rootless voicings

a brief discussion with Sid Jacobs

Dmi7

G7

7th

3rd

3rd

common tones

5
3

common tones

CMa7

A7

7th

4
3

4
2

6
5

7th

3rd

In this example of a II-V-I-VI progression the roots are not present yet they are implied by the thirds and sevenths of the chord.
The first chord Dmi7 is implied by the F and C (the third and seventh). In the next chord of the sequence, G7 is implied when
the seventh of Dmi7(the note C) moves chromatically to the third(B) of the G7 chord. Similarly the seventh (the note F) of
the G7 moves chromatically down to the third(E) of CMa7. The VI chord, in this case the A7 is the V of the ii, Dmi7. It is

also implied by the third and seventh and as before, the seventh (G) of the A7 moves to the third of the Dmi7 chord. If this
explanation is not quite clear, just play it and use your ears to see if you can detect the roots or intuitively hear the logic
of the progression. The next example is simply the inversion of the previous example.

Dmi7
3rd

7th

10
10

common tones

G7

3rd

7th

10
9

Cma7
3rd
common tones

A7

9
9

12
11

7th