Voice Leading with Guide Tones

By just knowing the chords that are in a piece (having a lead sheet type score), we can write a enough of the chords to hear the harmonies.

Guide tones

We can use certain notes of the chords – guide tones – to harmonize the melody and to accompany a melody.

In jazz, most chords have at least a 7th. Guide tones are usually the 3rd and 7th of the chord.

These two notes are used since they are the “most important” notes of the chord (besides the root). The 3rd provides the quality of the chord and the seventh needs to be included to know that the chord has a 7th. The. 5th can be omitted since it is part of the overtone series of the root and so is “heard” even if it is not present in the chord.

To use Guide tones to write out an accompaniment

First, notate the bass notes in the bass line; this note may be the root or another note if the chord is in inversion.

Next, write the 3rd and 7th of the first chord in any order and spacing. Usually they are not spaced too far apart.

Then move to the 3rd/7th of each succeeding chord moving to the nearest tone possible to create smooth lines and good voice leading.

Voice Leading

Voice leading is a general term that refers to the way voices/lines move from chord to chord in a piece of music.

Voice leading is also referred to as part writing. However, part-writing in music theory usually refers to a very strict (rule based) writing of melodic lines in four parts (SATB) that creates Bach style chorales. 

(More about 4-part writing in another lesson.)

Example Using Guide Tones – “Charleston”

Below is an example of the guide tones written out for the chords of the Charleston. (Note: This version of the Charleston chord progression has a few changes from the original. See note at the bottom of the example.)

Let’s take the first line (8 measures) and see how we got to this version.

First, the bass line (bass clef) will be the root or bass of the chord. Remember, if the chord has a / then the note under the slash is in the bass. Otherwise the root of the chord is the bass note.

Next, start with the first chord and write the 3 and 7. Then move to the 3 and 7 of each chord going to the nearest chord tone; if a note stays the same between two chords, try to keep that note in the same voice, otherwise, move by the smallest step/leap you can.

Moving to the nearest chord tone results in movements mostly by step. One “rule” of voice leading is that 7ths of chords move down by step. You will note that this happens in the above – by just moving to the nearest chord tone. (C in measure 2 moves to B in the next measure, F in measures 3-4 moves down to Eb in measure 5, etc.)

Another is that “altered notes should move in the direction of their alteration.” Thus the Db in measure 7 moves down to the C, and the E natural in that same measure resolves up to F. Note that in some cases this rule is not followed. The F# in measure 2 might go to the G, but when trying to write only guide tones (3 and 7), it goes down to an F natural. The same happens with the B natural in measures 3-4. It might go to the C in next chord, but if only 3 and 7 are used then it goes to the Bb. 

But the main thing to note is that the lines move very smoothly, mostly by step (or common tone – notes staying the same).

The aim is to use the notes that will indicate the quality of the chord (the 3 and 7) and make the lines as smooth as possible for easy singing or playing. This creates good voice leading.

Review the whole example one more time: