Understanding Voicings and the Overtone Series

I recently have run across some charts in the Critique Class #1 that have had some issues with voicings, especially in the lower register. I made this lesson so that you can understand how voicings work with (or against) the overtone series. Check out the link below the video lesson. Let me know if you have any questions.

Visit this page to get more details on the overtone series. It is the same one I referred to in the lesson above.

10 Replies to “Understanding Voicings and the Overtone Series”

  1. David Cannaday

    Thanks for the refresher class on overtones.I enjoy all the classes. Good stuff Thanks again. David

  2. Matthew Banks

    This was extremely helpful, in understanding how to group the various sections in their compasses

  3. Andrew Meronek

    Ah, the overtone series. It’s slightly more advanced, but I prefer to relate chord tones of the #11 and 13th as being overtones 45 and 27, respectively. Those are much more similar to what the piano sounds and they tend to be what people actually play, in terms of the harmonic color. Which, of course, shows even more why it’s a bad idea to voice those two particular chord tones low – although the tritone sub works for a different reason and is a slightly different thing, anyway.

  4. Class Member

    Jim, makes total sense. I realized my mistake. I reworked some things. My question is scoring. How do I properly score my new voicing?

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