Our rootless voicings have A and B variations, just like our 3-note voicings. In the diagrams below I've notated them using the 7th, but practice swapping the 7 for the 6 as well.

Feel free to pick either version, depending on how you are feeling in the moment. The minor-2nd interval created between the 7th and the root is highly dissonant, where the 6th is much more consonant.īeyond melodic considerations, the two chords have similar but unique sound qualities. Most importantly, when the melody note is the root of the chord, you'll almost always want to play the 6 instead of the 7. Any time you see a major-7th chord in a tune, you should consider whether to play the 7 or the 6 in the voicing.

Some of my literalist friends freak out about it, but its actually quite common. It might sound odd to have a 7th chord without the 7th in it. So, take time to learn these in both hands. But just as important, playing these in your left hand will give you freedom to improvise with your right. Rootless voicings are useful to fill out chords in your right hand, while you left plays a bass line. On top of that, we add the 5th back to the chord and the 9th as well. Rootless voicings make your major-7th chords sound rich and full.Īs you can tell from the name, rootless voicings remove the root from the chord. Interactive piano diagram for the D flat minor/major seventh chord. The chord itself is often abbreviated as Dbm/ma7. You can see these notes highlighted in the interactive piano chart below. Once you've mastered your 3-note voicings, we can upgrade to rootless voicings. The D flat minor/major seventh chord is a 4-note chord consisting of the notes Db, Fb, Ab and C.

D flat major seventh chord