Rootless Left Hand Piano Voicings

Left hand rootless voicings are closely associated with the piano style of pianist
Bill Evans (1929-1980). For most chord types there are two positions: the A
position has the third on the bottom and the B position has the seventh on the
bottom. The voicings are typically comprised of 4 notes, usually excluding the
root. They are played in the keyboard’s mid-range.
The Rule of Thumb:
The top note of left hand voicings, played by the thumb, should be played within
the register of middle C and C the octave above middle C. (Between C and C of
4 5

the piano keyboard).

By applying the Rule of Thumb one can be assured that the voicings are played
in the correct register so that they are not too low and muddy or too high and
thin.

Rootless Exceptions:
In the downloadable, attached handout, you will notice that roots are included in
the A & B positions of half-diminished and Maj voicings, and the B position
7(#11)

of the Maj voicing. It is because of these five exceptions that I often refer to
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these voicings as “Bill Evans Style L.H. Voicings” instead of using “rootless left-
hand voicings” as an overriding title.

Practicing & Memorizing Left Hand Voicings:

Learning voicings is similar to learning to ride a bike. At first it is difficult,
frustrating, and at times, painful. But once it is learned correctly, you never look
back, and you can do it instinctually ever after.

Learn only one chord type at a time. Start with mi and only when it is mastered,
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then move on to the next chord type on the attached handout.

1. Locate the pitches for the A position of the chord, in the key of C. Use
the Rule of Thumb to ensure that you are in the correct register. Memorize
the numbers represented by each pitch (in this case: 3, 5, 7, 9).
b b

2. Do the same for the B position of the chord.

3. Alternate back and forth between A & B positions in the correct register,
using the Rule of Thumb.
4. Disregard the Rule of Thumb and alternate between A & B positions going
from the bottom of the keyboard to the top and then back down.
5. Return to the correct register and alternate between A & B positions 3 or 4
times.
6. Now, move to the next key in the circle of fourths. (F)
 7. Work your way through the 12 keys, following steps 1 through 6.
8. To test yourself and improve your reaction time, use a metronome as you
work through the circle of fourths. Start with 4 ticks per chord, then 2, then
1, “meeting the deadline of the tick”.
Cmi (A pos) | Cmi (B pos) | Fmi (A pos) | Fmi (B pos) | etc.
9 9 9 9

/ / / / / / / / / / / / / / / /
9. Move to the next chord type (C ), when a degree of mastery has been
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achieved. Follow steps 1 through 8 again. Continue in this manner with all
chord types.
10. To quiz yourself, make 3 stacks of cue cards. The first stack will
have the 12 keys, the second: the various chord types, and the third: A & B
positions. Pick one card from each stack and see how fast you can sound the
chord.
Cautionary Advice:
The following chord symbols share the identical voicing shapes & pitches:

F = Cmi = Ami = Ebmaj = B

13 6 7(b5) 7(#11) 7(alt)

I strongly discourage students from using this formula when initially learning the
voicings. Doing so will form unnecessary steps or layers of thinking when the
goal is ultimately to react and play the voicing instantly, upon seeing it’s symbol.
Much later, to reinforce your command of the voicing shapes, ask yourself, when
playing a specific voicing, “what other chord symbols could be represented by
this shape if the root was changed?” The above formula can also be used as a
reharmonization technique in the future.