Bill Evans revolutionized jazz piano with his elegant and harmonically rich rootless voicings (sometimes called rootless chords). His rootless voicings create a lush, modern sound that allows for smooth voice leading and greater harmonic flexibility. In this lesson, we’ll break down his approach, step by step, so you can integrate these sounds into your playing.

What Are Rootless Voicings?

Traditional chord voicings often include the root, but Evans took a different approach—dropping the root and focusing on the upper chord tones and extensions. This technique allows for a more open and sophisticated sound while leaving space for the bass player to establish the harmonic foundation.

With rootless voicings, the emphasis is on:

• 3rd and 7th (the essential guide tones that define the chord quality)
• Extensions like the 9th and 13th (which add color and tension)

By omitting the root and sometimes the 5th, these voicings sound smoother and integrate seamlessly into jazz progressions.

For additional study, check out this Rootless Chords Workshop, which provides further exercises and examples to practice these concepts.

Basic Structure of Rootless Voicings

For major and minor chords:

• Play the 3rd, 5th, 7th, and 9th
  • Example: Cmaj9 → E (3rd), G (5th), B (7th), D (9th)
  • Example: Cm9 → E♭ (3rd), G (5th), B♭ (7th), D (9th)

For dominant chords:

• Play the 3rd, 7th, 9th, and 13th
  • Example: C13 → E (3rd), B♭ (7th), D (9th), A (13th)

This structure provides a fuller sound without cluttering the harmony.

How to Form Rootless Voicings (A Form

Rootless voicings are an essential technique for jazz pianists, allowing for rich, modern-sounding chords while keeping the bass register clear. A Form voicings are structured with the 3rd and 7th as the foundation, followed by the 9th and another color tone to complete the chord.

Let’s break this down step by step for the three most common 7th chords: Major 7, Minor 7, and Dominant 7.

Step 1: Identify the Guide Tones (3rd & 7th)

The guide tones are the most defining notes of a chord:

• Major 7 (Cmaj7) → E (3rd) & B (7th)
• Minor 7 (Cmin7) → E♭ (3rd) & B♭ (7th)
• Dominant 7 (C7) → E (3rd) & B♭ (♭7th)

🎹 Diagram 1: Guide Tones (3rd & 7th) Only

Cmaj7:  E - B  
Cmin7:  E♭ - B♭  
C7:     E - B♭  

Step 2: Add the 9th Above the Guide Tones

The 9th adds color and sophistication to the chord, placed above the guide tones.

• Cmaj7 → Add D (9th)
• Cmin7 → Add D (9th)
• C7 → Add D (9th)

🎹 Diagram 2: Adding the 9th

Cmaj7:  E - B - D  
Cmin7:  E♭ - B♭ - D  
C7:     E - B♭ - D  

Step 3: Fill in One More Note Between the Guide Tones

For major and minor chords, we add the 5th, while for dominant chords, we use the 13th (a strong color tone).

• Cmaj7 → Add G (5th)
• Cmin7 → Add G (5th)
• C7 → Add A (13th, same as the 6th but functioning as a tension)

🎹 Final A Form Rootless Voicings:

Cmaj7:  E - B - D - G  
Cmin7:  E♭ - B♭ - D - G  
C7:     E - B♭ - D - A  

Final Thoughts on A Form Voicings

✅ Play These in Your Left Hand → When comping, you typically play rootless voicings in the left hand, leaving space for basslines or soloing with your right hand.

✅ Use in Chord Progressions → Try applying these voicings in ii-V-I progressions for smooth harmonic movement.

✅ Combine with B Form Voicings → To create voice leading between chords, pair A Form voicings with B Form (where the 7th is on the bottom instead of the 3rd).

How to Form Rootless Voicings (B Form)

After mastering A Form rootless voicings, the next step is to learn B Form voicings. These provide smooth voice leading when moving between chords, making your playing sound more fluid and professional. While A Form voicings start with the 3rd on the bottom, B Form voicings start with the 7th on the bottom.

