list of chords and voicings

music theory > chords & voicings > list of voicings

list of chord and voicing types

list notes at the bottom

symbols and numerals

+7

see aug7, augmented 7th

-6 -7 -9 -11 -13
see minor entries

3rds voicing
see Stacked Thirds chords

4ths voicing
see Stacked Fourths voicing or Fourths voicing

6 and 13, 6 = 13
notes: name 13th used for dom7 chords, while 6th used for major and minor chords [Levine] ch.3 p.
22.
Both Hands:
[1 5] [3 6] == [I V] [III VI]

src: [Levine] fig.3-9.

[1 7] [3 6]

69

Both hands:
[ 1 5 1] [ 3 6 9 ]
src: Rebecca Mauleon, "Latin Pianist" s/w, "Afro a Cuatro"

7 = dom7 = dominant 7th = V7

type: chord having many voicings for itself
voicings for LH or right hand:
single hand, 2 notes
[ III bVII ]
src: [Peterson N] Oscar Peterson Note for Note , The Smudge, p. 163. for Eb7
Ab7 Bb7 etc.
single hand 3 notes
[ 7 III 6 ]
[Levine] considers it a sus chord too for some reason
[ I V III ]
eg G = G D B,
in Levine ch. 1 p. 4
[ III VI bVII ]
eg, C7 = E A Bb
src: [Levine] ch1 p. 4.
[ III bVII 9 ]

src: [Levine] ch1 p. 5.

single hand 4 notes:
[ b7 9 3 13 ]
eg, G7 = F A B E
both
[ I 8va] [b9 4 V I ] (V phrygian substituting for ii-V7)
eg, A7 = E-7 = [A2 A3] [Bb3 D4 E4 A4]
src: [levine] ch. 4, p. 26, figure 4-8
[ I 8va ] [9 4 b7 I ] (Vsus substituting for ii-V7)
eg, F7 = Fsus = [ F2 F3] [G3 Bb3 Eb4 F4 ]
src: [levine] ch. 4, p. 26, figure 4-8

V7/III

see phrygian

7/VI or V7/III = III Phryg.

eg, G7/E
= E Phrygian
and E is V for A while G7 is V for C ,
E is Phryg wrt C.
the VI in the symbol is wrt the root of the chord, eg, G7/E - this is speculative.
see also Phrygian , and III Phryg. and V7/III

7b9 79
7b9 = 79 = Upper Structure VI = U.S. VI
same as upper structure VI !
voicings for both hands with four notes:
[1 7] [3 9] ==
[I vii] [III ii]
ii = 9 = II
C7b9

[Levine] figure 3-11 , p. 22: C6 C-6 C13.

7 3 7 b9 clarify
7 3 6 b9 ditto
3 7 b9 6 (ditto)
voicings for Both Hands with Five notes:
[3 7] [6 9 3] == [III vii] [VI ii III]
voicings for both hands with Six notes (7913 , 7b9b13) :
[ 1 3 7 ] [ 3 6 9 ] == [ I III vii] [ iii vi ii ]
D7Alt: [ D F# C ] [ F Bb Eb ]
analysis: minor chord, in left: Dom7, in right: 9 13,
thus, the chord is 7913
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".

7b9+11
both hands 6 notes:
[ b7 3 ] [ 6 b9 +11 6 ]
eg, C7b9+11 = [ Bb E ] [ A C# F# A ]
src: [Levine] ch 1 p. 6.

7913 , 7b9b13
voicings for both hands (7913 , 7b9b13) :
[ 1 3 7 ] [ 3 6 9 ] == [ I III vii] [ iii vi ii ]
D7Alt: [ D F# C ] [ F Bb Eb ]
analysis: minor chord, in left: Dom7, in right: 9 13,
thus, the chord is 7913
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search

For Peace".

