{"id":10770,"date":"2016-01-26T00:00:00","date_gmt":"2016-01-26T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10770"},"modified":"2024-10-14T17:36:35","modified_gmt":"2024-10-15T01:36:35","slug":"part-over-root-voicings-of-seventh-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/part-over-root-voicings-of-seventh-chords\/","title":{"rendered":"“Part-Over-Root” Voicings Of Seventh Chords"},"content":{"rendered":"

If you desire to go beyond triads and start incorporating seventh chords into your playing, the part-over-root voicing<\/strong> is certainly a voicing technique<\/em> to consider.<\/p>\n

A voicing is the consideration of the notes of a chord as voice parts<\/em>. With this approach, the notes are rearranged in a certain manner. “Part-over-root”<\/em> (POR) is just one of the several voicing techniques (aka – “rearrangements”) available to you.<\/p>\n

Seventh chords are four-note chords. Here’s the classic Cmaj7 chord:
\n
\nThere are people out there who find it challenging to play these four-note chords. However, with this voicing technique, chord tones can be rearranged in such a way that you can have triads on the right hand and still achieve an overall seventh chord.<\/p>\n

Seventh Chords<\/span><\/h2>\n

Seventh chords are basically chords that encompass seven degrees of the major scale.
\n
\nUsing the C major scale above as a reference, the seventh tone is B:
\n
\nUsing my pick and skip<\/em> principle, you can form triads and seventh chords on any key of the scale.<\/p>\n

Starting from C:
\n
\n…skip D, pick E:
\n
\n…skip F, pick G:
\n
\n…skip A, and pick B:
\n
\n…which is the seventh degree.<\/p>\n

So put together, C, E, G, and B combine together to create a C major seventh – encompassing seven degrees of the major scale.<\/p>\n

The major seventh chord is just one out of the several types of seventh chords.<\/p>\n

“What is a Part-Over-Root Voicing Though?”<\/em><\/span><\/h2>\n

Like I said earlier, a voicing is the consideration of the notes of a chord as voice parts, and also re-arranging them to move to the closest possible notes (voice leading<\/a>) when played in chord progressions.<\/p>\n

Part-over-root<\/em> voicings become very important when you want to achieve more with less.<\/p>\n

Consider this carefully…<\/strong><\/p>\n

The part-over-root voicing is a technique that breaks up<\/em> a chord into two parts. The root is isolated from the other chord tones and whatever is left is considered a part. <\/p>\n

Using the C major seventh chord…<\/p>\n

Isolation<\/em> of the root (C) from the chord and transposing it an octave below its position will produce:
\n
\n…the part-over-root voicing of C major seventh.<\/p>\n

Even though the remaining chord tones (part) is recognizably an E min triad:
\n
\n…however, with the C note on the bass:
\n
\n…this will produce a C major seventh, overall.<\/p>\n

Let’s consider the part-over-root voicing of five common seventh chord types.<\/p>\n

Chord Type #1 – Major Seventh<\/h3>\n

C major seventh chord:
\n
\n…can be played in such a way that the root is isolated from other chord tones:
\n
\nWhen the root is isolated, the chord tones that are left are known as the part<\/em>. In the case of C major seventh:
\n
\n…isolating C (and transposing it an octave lower):
\n
\n…will leave us with an an E minor part:
\n
\nThis is the part-over-root voicing of C major seventh:
\n<\/p>\n

Chord Type #2 – Minor Seventh<\/h3>\n

C minor seventh chord:
\n
\n…can be played in such a way that the root is isolated from other chord tones:
\n
\nWhen the root is isolated, the chord tones that are left are known as the part<\/em>. In this case, isolating C:
\n
\n…will leave us with an Eb major part:
\n
\nThis is the part-over-root voicing of C minor seventh:
\n<\/p>\n

Chord Type #3 – Dominant Seventh<\/h3>\n

C dominant seventh chord:
\n
\n…can be played in such a way that the root is isolated from other chord tones:
\n
\nWhen the root is isolated, the chord tones that are left are known as the part<\/em>. In this case, isolating C:
\n
\n…will leave us with an E diminished part:
\n
\nThis is the part-over-root voicing of C dominant seventh:
\n<\/p>\n