Step 1: Identify the Guide Tones (7th & 3rd)

Just like in A Form, we begin by identifying the guide tones—the 3rd and 7th of each chord. However, in B Form, we invert the order so that the 7th is on the bottom:

• Cmaj7: B (7th) & E (3rd)
• Cmin7: B♭ (7th) & E♭ (3rd)
• C7: B♭ (♭7th) & E (3rd)

🎹 Diagram 1: Guide Tones for B Form Voicings

Cmaj7:  B - E  
Cmin7:  B♭ - E♭  
C7:     B♭ - E  

Step 2: Add the 9th Above the Guide Tones

The 9th is a key tension in rootless voicings, giving them a modern jazz sound. Add the 9th above the guide tones:

• Cmaj7 → Add D (9th)
• Cmin7 → Add D (9th)
• C7 → Add D (9th)

🎹 Diagram 2: Adding the 9th

Cmaj7:  B - E - D  
Cmin7:  B♭ - E♭ - D  
C7:     B♭ - E - D  

Step 3: Fill in One More Note

To complete the voicing, we add one final color tone:

• Major 7th (Cmaj7) → Add G (5th)
• Minor 7th (Cmin7) → Add G (5th)
• Dominant 7th (C7) → Add A (13th, same as the 6th but functions as a tension)

🎹 Final B Form Rootless Voicings:

Cmaj7:  B - E - D - G  
Cmin7:  B♭ - E♭ - D - G  
C7:     B♭ - E - D - A  

A-Form vs. B-Form Voicings – When to Use Each?

✅ A Form (3rd on the bottom): Used when moving down in pitch or when starting a ii-V-I progression.
✅ B Form (7th on the bottom): Used when moving up in pitch or as the second voicing in a ii-V-I.

For smooth voice leading, switch between A Form and B Form to minimize hand movement when transitioning between chords.

Applying Rootless Voicings in Progressions

The ii-V-I progression is a core jazz progression, and rootless voicings create smooth, logical movement between the chords.

Type A Rootless Voicings (3rd on the bottom):

• Dm9 (ii): F (3rd), A (5th), C (7th), E (9th)
• G13 (V): B (3rd), E (13th), F (7th), A (9th)
• Cmaj9 (I): E (3rd), G (5th), B (7th), D (9th)

Type B Rootless Voicings (7th on the bottom):

• Dm9 (ii): C (7th), E (9th), F (3rd), A (5th)
• G13 (V): F (7th), A (9th), B (3rd), E (13th)
• C6/9 (I): A (6th) or use B (7th), D (9th), E (3rd), G (5th)

Advanced Altered Rootless Voicings

By modifying the tensions, you can add even more color to your voicings.

• Cmaj7#11 → Replace the 5th with the #11 (E-G-B-F#)
• C69 → Swap the 7th for the 6th (E-G-A-D)
• Dm7♭5 → Flatten the 5th (F-A-B♭-E)
• G7♭9♭13 → Alter both tensions (B-F-A♭-E♭)

These alterations create even richer harmonic textures and work well in modal or post-bop styles.

Hand Position and Playing Tips

• Rootless voicings are typically played in the left hand, freeing up the right hand for melody and improvisation.
• Keep voicings in the middle register (around middle C) to avoid muddiness.
• Ensure smooth voice leading—move as little as possible between chords.
• Practice in all keys to master these shapes fluently.

Are Rootless Chords Only Played in the Left Hand?

No, rootless chords can be played in either hand, depending on the musical context and what role each hand is playing.

I came across a statement online that said, "Rootless voicings are played entirely with the left hand." – but this is incorrect. While it’s true that jazz pianists often use rootless voicings in the left hand when accompanying a soloist or playing in a group setting, they can just as easily be played in the right hand.

For example, if you're playing a walking bassline or another left-hand accompaniment pattern, you may want to "comp" (play chords rhythmically) in your right hand. In this case, you'd play rootless voicings in the right hand while your left hand handles the bass. This technique is commonly used when playing in a trio setting (piano, bass, and drums) or when accompanying a soloist, allowing the pianist to provide harmonic support without clashing with the bass player.

If you’d like to see this in action, check out my Learn Jazz Piano (The Basics) course, where I break down rootless chord voicings and how to apply them effectively in different playing situations.

Bill Evans' Influence and Sound

Evans popularized these voicings in the 1950s, influencing pianists like Herbie Hancock and Chick Corea. Listen to Evans' recordings of My Foolish Heart or Autumn Leaves to hear these voicings in action.