7b13 7+5
7b13 = 713 = 7+5 = 7#5
voicings for Both Hands:
[ 1 3 ] [ 7 13] == [ I III ] [ vii vi ]
C7+5

[Levine] figure 3-11 , p. 22.

voicings for both hands (7913 , 7b9b13) :
[ 1 3 7 ] [ 3 6 9 ] == [ I III vii] [ iii vi ii ]
D7Alt: [ D F# C ] [ F Bb Eb ]
analysis: minor chord, in left: Dom7, in right: 9 13,
thus, the chord is 7913
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".

7+9

7+9 = U.S. iii = U.S. bIII = U.S. III = Upper Structure III
same as upper structure bIII
voicings for Left Hand:
[ (1) 3 7 +9] == [ (I) III vii iii ]
C7+9

[Levine] figure 3-11 , p. 22.

+9 = #9 = #2 = 3 = +II = III = bIII = iii
voicings for both hands with Five notes:
[3 7] [5 7 3] == [III vii] [V vii iii]
[3 7] [3 7 5] == [III vii] [iii V vii]

7+9b13
see 7Alt
voicings for left or right hand:
[Levine] ch 21, p 224, Fig 21-3. , a left-hand voicing in G and F
[ b7 b3 3 b6 ]
eg G7Alt = F Bb B Eb = G7+9b13
voicings for both hands 5 notes:
[I III ] [ b7 b3 b13]
eg, E7Alt = E G# | D G C = 7+9b13 = 7+5+9
src: [Levine] ch 1 p. 5

7+11

Single hands 4 notes:

[ 13 b7 9 +11]

eg Gb7+11

Both hands 4 notes:

[1 3] [7 +11] ==
[I III] [vii IV]
C7+11
src: [Levine] figure 3-10, p. 22.

Both hands 5 notes:

[ I III ] [ bVII 9 +11 ]
eg, Gb7+11 = F#7+11 = [Gb Bb] [ E Ab C ]
src: [Levine] ch 1 p. 5

7b9b11+?

7alt

11 sus

7alt = Alt ?
(see Alt)
notes
Alt seems to be used whenever 9 13 (maybe 5 and/or 11) are altered (lowered or raised)
Alt seems to be mostly 7+9b13
left or right hand (7+9b13):
[Levine] ch 21, p 224, Fig 21-3. , a left-hand voicing in G and F
[ b7 b3 3 b6 ]
eg G7alt = F Bb B Eb = G7+9b13
[ 3 b13 b7 b3 ]
an inversion of the above
see Alt for an extra remark
Both hands 5 notes:
[I III ] [ b7 b3 b13]
eg, E7alt = E G# | D G C = 7+9b13
src: [Levine] ch 1 p. 5
[b7 3] [ b13 I b3]
eg, G7alt = [ F B ] [ Eb G Bb ] = G7+9b13
src: [Levine] ch 1 p. 7
notes/analysis: like a U.S. bVI
Both hands 6 notes (7913 , 7b9b13) :
[ 1 3 7 ] [ 3 6 9 ] == [ I III vii] [ iii vi ii ]
D7Alt: [ D F# C ] [ F Bb Eb ]
analysis: minor chord, in left: Dom7, in right: 9 13,
thus, the chord is 7913
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".

13 sus
( I 9 ) ( bVII 9 VI )
Eb13sus in [McPartland P] p. 62, bar 9 "prelude ...")

III Phryg. see Phrygian

V = V7 = Dom7 = 7
see 7

see Major entries

see Major entries

alphabetical

+4

Alt, Alt 7
Alt seems to be used whenever 9 13 (maybe 5 and/or 11) are altered (lowered or raised)
voicings for left or right hand:
[Levine] ch 21, p 224, Fig 21-3. , a left-hand voicing in G and F
[ b7 b3 3 b6 ]
eg G7Alt = F Bb B Eb
[ 3 b13 b7 b3 ]
an inversion of the above
Analysis: G7Alt notes are equivalent to a Db7 V voicing , where
Db7 : b7 9 3 13 = B Eb F Bb
donc, the 7Alt chord of a tone is equivalent to bV7 from that tone (tritone)
and it would be V in the lowered (flattened) tone,
eg: Db7 is V in the key of Gb.
voicings for both hands (7913 , 7b9b13) :
[ 1 3 7 ] [ 3 6 9 ] == [ I III vii] [ iii vi ii ]
D7Alt: [ D F# C ] [ F Bb Eb ]
analysis: minor chord, in left: Dom7, in right: 9 13,
thus, the chord is 7913
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".

