{"id":12043,"date":"2016-02-09T00:00:00","date_gmt":"2016-02-09T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12043"},"modified":"2024-10-14T06:14:56","modified_gmt":"2024-10-14T14:14:56","slug":"part-over-root-voicings-of-the-minor-seventh-chord","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/part-over-root-voicings-of-the-minor-seventh-chord\/","title":{"rendered":"Demystified: “Part-Over-Root” Voicings of the Minor Seventh Chord"},"content":{"rendered":"

Having covered the basics of the part-over-root voicing technique<\/a>, it’s important for us to explore various chord qualities, especially the chord qualities used in the 2-5-1 chord progression.<\/p>\n

In a previous post, we covered “part-over-root” voicings of the major seventh chord<\/a>. In this sequel post, we’ll be looking at chord formation of the minor seventh chord using the part-over-root voicing technique<\/em>.<\/span><\/p>\n

If you invest the next 60 minutes or so, you’ll be learning how to achieve an overall minor seventh chord with simple right-hand major triads.<\/p>\n

Attention:<\/strong> If you are not familiar with major triads, you may find this post challenging at some point. Therefore, it is advised that you check out this post on major triads<\/a> before going beyond this point.<\/p>\n

Quick Review of the Part-Over-Root Voicing Technique<\/h2>\n

Let’s quickly review the part-over-root voicing technique.<\/p>\n

One of the easiest minor seventh chords to play on the keyboard is the D minor seventh chord:
\n
\n…which is pretty much a collection of four white notes stacked together by intervals of thirds<\/a>.<\/p>\n

When we are talking about voicing, this simply refers to the consideration of the notes of a chord as voice parts – soprano, alto, tenor, and bass.<\/em><\/p>\n

In the case of the D minor seventh chord above…<\/p>\n

D<\/strong> is bass
\nF<\/strong> is tenor
\nA<\/strong> is Alto
\nC<\/strong> is soprano<\/p><\/blockquote>\n

This consideration leads to the rearrangement of the notes of a chord from the regular keyboard style:<\/em>
\n
\n…to create new arrangements (aka – “voicings”) using voicing techniques.<\/p>\n

Using the part-over-root voicing technique, the root of the D minor seventh chord (which is D) is played an octave lower. <\/p>\n

This produces a minor seventh chord whose root is isolated from other chord tones and that’s the idea.<\/p>\n

Further reading: Part-Over-Root Voicings Of Seventh Chords<\/a>.<\/p>\n

Considering that we’ve already covered part-over-root voicings of seventh chords, allow me at this point to get into the main business of this post.<\/p>\n

Harmonic Analysis of the Minor Seventh Chord<\/h2>\n

The part-over-root voicing of the D minor seventh chord is F major over D<\/em>:
\n
\nLet’s do a harmonic analysis of this voicing.<\/p>\n

Simply put, F is the part and D is the root<\/em>. If you are familiar with the D minor scale:
\n
\n…you’ll easily notice the relationship between F and D as the third and first tones of the D minor scale.<\/p>\n

Considering that F:
\n
\n…is the third tone in the D natural minor scale, we can actually describe the D minor seventh chord in terms of part<\/strong> and root<\/strong> as…<\/p>\n

A major triad built on the third degree of the D minor scale.<\/p><\/blockquote>\n

Suggested reading: Major Triads<\/a>.<\/p>\n

If this is true for the D minor scale, then building a major triad on the third tone of any other minor scale on the keyboard will produce the minor seventh chord.<\/p>\n

“What Other Easier Way Can I figure out The Third Degree Of The Minor Scale?”<\/strong><\/em><\/h3>\n

If you’re not so familiar with the minor scale, don’t panic.<\/p>\n

I’m going to show you the easiest way to know the particular note that is the third degree of the minor scale of any given key.<\/p>\n

In between the first and third tones of any minor scale is a minor third interval. In the D minor scale:
\n
\n…where the first and third tones are D and F:
\n
\n…we can break it down further into half steps. From D to F consists of three half steps.<\/p>\n

D-Eb (1 half step):
\n
\nEb-E (2 half steps):
\n
\nE to F (3 half steps):
\n
\nTherefore, the distance between the first and third tones of the minor scale is three half steps.<\/p>\n

