Voice-leading

Suppose in a particular tune C chord is followed by F chord. Then you could play it like this:

However, thats quite a big jump. As a result, the music sounds disconnected. Another way to play this chord progression:

Now only two tones change the C remains in the same place and they jump only a very small distance (a half-step and a whole-step, respectively). The result is a much smoother sound. This principle is called voice-leading. The key to voicing-leading is playing inversions. We started with C chord in root position and then played the F chord in first inversion. We also could have done it like this:

Now C is in first inversion and F is in second inversion. Again, one note remained in the same place and the other two only jumped a small distance.

We always try to keep the tone (or tones) that the two chords have in common in the same place. When C chord is followed by Am, only one tone moves:

However, in the progression F G, all three tones must change because the F and G chords dont have any tones in common:

Unless, of course, we make G a four-tone chord, G7:

Note that I played the chord root in the bass this time. Another four-tone chord example, Dm7 to G7:

Here, two notes remain stationary while the other two move a small distance downward.

Thats really all there is to it. To do proper voice-leading, find the inversion of the next chord that requires the fewest changes. Common uses for voice-leading: playing accompaniment, playing with string sounds (violins), and playing organ and electronic keyboard these instruments have no sustain pedal, so voice-leading is needed for smooth changes. Time to practice your inversions!