The principle
In jazz the basic chords are seventh chords with tensions (9, 11, 13), and the harmonic rhythm is often fast (two chords per bar). The pianist or arranger cannot "jump" from one position to another: they must connect the chords with minimal movement. The golden rule: the third of one chord becomes the seventh of the next, and the seventh descends by a semitone (or a tone) and becomes the third when the chords move by fifths (ii–V–I, circle of fifths). It is the same principle as the Bach chorale applied to seventh chords. (The theory of guide-tone lines is in the "Guide tone lines" entry; here it is extended to complete four- and five-voice voicings.)
The chain of sevenths in the ii–V–I in C
- Dm7: third F, seventh C
- G7: seventh F (the third of Dm7 stays put), third B (the seventh of Dm7 descends by a semitone C→B)
- Cmaj7: third E (the seventh of G7, F, descends to E), seventh B (the third of G7 stays put)
Just two voices already outline the whole progression: F/C → F/B → E/B.
Rootless voicings (type A and type B)
Popularized by pianists such as Bill Evans and Wynton Kelly in the late fifties and described by Mark Levine (The Jazz Piano Book, The Jazz Theory Book): the bassist plays the root, the pianist plays four notes 3–5–7–9 (type A) or 7–9–3–5 (type B, with the 13 in place of the 5 on dominants).
| Chord | Type A | Type B |
|---|---|---|
| Dm9 | F A C E | C E F A |
| G13 | F A B E (7 9 3 13) | B E F A (3 13 7 9) |
| Cmaj9 | E G B D | B D E G |
Connection: A → B → A (Dm9 A, G13 B, Cmaj9 A) or B → A → B. In the first case: F–A–C–E → F–A–B–E → E–G–B–D: one or two voices move at a time, always by step.
Practical rules
- Common tones stay put, the others move by step: a well-led voicing moves like four lines, not like blocks.
- Resolution of tensions: on dominants the ♭9 descends to the 5 of the next chord (A♭ over G7♭9 → G over C), the 13 descends to the 9 (E → D), the ♯11 or ♭13 descend by a semitone.
- Register: rootless voicings sit between about D3 and C5 (the "lower interval limit": below F3 thirds and seconds become muddy).
- Contrary motion against the bass when possible, to avoid everything moving in parallel.
- Tritone substitution: G7 and D♭7 share the guide tones F and B (C♭): with the same voice leading you can change the bass without changing the upper voices.
- Planing (exception): in modal style or in block-chord solos, parallel voicings move together (quartal voicings à la McCoy Tyner, block chords à la George Shearing): the effect is intentional, but it should be used as a color, not as a default.
Turnaround and extended circle of fifths
In the cycle Em7–A7–Dm7–G7–Cmaj7 the 3→7 chain continues: G/D (Em7) → G/C♯ (A7) → F/C (Dm7) → F/B (G7) → E/B (Cmaj7). With the tensions you get a descending chromatic inner line (D–C♯–C–B) that is heard as a melody: it is the "secret" of the sound of many standards.
Real examples
- "Autumn Leaves" (Kosma; standard): Cm7–F7–B♭maj7–E♭maj7–Am7♭5–D7–Gm. The guide tones E♭/B♭ → E♭/A → D/A → D/G → C/G → C/F♯ → B♭/F♯… trace a continuous descent.
- Bill Evans, "Waltz for Debby" (Village Vanguard, 1961): listen to how the left hand links the chords with rootless voicings that change one note at a time.
Exercise for a producer
- In FL Studio, program a ii–V–I in all 12 keys using only type A → B → A (or B → A → B) voicings, with a separate bass.
- Use a Rhodes (Stage-73 V) and check that no note leaps more than a whole tone.
- Add the ♭9 on the V (A♭ over G7) and verify that it descends to G.
- Reuse the same voice leading on a neo-soul loop (Dm9 – G13 – Cmaj9 – A7♭13): you will have rich chords without mud in the mids.
Related topics
Guide tone lines, The jazz ii–V–I, Voicing: close, open, drop 2, shell, Extensions and tensions, Tritone substitution, Analyzing a jazz tune from a lead sheet.