see Major entries

see Major entries

+4

Diminished 7th
= Dim7 = = o
voicings for left or right hand:
[ I VI bIII ]
eg, G#o = G# F B = I VI bIII
=== Abo = Ab F B = I VI bIII
src: [Levine] ch. 1, p. 4.

Dom 7, dominant 7
Dom 7 = dom7th = dominant 7th = V7 = 7th = 7
see 7

Fourths voicing
used with/for:
-7 chords,
e.g. D-7 in [Levine] ch 16, p 152 ,
sequence -7 in [Levine] ch 16 p. 152: I - IV - VII - iii
D-7 : D- G- mid C - F
major chords C, F , Bb
eg in [Levine] ch 21, p 224.
i view it as both a voicing and a chord type
sequence for a major chord : III VI 9 V , [Levine] Ch. 21, p. 224
eg, Bb : D G (mid)C F , [Levine] Ch. 21, p. 224

Half-Diminished
= -7b5 = m7b5 = -75 = m75
voicings for left or right hand:
[ 7 3 5 ] == [vii iii v ]
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".
Both Hands 4 Notes:
[1 3] [7 5]
C-75

[Levine] figure 3-11, p. 22.

Both Hands 5 Notes:
[1 8] [5 7 3] == [I (8va)] [V - bVII - iii]
src = (Dm75 in [McPartland P] p. 62, bar 7 "prelude ...")
[ 1 b5 ] [ b7 9 11 ]
D = [ D Ab ] [ C E G ]

III Phryg. , see Phrygian

Lydian chord
Lydian = +4 = Ma+4 = M+4 = Maj+4
src: [levine] ch. 21 p. 226, ch. 3 p. 22.
obviously goes w/ the Lydian mode.
voicings for both hands
[1 3] [7 #4] == [I III] [VII #IV]

src [Levine] figure 3-10 , p. 22.

M = Major
Both hands (6 9 chord):
[ 1 5 1] [ 3 6 9 ]
src: Rebecca Mauleon, "Latin Pianist" s/w, "Afro a Cuatro"

= Major 7th
Major seventh = Maj7 = = 7 = M7
can be played 69 , eg, C69
Single Hand:
[I 5 7 3 5 ]
eg, A = [ A1 E3 G#3 C#4 E4 ]
src: [Levine] ch. 4, p. 25, figure 4-7.
Both hands 5 notes:
[17][359]
src: akram sharqawi
L(7 3 6) R(9 5)
source: [Aebersold60] ...? bar 1
[ III VI ] [ 9 V VII ]
src: [Levine] ch1 p. 5.
Both hands 6 notes (6 9 chord):
[ 1 5 1] [ 3 6 9 ]
src: Rebecca Mauleon, "Latin Pianist" s/w, "Afro a Cuatro"

+4

Maj+4 = Ma+4 = +4 = Lydian

voicings for both hands
[1 3] [7 #4] == [I III] [VII #IV]

src [Levine] figure 3-10 , p. 22.

Maj9 , Ma9, 9 , maj9, major ninth

( I V ) ( VII 9 5 )
Fmaj9 in [McPartland P] p. 63, bar 17 "prelude ..."

