Solo Jazz Piano Part 2 - Combining Rootless & Spread Voicings
Tommy Flanagan's solo over the changes to the tune "The Very Thought of You," from his 1977 Denon release "Alone Too Long," opens this lesson and serves as a model for the use of spread and rootless voicings in solo jazz piano. This lesson builds on Solo Jazz Piano Part 1, in which the technique of playing solo jazz piano was established with the use of spread voicings. In addition to the analysis of Tommy Flanagan's transcription, "Come Rain or Come Shine," I Hear a Rhapsody," "These Foolish Things" and two more standard tunes are realized using these voicing techniques in this lesson.
Watch the Lesson
Practice Session 1 - Combining Rootless & Spread Voicings for Five Tunes
Practice Session 2 - Playing Solo Piano with Spread & Rootless Voicings for Five Tunes
Q: In measure 4 of the opening transcription, you say that he plays rootless voicings in the right hand and the root in the left hand. Why don't you consider that to be spread voicings?
A: I refer to spread voicings as those voicings which support the melody with an incomplete voicing of just two notes, usually the guide tones, 3 and 7 of the chord of the moment. In the case of measure 4, there is a complete rootless voicing and there is no melody so I considered that to be a rootless voicing over the root instead of a spread voicing.
Listen to Tommy Flanagan play the introduction to this lesson, "The Very Thought of You," on his 1977 Denon album, "Alone Too Long."