesson, and keep practicing hard, you are almost there!

I’ll see you tomorrow, in the next lesson.

Activity 1.3

Activity 1.3.1 – Voicings For Chords 1 and 4 (Major Quality)

Major Seventh Chords

Major Ninth Chords

Activity 1.3.2 – Voicings For Chords 2, 3, and 6 (Minor Quality)

Minor Seventh Chords

Minor Ninth Chords