Maj11 , Ma11, 11 , major eleventh

Maj13, Ma13, 13 , major thirteenth

m = minor = voicings for left hand:

[ 7 9 3 5 ]
equiv to -9
voicings for right hand:
[ 4 9 11 ]
equiv. to sus
src, figure see below
voicings with both hands:
[ 7 9 3 5 ] [ 4 9 11 ] == [ vii II iii V ] [ IV II IV ]
analysis: -9 in left, sus in right
src: [Aebersold 60V] Dan Haerle & Mark Levine, Jazz Piano Voicings: Transcribed
Comping From Volume 60 Freddie Hubbard, Jamey Aebersold Jazz

m6

m6 = -6 = min6 = m13 = -13

notes: name 13th used for dom7 chords, while 6th used for major and minor chords [Levine] ch.3 p.
22.
voicings for Both Hands:
[1 5] [3 6] == [I V] [iii VI]
middle one in figure below

src: [Levine] fig.3-9.

m7 -7
left or right hand:
3 notes:
[ 1 b3 5 ]
[ 2 b3 5 ]
4 notes:
[ b7 9 b3 5 ]
eg, G-7 = F A Bb D
eg, F#-7 = E Ab A C#= b7 9 b3 5
[ b3 5 b7 9 ] == [ bIII V bVII II ]
stacked thirds, more or less?
Both hands:
voiced using So what voicing : I - IV - VII - iii -V ;
([Levine] ch 16 p. 152)
leading note: V
eg, D-7 = [D - G] [mid C F A]
voiced using Fourths voicings:
I - IV - VII - iii
leading note: iii
([Levine] ch 16 p. 152)
eg, D-7: D - G - mid C - F
[I VII] [iii I ]
e.g./src: Ebm7 in [McPartland P] p. 62, bar 7 "prelude ..."
[I VII or I(8va) ] [V bVII iii]
e.g./src: Ebm7 in [McPartland P] p. 62, bar 7 "prelude ..."

m75 m7b5
m7b5 = -75 = = Half-diminished
voicings for left or right hand:
[ 7 3 5 ] == [vii iii v ]
src [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".
voicings for Both Hands with Four Notes:
[1 3] [7 5]
C-75

[Levine] figure 3-11, p. 22.

voicings for Both Hands with Five Notes:

m9

[1 8] [5 7 3] == [I (8va)] [V - bVII - iii]

src = (Dm75 in [McPartland P] p. 62, bar 7 "prelude ...")

m9 = -9

m11 -11
voicings for both hands:
voicings with 4 notes:
[1 3] [7 11] ==
[I iii] [vii 11]
eg, C-11

[Levine] figure 3-10, p. 22.

voicings with 6 notes:
[9 3 5] [7 9 11] ==
L[9 iii V] R[vii 9 IV]
Gm11 L[A Bb C] R[F A C] (src: [McPartland P] , p. 63, "Prelude to a kiss" bar
25). thus,
n.b. the highest (leading) note is 11 (or IV)

min7, m7, -7 , minor seventh

see m7

minor see m7 m9 m11 m13 phrygian

= (ar.) sagheer

Phrygian
Phrygian = susb9 = X7/13 (13 wrt to X)
single/both hands:
(as I7/13) [ 13 7 9 3 13 ]
(as susb9) [ 1 b9 4 5 1 ]
src: [Levine] ch 4 p. 25 Fig. 4-7
[ I 8va] [b9 4 V I ]
eg, A Phryg = E-7 = [A2 A3] [Bb3 D4 E4 A4]
src: [levine] ch. 4, p. 26, figure 4-8
[ I 8va ] [9 4 b7 I ] (Vsus substituting for ii-V7)
eg, F7 = Fsus = [ F2 F3] [G3 Bb3 Eb4 F4 ]
src: [levine] ch. 4, p. 26, figure 4-8

so what chords / voicings

mentioned in [Levine] , see its subject index
used for/with:
m7 chords , ...
composition: I-IV vii iii V ([Levine] ch 16, p 152)
eg, for D-7: D - G - midC - F-A , (ibid.)
composition (doubled 7th): I- IV - vii - iii - V - vii (ibid.)
composition (doubled root): I-IV - vii - iii - V - I (ibid.)

