Stage 3 of 7

Rootless Voicings (Type A & B)

The Bill Evans Sound

Rootless voicings are the core vocabulary of modern jazz piano. You drop the root entirely (the bassist plays it) and voice the chord with 3rd, 5th, 7th, and 9th. There are two types: Type A starts with the 3rd on the bottom, Type B starts with the 7th.

The magic happens when you alternate between them — moving from Type A on a ii chord to Type B on V to Type A on I creates the smoothest possible voice leading with minimal hand movement. This is Bill Evans's signature sound.

Prerequisites

Solid three-note shells. Can hear 7th→3rd resolution in ii-V-I.

Voicing Styles in This Stage

Rootless

How to Practice

  1. 1.Learn Type A for all four chord qualities (maj7, m7, 7, m7b5) through the cycle of 5ths
  2. 2.Learn Type B for the same four qualities through the cycle
  3. 3.Play ii-V-I using A-B-A pattern in all 12 keys (Mantooth method)
  4. 4.Play ii-V-I using B-A-B pattern in all 12 keys — notice it's equally smooth
  5. 5.Play through Autumn Leaves alternating A and B — this is the definitive rootless study piece
  6. 6.Once comfortable, play through all Stage 3 standards with rootless voicings only

Standards to Practice

All Of Me

Marks/Simons · C · AABA

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Listen to

Oscar Peterson — We Get Requests (1964)
Fly Me To The Moon

Bart Howard · C · ABAB

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Listen to

Frank Sinatra / Count Basie Orchestra — It Might as Well Be Swing (1964)
Autumn Leaves

Joseph Kosma · Gm · AABA

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Listen to

Bill Evans Trio — Portrait in Jazz (1959)
Satin Doll

Duke Ellington · C · AABA

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Listen to

Duke Ellington — Ellington at Newport (1956)
Beautiful Love

Young/King/Van Alstyne · Dm · AABA

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Listen to

Bill Evans — Explorations (1961)
Solar

Miles Davis · Cm · 12-bar

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Listen to

Miles Davis — Walkin' (1954)
Afternoon In Paris

John Lewis · C · AABA

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Listen to

John Lewis — Afternoon in Paris (1956)
Georgia On My Mind

Hoagy Carmichael · F · AABA

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Listen to

Ray Charles — The Genius Hits the Road (1960)

What this unlocks

Rootless voicings are the foundation for everything that follows. Quartal voicings are built on the same register. Drop 2 voicings add the melody on top.

← Stage 2: Three-Note ShellsStage 4: Close Position & Drop 2 →