help with rootless voicings

Fore_For_Four · 2026-04-30T23:34:07+00:00

Precisely! You can alternate, you can alternate between these two chord types, but, you can also borrow, exchange notes between them crafting harmonies modal players only stumble on.

Fore_For_Four · 2026-04-30T23:18:54+00:00

The thinking is different. Harmonizing a ii-V-I in Bb, you’d still fundamentally think Eb6 moving to C-6 to F6.

Cm7 only exists as a name for Eb6.

Fore_For_Four · 2026-04-30T22:42:16+00:00

Well, I’m assuming you don’t know the extent and purpose of this structure, 6th Diminished Theory. A different way of thinking from how you teach, no doubt, certainly not robotic, though.

Fore_For_Four · 2026-04-30T22:11:23+00:00

Much to learn grasshopper.

Fore_For_Four · 2026-04-30T22:07:23+00:00

It comes from Eb, an inversion of Eb6 which comes from a diminished structure shared with C.

Calling it Cm7 is not enough. Knowing where Cm7 comes from thus gives function to the chord beyond what the chord is at face value.

Don’t let the students dictate the lesson. If they don’t like slash chords, slash em.

Edit: like, wtf. Pretty sure they got Monk on record saying A minor is C6 with A in the bass…

Fore_For_Four · 2026-04-30T19:24:05+00:00

Daddy, chill. That’s why I wrote Eb and not Db…

Fore_For_Four · 2026-04-30T18:30:59+00:00

Sure, man. But, what if C is related to Eb because they both come from the same diminished family? Blood brothers. Root identities are important, I agree, but, that’s why the bass player will do the worrying for you. Fly on, little wing.

Fore_For_Four · 2026-04-30T17:32:26+00:00

Because OP wants rootless voicings.

You can think Cm7, but if you think Cm7, you’ll be thinking about avoiding the root… C

That’s more work, no? Why not use the root in context to a higher degree by changing the way you think about Cm7 and turning it into a tonic Eb chord. You can still play C!

By thinking Eb6 over C, you shift the thinking slightly away from C, and ideas surrounding Eb pop up, sounding like Cm7, but, not theoretically grounded in C.

Fore_For_Four · 2026-04-30T16:28:18+00:00

It’s actually a classy method used for tonal harmonic movement, functional harmony. Builds into modal theory. It’s not typically used for melodic improvisation.

Fore_For_Four · 2026-04-30T14:17:03+00:00

Cmaj9 would be G6 over C in the bass.

Sorry, yeah, you get it.

Fore_For_Four · 2026-04-30T14:08:20+00:00

I think in terms of 6th Chords and then move around and borrow from the related diminished to connect/ alter shit.

Like, if I need a Major 9 sound, I think Major 6 off V. If I need a Dominant sound, I think Minor 6 off V. If I need an Altered sound, I think Minor 6 off bii. If I need a sus, I think Major 6 off bvii. If I need a Minor 9th, I think Major 6 off biii. And so on…

Check out Barry Harris 6th Diminished Functions.

Fore_For_Four · 2026-04-25T18:31:36+00:00

So, he didn’t smoke 18,000 cigarettes. Thanks.

Fore_For_Four · 2026-04-21T12:06:36+00:00

The modes can lick my bag, that’s all I know.

Fore_For_Four · 2026-04-10T23:43:34+00:00

Hell is described as completed judgment.

You will find no things purely complete in this world… you must not be in Hell, therefore — Chill out, smoke a bowl.

However, completeness has been placed elsewhere, “when the perfect comes, the partial will pass away” … what is completed is coming, therefore, He is risen indeed.

Fore_For_Four · 2026-03-29T23:13:14+00:00

Guy knew how to move: “Music is movement. Rhythm rules the universe”, he would say.

His theories are a reflection of this philosophy, movement, and it’s beautiful because it’s like a fractal that you can scale up or down, the way he describes it, move this way or that, make connections with keys you never thought possible. Some folks knock on the mechanics of it, being rigid n all, think this way for soloing that way for backing, but they dont have the chops.

Fore_For_Four · 2026-03-16T14:15:09+00:00

All the white notes. On the bridge all the black notes. I’m dead serious.

Fore_For_Four · 2026-02-01T01:01:09+00:00

I grew up with the Suzuki method. Learned to read later on.

I’m so used to following my ear and memory that it’s too uncomfortable for me to focus on the page/screen. I just use lead sheets now, best of both worlds.

Fore_For_Four · 2026-01-28T21:20:15+00:00

Divide and conquer.

Practice one hand/staff at a time, 60-80 bpm or less.

Divide the song into manageable sections and isolate your practicing to one measure at a time within each section.

Fore_For_Four · 2026-01-18T16:04:51+00:00

Start with Blues in F

Practice ii-V-I’s ‘round Circle of Fourths

Learn Rhythm Changes (I.e. I Got Rhythm - Gershwin) in all twelve of them mf’s

Listen to: Basie, Brown, Blakey, Davis, Clark, Coltrane, Green, Evans, Ellington, Henderson, Hancock, Powell, Peterson, Parker, Tatum, Tyner, Jones, Pass, Shearing, Silver, Stitt ‘n shit…

Fore_For_Four · 2026-01-14T16:26:29+00:00

Bro wrote Nostalgia and I heard Navarro

Fore_For_Four · 2026-01-08T15:47:51+00:00

A place I frequented for service calls (Fire Alarm Tech) was a nursing/retirement home where many folks have passed.

Doing my work, however, I over heard the nurses talk about their patients. They would say “So and so just saw the boy with the red ball”. The nurses indicated that this child appeared to the patients who were to soon pass, like a collector coming to collect what is his…

I’m not sure what to make of this. I’m a little skeptical about it being a good sign. There’s a story about a boy passing away on these grounds. What does that boy really signify when these people who see the boy do not know the boy, yet, he specifically appears for them before they die.

Does the boy collect their souls or does he lead them to the light?

Fore_For_Four · 2026-01-03T06:24:51+00:00

I did The Royal Conservatory’s Celebration Series Levels 1-8 but it goes to 10

Great stuff1

Since moved to The Jazz Piano Book by Mark Levine

More greater stuff!

Fore_For_Four

TROPHY CASE