Three half steps from C is Eb:
\n
\n…therefore, the third tone of the C minor scale is Eb.<\/p>\n

Three half steps from Eb is Gb:
\n
\n…therefore, the third tone of the Eb minor scale is Gb.<\/p>\n

However, while using this easier route, it’s possible to arrive at wrong spellings if you’re not careful. This is because of homonyms in music<\/a>. Here’s what I mean…<\/p>\n

Three half steps from C can also be seen as D#:
\n
\n…however, the third tone of the C minor scale is not<\/strong> D#.<\/p>\n

Three half steps from Eb can be seen as F#:
\n
\n…however, the third tone of the Eb minor scale is not<\/strong> F#.<\/p>\n

If you’re guilty of the musical equivalent of spelling “their” as “there”<\/a>, then sign up for our new course on intervals<\/a> and overcome these spelling dysfunction.<\/p>\n

Chord Formation Exercises In All Keys<\/h2>\n

Let’s do a chord formation exercise in all keys.<\/p>\n

I cannot overemphasize the benefits of this exercise if practiced in all keys. One thing is sure and that is mastery of the minor seventh chord in all keys.<\/p>\n

Duration: <\/strong>Each exercise should last for 5 minutes. Don’t be in a hurry. Remember that repetition is the mother of skill. If you really want to master minor seventh chords<\/strong> in all keys, yield yourself to this exercise. At the very most, this exercise shouldn’t exceed one hour.<\/p><\/blockquote>\n

These exercises are arranged to follow the musicical clock (aka – “circle of fifths\/fourths”):
\n\"circleoffiths1\"
\n…and we’ll be going clockwise from Am to Em, to Bm, etc., using the inner circle.<\/p>\n

Exercise #1 – A minor seventh<\/h3>\n

Formation of the A minor seventh chord will require knowledge of the A minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are A and C:
\n
\n…respectively.<\/p>\n

With the A note on the bass, building a major triad on the third degree of the A minor scale (which is C) would produce C major over A<\/strong>:
\n
\n…(aka – “A minor seventh”).<\/p>\n

Exercise #2 – E minor seventh<\/h3>\n

Formation of the E minor seventh chord will require knowledge of the E minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are E and G:
\n
\n…respectively.<\/p>\n

With the E note on the bass, building a major triad on the third degree of the E minor scale (which is G) would produce G major over E<\/strong>:
\n
\n…(aka – “E minor seventh”).<\/p>\n

Here are the other 10 part-over-root voicings for the remainder keys…
\n[thrive_lead_lock id=’11374′]<\/p>\n

Exercise #3 – B minor seventh<\/h3>\n

Formation of the B minor seventh chord will require knowledge of the B minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are B and D:
\n …respectively.<\/p>\n

With the B note on the bass, building a major triad on the third degree of the B minor scale (which is D) would produce D major over B<\/strong>:
\n
\n…(aka – “B minor seventh”).<\/p>\n

Exercise #4 – F# minor seventh<\/h3>\n

Formation of the F# minor seventh chord will require knowledge of the F# minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are F# and A:
\n
\n…respectively.<\/p>\n

With the F# note on the bass, building a major triad on the third degree of the F# minor scale (which is A) would produce A major over F#<\/strong>:
\n
\n…(aka – “F# minor seventh”).<\/p>\n

Exercise #5 – C# minor seventh<\/h3>\n

Formation of the C# minor seventh chord will require knowledge of the C# minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are C# and E:
\n
\n…respectively.<\/p>\n

With the C# note on the bass, building a major triad on the third degree of the C# minor scale (which is E) would produce E major over C#<\/strong>:
\n
\n…(aka – “C# minor seventh”).<\/p>\n

Exercise #6 – G# minor seventh<\/h3>\n

Formation of the G# minor seventh chord will require knowledge of the G# minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are G# and B:
\n
\n…respectively.<\/p>\n

With the G# note on the bass, building a major triad on the third degree of the G# minor scale (which is B) would produce B major over G#<\/strong>:
\n
\n…(aka – “G# minor seventh”).<\/p>\n