so what variation
used for:
-7 (cf. [Levine] ch 16, p 152 where he demonstrates it for D-7 )
sequence: II - V - vii - iii - V ([Levine] ch 16, p 152)
ie , for D-7: E - A - mid C - F - A
put it in separate entry because it is very different from the so what voicings and i believe it may
have another better name despite what Levine called it.

stacked thirds
used with: -7 chords, -9 , -11, -13
compos: I-iii-V-(mid)VII-9(-11(-13(-I 16va))) [Levine] ch 16, p 152
D-9: D-F-A-midC-E [Levine] ch 16, p 152
D-11: D-F-A-midC-E-G , [Levine] ch 16, p 152
D-13: D-F-A-midC-E-G-B , [Levine] ch 16, p 152
D-13: D-F-A-midC-E-G-B-D(root+2x8va) , [Levine] ch 16, p 152

Sus chords/voicings
see also 13sus
Single hand 4 notes:
[ 2 4 b7 1 ] == [ II IV vii I ]
6th chord one whole tone below chord's Root:
eg, Gsus = A C F G = F6
src: [Levine] ch 1 p. 4, opening phrase from McCoy Tyner, The Real McCoy, "Search
For Peace".
[ 6 b7 9 11 ]
7 a whole tone below chord's Root
eg, Bbsus = [ G Ab C Eb ] = Ab7
[ b7 9 11 13 ] - (inversion of above)
[I] [ IV - vii - 9 - III ]
eg, [G3 ] [ middle C F4 A4 B4 ]
eg/src: [Levine] ch. 16, p. 153, figure 16-44.
has III as the highest/top/leading position
[ I I ] [ 4 b7 9 3 ]
eg, [G2 G3] [ mid C - F4 A4 B4 ]
src: [Levine] ch. 4 p. 24, figure 4-5, with doubled G in left hand
[ vii - III - 13 - 9 - IV ]
eg, Gsus = [ F3 B3 (mid)E/E4 A4 C5 ] ,
src: [Levine] ch. 4, p. 25, figure 4-6.
Both hands:
[ I 8va ] [ b7 9 13 ]
eg, Dbsus = [ Db Db ] [ B Eb Bb ]
note: B triad in R.H.
[Levine] ch1 p. 7.
[ I 8va ] [ 9 11 b7 ]
eg, Dbsus = [ Db Db ] [ Eb Gb B]
note: B triad in R.H.
[Levine] ch1 p. 7.
notes :
major triad (major 6th or 7) a whole tone below chord's root on root in the bass,
eg, Gsus would be played as F/G
a voicing for Gsus adds 3 as the highest position: G - mid C - F - A - B
see voicing above , I - IV - vii - 9 - III
it is just F/G with an added 3rd (G's 3rd).
[levine] thus calls this the add 3rd sus voicing
see [Levine] chapter 4 and ch 16 p. 153
need another voicing where the top / highest position is 9 (eg A in the case Gsus)
could be as simple as above ,ie play F/G but add 3rd to the bottom not the top
eg Gsus : G - B - mid C - F - A
to try it out on naima's opening chord! but in naima the melody's opening note is a
VI wrt to Ebsus , not a 9
given in [Levine] chapter 4 pp. 23 - 25 and ch 16 p. 153
Levine lists six voicings for Gsus in ch. 4 p. 24-25 figures 4-5 and 4-6 :
L.H.[ I - 8va ] - R.H.[ dom VII - 9 - III ]
L.H.[ 8va - IV ] - R.H.[ dom VII - III - V ]
L.H.[ 8va - IV ] - R.H.[ dom VII - III - VI ]
L.H.[ IV - III ] - R.H.[ III - VI - 9 ]
(for Gsus III is the B above midC)
L.H.[ V - I ] - R.H.[ IV - dom VII - III ]
L.H.[ dom VII - III ] - R.H.[ 13 - 9 - IV ]
ie Levine gives us voicings for sus chord that end with III, V , 9, IV or 11, VI or 13.
ok , since it is a "myth" [Levine] that thirds are not used in sus chords, and since they are
thus used alongside fourths, does that not make sus chords the same as 11 chords, and

sus4

particularly Maj11 chords?

