XV.

Block Chords
A. Construction

The term “block chords” is used by classical musicians to describe chords where all the notes are sounded
simultaneously as opposed to those that are arpeggiated or those that occur as a result of contrapuntal tech-
niques where all the chord tones are not sounded on the same beat.
In the jazz community the term “block chords” has come to mean an arranging technique from the Big
Band era whereby a melody is harmonized with the other voices moving in strict parallel motion (for the most
part) and in locked rhythm with the melody. The technique was widely used by all the arrangers of the Big
Band era and it continues to have it’s uses today. It differs from classical techniques of harmonization in the
way that the voice leading is handled. Parallel 5ths and 4ths abound and 7ths resolving in other voices is a
matter of little concern. It is not contrapuntal in nature as the 4 part chorale texture voice leading techniques
taught at every conservatory are. It is really just a thickening of the melody. Whether or not the other parts
have any strong melodic logic is a secondary consideration.
In many ways block chords are like painting by numbers. We simply fill in the remaining chord tones
underneath our melody note. It is a technique that applies mostly to seventh chords. It is less effective with
music that is primarily triadic in nature.
We start with “Close Voice” chords where the 4 chord tones are as closely packed together as possible
under the melody note (aka the “Lead”). We then create voicings where the 2nd voice from the top is dropped
down an octave (“Drop 2 Voicings”), where the 3rd voice from the top is dropped down an octave (“Drop 3
Voicings”), where the 4th voice from the top is dropped down an octave (“Drop 4 Voicings”), where the 2nd
and 3rd voices from the top are dropped down an octave (“Drop 2 & 3 Voicings”) and where the 2nd and 4th
voices from the top are dropped down an octave (“Drop 2 & 4 Voicings”).

In a Close voicing if the chord’s Root is in the lead (i.e. the melody):
• the tone directly beneath it will be the chord’s 7th (or the 6th degree in the case of a 6th chord).
• the next note from the top will be the the chord’s 5th degree.
• the note on the bottom will be the chord’s 3rd degree (or 4th degree in the case of a Sus4 chord).

In a Close voicing if the chord’s 7th (or 6th) is in the lead (i.e. the melody):
• the tone directly beneath it will be the chord’s 5th degree.
• the next note from the top will be the the chord’s 3rd degree (or 4th degree in the case of a Sus4 chord).
• the note on the bottom will be the chord’s Root.

Pay special attention to the voicings that place the Root on the bottom. They are by far the most commonly
used voicings.

In a Drop 2 voicing if the chord’s 3rd (or 4th degree in the case of a Sus4 chord) is in the lead (i.e. the
melody):
• the tone directly beneath it will be the chord’s 7th (or 6th) degree.
• the next note from the top will be the the chord’s 5th degree.
• the note on the bottom will be the chord’s Root. It has been dropped an octave from where it would have
been situated in a Close voicing.

In a Drop 3 voicing if the chord’s 5th is in the lead (i.e. the melody):
• the tone directly beneath it will be the chord’s 3rd degree (or 4th degree in the case of a Sus4 chord).
• the next note from the top will be the the chord’s 7th (or 6th) degree.
• the note on the bottom will be the chord’s Root. It has been dropped an octave from where it would have
been situated in a Close voicing.
Etc.
197 © 1998 J. M. Goldstein
When the melody is a 9th in relation to the chord’s Root it will be used as if it were the Root. The terminology
is:
“9 subs for 1”.

When the melody is a 4th (or 11th) in relation to the chord’s Root and a Sus4 chord is desirable it will be used
as if it were the 3rd. The terminology is:
“4 subs for 3”.
Note: Often times on a chord where the 11th IS an available tension it will be used as a Sus4 anyways (i.e. no
3rd present).

When the melody is an 11th (or 4th) in relation to the chord’s Root and 11 is an available tension on the chord
it will be used as if it were the 5th. The terminology is:
“11 subs for 5”.

When the melody is a 6th (or 13th) in relation to the chord’s Root and a 6th chord is desirable (i.e. no 7th) it
will used as if it were the 7th. The terminology is:
“6 subs for 7”.
Note: Dominant 7 chords will not sound like dominant seventh chords if the ∫7 is omitted.

When the melody is a 13th (or 6th) in relation to the chord’s Root and 13 is an available tension on the chord
it will used as if it were the 5th. The terminology is:
“13 subs for 5”.

Close Voice
7 or 6 in the Lead Root or 9th in the Lead 3rd or 4th in the Lead 5th, 13th or 11th in the Lead
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Drop 2
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Drop 3
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Drop 4
7 or 6 in the Lead Root or 9th in the Lead 3rd or 4th in the Lead 5th, 13th or 11th in the Lead
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198 © 1998 J. M. Goldstein