How to Play Rootless Voicings: A Step-by-Step Breakdown

Mastering rootless voicings is essential for any jazz pianist who wants to create a full, sophisticated sound while leaving space for bass lines and improvisation. Rootless voicings help smooth out chord transitions and add harmonic richness to your playing.

At Jazzedge Academy, we offer several in-depth lessons to help you master these voicings. Below, we'll walk through a step-by-step approach to playing rootless voicings, followed by links to detailed lessons that will take your understanding even further.

Step 1: Understand Why We Use Rootless Voicings

Rootless voicings are commonly used in jazz because they:
✅ Remove the root (which is often played by the bass player).
✅ Focus on guide tones (3rd & 7th) to define the chord quality.
✅ Add rich extensions like the 9th, 13th, or altered tones to create a sophisticated sound.
✅ Improve voice leading, making chord progressions smoother.

Step 2: Learn A Form and B Form Voicings

Rootless voicings come in two main shapes:

• A Form: The 3rd is on the bottom, followed by the 7th, 9th, and an added color tone.
• B Form: The 7th is on the bottom, followed by the 3rd, 9th, and another color tone.

🔹 Example – A Form Rootless Voicing for Cmaj7:

• Notes: E (3rd) – B (7th) – D (9th) – G (5th)

🔹 Example – B Form Rootless Voicing for Cmaj7:

• Notes: B (7th) – E (3rd) – D (9th) – G (5th)

👉 Want a deeper breakdown? Check out Rootless Chord Voicings for a detailed lesson.

Step 3: Apply Rootless Voicings in Chord Progressions

Once you've learned A Form and B Form, it's time to apply them in common jazz progressions like ii-V-I and turnarounds.

🎹 Example – ii-V-I in C Major using Rootless Voicings

1. Dmin7 (ii): F – C – E – A
2. G7 (V): F – B – E – A
3. Cmaj7 (I): E – B – D – G

🔹 Practice tip: Try playing these voicings in both hands and experiment with different rhythms to comp like a pro.

👉 Need more help? Our Guide Tones & Rootless Chords lesson covers this in depth.

Step 4: Master Left-Hand and Right-Hand Rootless Voicings

Rootless voicings are most often played in the left hand while comping or accompanying a soloist. However, they can also be played in the right hand while the left hand plays a walking bass line.

🎹 Left-Hand Rootless Voicing for G7:

• B – E – F – A (7th, 3rd, 9th, 13th)

🎹 Right-Hand Rootless Voicing for G7 (while playing bass in the left hand):

• D – F – A – B (9th, 3rd, 13th, 7th)

👉 For exercises on switching between left- and right-hand voicings, check out Rootless Chords & Group Mastery.

Step 5: Simplify Rootless Voicings for Easy Application

If rootless voicings feel complicated at first, start with simplified versions by using just the guide tones (3rd & 7th) before adding extensions.

🎵 Example – Simplified Rootless Voicing for Cmin7:

• E♭ – B♭ (3rd & 7th only)

From here, you can gradually add the 9th and 5th (or 13th for dominant chords).

👉 Need a simple approach? Watch Simplified Rootless Jazz Chords for an easy-to-follow guide.

Further Learning – Jazzedge Academy Lessons on Rootless Voicings

For an in-depth, structured approach to mastering rootless voicings, explore these lessons:

🎓 Rootless Chords & Group Mastery – A complete course on comping, progressions, and advanced rootless voicings.

🎓 Rootless Chords Exposed – Clears up common confusion around rootless chord construction.

🎓 Guide Tones & Rootless Chords – How to transition from simple guide tones to full rootless voicings.

🎓 Simplified Rootless Jazz Chords – A step-by-step approach to learning these voicings without overwhelm.

🎓 Rootless Chord Voicings – Learn the full structure of rootless voicings with real jazz applications.

By following this step-by-step breakdown, you’ll develop a strong foundation in rootless voicings and be able to apply them in any jazz setting.

Would you like me to add practice exercises or audio examples to this section? 🎹😊

Final Thoughts

Mastering Bill Evans' rootless voicings will transform your jazz playing, making your comping sound richer and more sophisticated. Practice these voicings in different keys and progressions, and soon they’ll become a natural part of your jazz vocabulary.

Want to dive deeper? Check out Jazzedge Academy membership options for in-depth lessons and guided practice sessions!