or is that not allowed since the thirds are placed above the fourth ([levine] ch. 4) in sus
chords, and 11 chords only count as such iff the fourth is the highest note (eg, see m11
entry on this index)??
if so then this rule should be added

voicing for Single Hand:

[(1 -8va) 4 7 9] == [I IV vii IX]

src: [Levine] figure 3-10, p. 22.

sus b9
single hand:
(as susb9) [ 1 b9 4 5 1 ]
src: [Levine] ch 4 p. 25 Fig. 4-7

Thirds chords
see Stacked thirds voicing

Upper

Upper structure bIII

same as 7+9
eg, in in [levine] ch 21, p 226, Fig 21-1

Upper

V V7

structure voicings
for some reason Levine says there is only nine of them possible. haven't figured out why yet.
the nine are listed below
used for:
...

structure VI
equiv. to 7b9
eg, F7b9 and G7b9 in [levine] ch 21, p 226, Fig 21-1
sequence by upper structure definition: III - vii - b9 - 10=III - 13 or III-vii-10=III-13-b9
sequence in ibid. with general case:
G7b9: F-B-F-Ab
7b9: vii-III-vii-b9
this case drops the VI or 13 from the voicing
F7b9: Eb-A-D-F#
7b9: vii-III-vi-b9

V = V7 = 7th = dom7 = dominant 7th

see 7

V7/III
V7/III = III Phrygian = Phrygian
see Phrygian and 7/VI

list notes

for lazy eazy access,

ordering of this list is not strictly alphabetical
and list entries are redundant, ie entries are repeated under different names, not always, but
sometimes-often.

reference entry

name of chord or voicing + symbol

notes
other names
mention of type if needed: chord having many voicings, or a type of voicing
Left Hand Voicings (if voicing) by number of notes: eg,
two-notes voicings, 5 notes, etc.
Rt Hand Voicings ...
Voicings for both hands ... (if voicng)
(if chord) sequences to use for this chord:
w/ two notes
sequence1 NAME
SEQUence starts with I ...
bibliographic and/or phonographic source and/or eg in an actual key
... sequenceN
w/ three notes
...
&c. ...

references

[Aebersold60] Aebersold vol. 60 Freddie Hubbard ( For all instruments ), Jamey Aebersold Jazz
[Aebersold60V] Dan Haerle & Mark Levine, Jazz Piano Voicings by Dan Haerle & Mark Levine:
Transcribed Comping From Volume 60 Freddie Hubbard, Jamey Aebersold Jazz
[1][Barbour] J. Murray Barbour, "Musical Scales and Their Classification", The Journal of the
Acoustical Society of America -- November 1949 -- Volume 21, Issue 6, pp. 586-589. Retrieved 5
September 2007 and 30 May 2008.
Plaintext: Musical Scales and Their Classification, J. Murray Barbour, J. Acoust. Soc. Am.
21, 586 (1949)
URL: http://link.aip.org/link/?JAS/21/586/1
[Levine] Mark Levine, //The jazz piano book//, ... , 19xx.
[LevineT] Mark Levine, The Jazz Theory Book, ..., ...
[McPartland P] Marian McPartland, Piano Jazz, ..., ...
[Peterson N] Oscar Peterson Note for Note
[Mauleon] Rebecca Mauleon, "Latin Pianist" s/w

list_of_chords_and_voicings.txt Last modified: 2010/07/09 03:35

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