Can anyone explain open chords?

[wavez]

So basically, if i for ex. take root and tonic of a chord and move them up or down an octave, then it's an open chord, right? Is there anything else do it?

[ShadowsofBirds]

An open chord is any chord that's not a bar chord. o.O

(on a guitar.. beyond that I don't know.)

[Nystul]

An open chord is any chord that's not a bar chord. o.O

(on a guitar.. beyond that I don't know.)

That is true, but it's not the type of open he means to ask about.

Basically we have closed position chords where the notes of the chord are placed right next to each other. For example a C7 chord could be voiced with some of these options: CEGBb, EGBbC, GBbCE, BbCEG. Those are the closed positions. Each note is just a 2nd or 3rd in this case (sometimes a 4th) apart. Anything you do to spread it out more will create an open position. For instance you could have CBbGE... now instead of the chord all being in one octave, it is spread out over 3 octaves. So that is an open position or voicing.

Any chord has very specific closed positions, but an open position could be just about anything that spreads the chord out over multiple octaves.

[tapper mike]

An open chord in regards to the piano is a chord where by there is a wide opening between the hands. Generally if you start a chord in one octave Usually just the root and possibly one other note on the left hand. Then skip the next octave up and go to the octave above that to form the right hand. A closed or close chord is when there is little space (an octave or less) between the hands.

[wavez]

Thanks guys! I'm intrested of knowing if there's any rules when transforming closed chords to open ones? Is there a rule for how many semitones can 2 notes be apart at maximum distance in open chords? Also not a rule, but i've heard that it's not wise to transpose down (octave) 2-3 top notes of a 7th-9th chord, as that will muddy it up? Any more?

[ShadowsofBirds]

Huh. You learn something new everyday.

[tapper mike]

Your ears are the best tool for that. To me open chords sound "airy" because there is space in the middle. That way it has a little bit of body from the lower notes and still is a full chord with the more upper register. The middle area is where one would put a melody in to fill the hole so to speak. Close piano chords sound "tighter" especially when using extensions. Sometimes you can imply a chord by just using a diad.

But then again let your ears be the judge. When you listen to a song try to guestimate what types of chords are actually being used and the feeling that you get from the song. The same holds true for your playing. When you play experiment with different voicings for the same chord (close open inversions extentions altered bass) Don't be judgy like I don't like this chord. Be pragmatic, like. Well it's interesting but not what I'm after. A lot of pianists will have several different treatments for the same chord in a song or even in one or two measures of the same song. What you play becomes secondary to how you play it. Experiment with different rhythms and different ways of breaking up the chord not just straight up down arpeggios

[Plasuma!!!]

'Open position' is when all voices are more or less evenly spaced across multiple octaves. 'Closed position' is when the top voices are closer together, typically squeezed within an octave. It doesn't need to get any more technical than that.

For what goes into a chord, there are some helpful rules for voice leading from chord to chord, and you do have to figure out the kind of harmonic dissonance you want, but that's about it besides harmonic rhythm. Other than that, it's completely up to you to analyze what other people did and figure out if you like that approach.

Outside of keeping to a consistent scale, the vertical structures in music don't really need to be built with any serious consideration for what notes make them, except at points of potential modulation or cadence, where you have to be able to tell what key you're entering into or if / how you want to end a phrase there. If you're following your scale and sticking to modes and accidentals you know benefit your melodic ideas, you shouldn't have a hard time making effective chords on the fly.

[tapper mike]

For what goes into a chord, there are some helpful rules for voice leading from chord to chord, and you do have to figure out the kind of harmonic dissonance you want, but that's about it besides harmonic rhythm. Other than that, it's completely up to you to analyze what other people did and figure out if you like that approach.

Using voice leading is one of several approaches though not always the be all end all. It does help newer players connect chords easily and can be a wonderful asset when trying to develop melodies over harmonies.

While it's great for ballads it's less effective for edgy or rock/boogie playing because the distances are so short they can get "mushy" for lack of a better word.

Barre Chords and Barre Chord movement on a guitar is easy to learn on a guitar and produce a more vertical movement while expressing the percussive/rhythmic nature of the music. Emulating barre chord motion (which is what many untrained new pianists often do without knowing) can be daunting and leads to much frustration. It's not that it's not possible It's just a lot of work and a lot of trial and error especially if you haven't gotten down how to alternate your hands effectively. The pay off is that if you develop it you'll have a more "angular" sound to juxtaposition a melody against.

These are just some idea's to think about as you explore the instrument. Again use your ears to make judgments on "is this working for me here" Because ultimately it's your perceptions that should drive your direction. Theory is just there to show you possibilities. Experience (playing practicing listening) does the rest.