Chord Type #4 – Half-Diminished Seventh<\/h3>\n

C half-diminished seventh chord:
\n
\n…can be played in such a way that the root is isolated from other chord tones:
\n
\nWhen the root is isolated, the chord tones that are left are known as the part<\/em>. In this case, isolating C:
\n
\n…will leave us with an Eb minor part:
\n
\nThis is the part-over-root voicing of C half-diminished seventh:
\n<\/p>\n

Chord Type #5 – Diminished Seventh<\/h3>\n

C diminished seventh chord:
\n
\n…can be played in such a way that the root is isolated from other chord tones:
\n
\nWhen the root is isolated, the chord tones that are left are known as the part<\/em>. In this case, isolating C:
\n
\n…will leave us with an Eb diminished part:
\n
\nThis is the part-over-root voicing of C diminished seventh:
\n<\/p>\n

Putting It Together<\/h2>\n

Here are the part-over-root voicings of the seventh chords we’ve covered in this lesson:<\/p>\n

E minor \/ C (aka – “C major seventh”):
\n
\nAfter isolating the root, the remaining chord tones (part) of the major seventh chord is a minor<\/a> triad.<\/p>\n

Eb major \/ C (aka – “C minor seventh”):
\n
\nAfter isolating the root, the remaining chord tones (part) of the minor seventh chord is a major<\/a> triad.<\/p>\n

E diminished \/ C (aka – “C dominant seventh”):
\n
\nAfter isolating the root, the remaining chord tones (part) of the dominant seventh chord is a diminished<\/a> triad.<\/p>\n

Eb minor \/ C (aka – “C half-diminished seventh”):
\n
\nAfter isolating the root, the remaining chord tones (part) of the half-diminished seventh chord is a minor<\/a> triad.<\/p>\n

Eb diminished \/ C (aka – “C diminished seventh”):
\n
\nAfter isolating the root, the remaining chord tones (part) of the diminished seventh chord is a diminished<\/a> triad.<\/p>\n

Check out how it looks in tabular form below:<\/p>\n

\n\n\n\n\n\n\n\n\n
\n

Seventh Chord<\/b><\/p>\n<\/td>\n

\n

Part Over Root<\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Major seventh<\/p>\n<\/td>\n

\n

E minor \/ C<\/p>\n<\/td>\n<\/tr>\n

\n

Minor seventh<\/p>\n<\/td>\n

\n

Eb major \/ C<\/p>\n<\/td>\n<\/tr>\n

\n

Dominant seventh<\/p>\n<\/td>\n

\n

E diminished \/ C<\/p>\n<\/td>\n<\/tr>\n

\n

Half-diminished seventh<\/p>\n<\/td>\n

\n

Eb minor \/ C<\/p>\n<\/td>\n<\/tr>\n

\n

Diminished seventh<\/p>\n<\/td>\n

\n

Eb diminished \/ C<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

In Jazz and other popular music styles, seventh chords are often times written as part-over-root<\/strong>. For example, F major \/ D…<\/p>\n

…is the part-over-root voicing of the D minor seventh chord.<\/p>\n

Final Words<\/h2>\n

Part-over-root voicings of seventh chords use triads on the right hand over a bass note on the left.<\/p>\n

75% of the classes of triads we covered in our 16-week chord revival program<\/a> are used here – major<\/a>, minor<\/a> and diminished<\/a> triads. This means that knowledge of all triad qualities in all 12 keys is important.<\/p>\n

I hope to take you to the next level in another post where I’ll be showing you the secrets to the formation of various qualities of seventh chords in all keys.<\/p>\n

Bye for now.<\/p>\n

P.S.<\/p>\n

If you haven’t joined our 16-week chord revival program, click here<\/a> to check it out.<\/p>\n","protected":false},"excerpt":{"rendered":"

If you desire to go beyond triads and start incorporating seventh chords into your playing, the part-over-root voicing is certainly a voicing technique to consider.<\/p>\n","protected":false},"author":9,"featured_media":22963,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[1971],"class_list":["post-10770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-part-over-root-voicings","post-wrapper","thrv_wrapper"],"yoast_head":"\n"Part-Over-Root" Voicings Of Seventh Chords - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"If you desire to go beyond triads and start incorporating seventh chords into your playing, the part-over-root voicing is certainly a technique to consider.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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