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    Rootless Left Hand Piano Voicings

    Uploaded by

    Silva
    This document provides instructions for learning and practicing left hand rootless piano voicings in the style of Bill Evans. It describes two basic voicing positions (A and B) that typically omit the root and consist of 4 notes. The "Rule of Thumb" advises keeping the thumb within a specific register. The document outlines a step-by-step process for learning one chord type at a time by alternating between the A and B positions in different keys and with a metronome. It also notes some exceptions to the rootless voicings and offers caution about associating voicing shapes with multiple chord symbols when first learning.

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    © All Rights Reserved
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    Rootless Left Hand Piano Voicings

    Uploaded by

    Silva
    73 views2 pages
    This document provides instructions for learning and practicing left hand rootless piano voicings in the style of Bill Evans. It describes two basic voicing positions (A and B) that typically omit the root and consist of 4 notes. The "Rule of Thumb" advises keeping the thumb within a specific register. The document outlines a step-by-step process for learning one chord type at a time by alternating between the A and B positions in different keys and with a metronome. It also notes some exceptions to the rootless voicings and offers caution about associating voicing shapes with multiple chord symbols when first learning.

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    jazz chords

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    This document provides instructions for learning and practicing left hand rootless piano voicings in the style of Bill Evans. It describes two basic voicing positions (A and B) that typically omit the root and consist of 4 notes. The "Rule of Thumb" advises keeping the thumb within a specific register. The document outlines a step-by-step process for learning one chord type at a time by alternating between the A and B positions in different keys and with a metronome. It also notes some exceptions to the rootless voicings and offers caution about associating voicing shapes with multiple chord symbols when first learning.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    73 views2 pages

    Rootless Left Hand Piano Voicings

    Uploaded by

    Silva
    This document provides instructions for learning and practicing left hand rootless piano voicings in the style of Bill Evans. It describes two basic voicing positions (A and B) that typically omit the root and consist of 4 notes. The "Rule of Thumb" advises keeping the thumb within a specific register. The document outlines a step-by-step process for learning one chord type at a time by alternating between the A and B positions in different keys and with a metronome. It also notes some exceptions to the rootless voicings and offers caution about associating voicing shapes with multiple chord symbols when first learning.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 2

    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
    7

    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,
    9

    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
    13

    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.

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