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Rootless Chord Voicings

Chord Voicings

In a previous module we learned about the theoretical aspects

of Jazz Chords (http://www.thejazzpianosite.com/jazz-piano-
lessons/jazz-chords/). In this series of lessons we will be discussing
how chords are actually played in practice. This is a very important
part of playing Jazz piano. A chord voicing is just a way of
altering the order of and intervals between the notes in a chord. So
instead of playing CMaj7 as a block chord (C E G B) we could
reorder the notes and play C B E G. Playing appropriate chord
voicings can make a song sound very jazzy and very professional.

Omitting Notes

In previous lessons (speci cally the one on Shell Chords

(http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
chords/shell-chords/)) we established that in Jazz we don’t need to
play every single note in a chord. Speci cally, it’s possible to omit
the less important notes (root & 5th). Well, using this same idea, we
can create rootless voicings.

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Rootless Chord Voicings

A smooth and popular type of chord voicing are called (Bill Evans

style) Rootless Chord Voicings. As the name suggests, these
chord voicings exclude the root note. Instead of the root (and
sometimes the 5th) we play chord tensions
(http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
chords/extensions-alterations/). This gives us a jazzy sound

(because of the tensions) while not being too crowded (you only
ever play 4 notes because we drop the root).

Even though we are allowed to omit the root note in a chord, if

you’re playing in a band often the bass player will play the root
note. Otherwise, there’s nothing wrong with just leaving it out. The
root note isn’t really all that important, harmonically speaking.

In short, Rootless Chord Voicings are played as follows:

For Major and minor chords play: 3rd, 5th, 7th, 9th
For V7 chords play: 3rd, 7th, 9th, 13th

There are also two ‘types’ of rootless chord voicings. One is just an
inversion of the other (if one has the 3rd on the bottom, the other
has the 7th on the bottom). These voicing works really well for II-V-I
progressions, because you only need to change a few notes (and by
only a small interval) to move from one chord to the next (i.e. there
is smooth voice leading). Below is an example of a II-V-I in the key
of C using rootless chord voicings. Notice how smoothly each chord
transitions to the next.

Type A Rootless Voicings

Chord 7th Chord in C Rootless Chord Notes Degrees Note on Bottom

ii Dm7 Dm9 FACE 3579 3rd

V G7 G13 FABE 7 9 3 13 7th

I CMaj7 CMaj9 EGBD 3579 3rd

 Type B Rootless Voicings 
Chord 7th Chord in C Rootless Chord Notes Degrees Note on Bottom

ii Dm7 Dm9 CEFA 7935 7th

V G7 G13 BEFA 3 13 7 9 3rd

I CMaj7 C69 ADEG 6935 7th

Chord Ambiguity

Notice also, that because we are omitting certain notes, chords

become a little ambiguous.

Rootless Dm9 (F A C E) = FMaj7 = Am♭6

Rootless G13 (F A B E) = Rootless Dm69 = Rootless D♭7#9♭13
Rootless CMaj7 (E G B D) = Em7 = G6

Notice how all the above chords are substitutes

(http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
chords/chord-substitution/) for each other (generally Median Note
or Tritone substitutes). This is part of the charm of rootless
voicings. There are a little ambiguous.

Altered Rootless Voicings

As we learned in the lesson on Available Tensions

(http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
chords/available-tensions/), we can alter the chord tensions (♭9,
#11, ♭13, etc.). We can apply this idea to Rootless Chord Voicings.
We must keep the 3rd and 7th the same, but we are free to alter
the other two notes.

So you can create chords like a:

 CMaj7#11 (by substituting the 5th for a  #11th);

C69 (by substituting the 7th for a 6th);
Dm69 (by substituting the 7th for a 6th);
Dm7♭5 (by attening the 5th).

Left Handed Voicing & Rule of Thumb

Rootless voicings are played entirely with the left hand. This means
your right hand is free to play the melody or improvise. In future
lessons we will also discuss numerous two handed chord voicings.

Because you are playing 4 notes all within the span of a single
octave, these voicings can be a little bit muddy if played too low. As
such, try adhere to the ‘rule of thumb’: the top note of a rootless
chord voicing (played with your thumb) should be between middle C
and the C an octave above middle C on the piano. That is, try stick to
the middle register with this chord voicing.

Jazz Piano History

Rootless chord voicings were developed in the 1950’s by

pianists like Bill Evans, Wynton Kelly and Ahmad Jamal. Prior to this,
Jazz pianists tended to use Shell Chords (like the Bud Powell
Voicing (http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
chord-voicings/powell-voicings/) we will learn in a future lesson) or
Stride Piano.

Have a Listen to
 My Foolish Heart ~ Bill Evans version

Autumn Leaves ~ Bill Evans version
Any and Every Bill Evans song

Jazz Piano Chord Voicings - Left Hand Rootless Voicing

>> NEXT LESSON >> (/jazz-piano-lessons/jazz-chord-voicings/monk-voicings)

 
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