![]() ![]() The above example contains a II-V-I in the key of C major followed by a II-V-I in the key of Bb major. We’ll begin by looking at foundational left-hand rootless voicings in the context of a II-V-I progression in a major key: They also allow the pianist to “comp” (meaning to provide accompaniment) for other players’ solos. They allow the player to freely improvise with their right hand while keeping the harmony clear and rich in the left hand. In the 21st century, rootless piano voicings are essential to feeling comfortable playing with a jazz trio or small combo. Listen to Red Garland with Miles Davis on “It Could Happen To You”, Bill Evan’s album “Portrait in Jazz” featuring the bass playing of Scott LaFaro, or Herbie Hancock on “I Fall In Love Too Easily” - The Miles Davis Quintet Live In Germany: November 7th, 1967 for a range of examples of this piano style. As the bass took on a more prominent role in the combo, the piano’s left hand began including more harmonic information while leaving the lowest voice to the bass player. Rootless voicings have their origin in the small combo and jazz trio playing of the 1940’s and 50’s. These voicings assume knowledge of 7th chord types (Major 7th, Minor 7th, Dominant 7th, Diminished 7th) and basic chord symbol nomenclature. This lesson will cover a typical approach used for playing piano in a jazz combo known as left-hand rootless voicings. There are many different ways to interpret chord symbols on the piano. ![]()
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