Exercise #7 – Eb minor seventh<\/h3>\n

Formation of the Eb minor seventh chord will require knowledge of the Eb minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are Eb and Gb:
\n
\n…respectively.<\/p>\n

With the Eb note on the bass, building a major triad on the third degree of the Eb minor scale (which is Gb) would produce Gb major over Eb<\/strong>:
\n
\n…(aka – “Eb minor seventh”).<\/p>\n

Exercise #8 – Bb minor seventh<\/h3>\n

Formation of the Bb minor seventh chord will require knowledge of the Bb minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are Bb and Db:
\n
\n…respectively.<\/p>\n

With the Bb note on the bass, building a major triad on the third degree of the Bb minor scale (which is Db) would produce Db major over Bb<\/strong>:
\n
\n…(aka – “Bb minor seventh”).<\/p>\n

Exercise #9 – F minor seventh<\/h3>\n

Formation of the F minor seventh chord will require knowledge of the F minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are F and Ab:
\n
\n…respectively.<\/p>\n

With the F note on the bass, building a major triad on the third degree of the F major scale (which is Ab) would produce Ab major over F<\/strong>:
\n
\n…(aka – “F minor seventh”).<\/p>\n

Exercise #10 – C minor seventh<\/h3>\n

Formation of the C minor seventh chord will require knowledge of the C minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are C and Eb:
\n
\n…respectively.<\/p>\n

With the C note on the bass, building a major triad on the third degree of the C minor scale (which is Eb) would produce Eb major over C<\/strong>:
\n
\n…(aka – “C minor seventh”).<\/p>\n

Exercise #11 – G minor seventh<\/h3>\n

Formation of the G minor seventh chord will require knowledge of the G minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are G and Bb:
\n
\n…respectively.<\/p>\n

With the G note on the bass, building a minor triad on the third degree of the G minor scale (which is Bb) would produce Bb major over G<\/strong>:
\n
\n…(aka – “G minor seventh”).<\/p>\n

Exercise #12 – D minor seventh<\/h3>\n

Formation of the D minor seventh chord will require knowledge of the D minor scale:
\n
\nTwo important notes in this scale are the first and third tones which are D and F:
\n
\n…respectively.<\/p>\n

With the D note on the bass, building a major triad on the third degree of the D minor scale (which is F) would produce F major over D<\/strong>:
\n
\n…(aka – “D minor seventh”).
\n[\/thrive_lead_lock]<\/p>\n

To a large extent, the “part-over-root” voicing of minor seventh chords depend on one’s familiarity of major triads<\/a> in all keys.<\/p>\n

Also, if you’re interested in another set of twelve exercises for major seventh chords, click here<\/a>.<\/p>\n

Final Words<\/h2>\n

Think about the ease of using major triads to achieve an overall minor seventh chord.<\/p>\n

In contemporary times, triads are almost labeled “old school”<\/em> because everyone is crazy about complicated and altered chords.<\/p>\n

However, with the “part-over-root” voicing technique, every serious pianist can make triads more useful.<\/p>\n

I am privileged to share the little I know about this subject with you. Now that we’re done, I hope you realize that it’s your duty to make this exercise an active part of your practice warmup for the next few days.<\/p>\n

It’s bye for now.<\/p>\n

All the best!<\/p>\n

P.S.<\/p>\n

Our FREE 16-week chord revival program<\/strong> is on!<\/p>\n

We’re covering major triads<\/a> and 15 other chords, including triads, sixths, sevenths, ninths, and more.<\/p>\n

If every effort towards mastery of chords has defied you, our 16-week program will certainly put all chord qualities within your grasp.<\/p>\n

Yes! I want to join this FREE 16-week chord revival program<\/span><\/strong><\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Learn how to use the “part-over-root” voicing technique to form the minor seventh chord in all 12 keys by simply knowing major triads.<\/p>\n","protected":false},"author":9,"featured_media":22946,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[193,1971],"class_list":["post-12043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-minor-seventh-chords","tag-part-over-root-voicings","post-wrapper","thrv_wrapper"],"yoast_head":"\nDemystified: "Part-Over-Root" Voicings of the Minor Seventh Chord - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Learn how to use the "part-over-root" voicing technique to form the minor seventh chord in all 12 keys by simply knowing major triads.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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