Rootless chords

[samsurfing]

Hey all, im only just discovering rootless chords, and was wondering if anyone could give me some tips on when to use them and even voicing them right!

For instance one of the ways i would play an Fmaj9: ACE/GAC (bass players holding down the root F)

but i dont have a clue if this is right or ive got it terribly wrong?
can anyone help me!

sam.

[SupremeSaltine]

Great sound, isn't it?  When I first learned about jazz style voicings it opened up the world to me. 

There's a whole board here devoted to the subject: The Organ Forum

Think about it. Organ players kick the root (usually) with their left foot, so they play two handed voicings that frequently omit the root-just like jazz piano players do.

Just keep listening.  You're exploring "extensions". 9ths and 13ths add life and "air" to solid "locked in" triad style voicings. (Like FAC or ACE).  Play A (below middle C) and then stack D-G-C on it.  (Another F major voicing, very simple and light.  This is called a major 6/9 voicing.)  There are a ton of possibilities.  Your voicing as you wrote it could be Fmaj9, Amin7, Dmin11, Bbmaj7#11  depending on the root.

Look into jazz piano voicings and the organ forum.
 

[byronbevon]

Hi man

can you please send me the way to create these type of chords( 2 hand chords ) please help me with these type of chords.
I like the sound of those chords, please help me, please

Thanks Guys
Byron

[mamundds]

Bill Evans, along with Oscar Peterson, Wynton Kelly, and others, adapted and further refined a style of piano voicings that had been started by such pianists as Ahmad Jamal and Red Garland and is today known as "rootless voicings".
The essential feature of these voicings is that the piano does not play the root of the chord, which is instead played by the bassist.
For each of these "rootless" chords, the pianist plays the 3rd and then adds three more notes. For example, the general chord structure for some rootless chords is.

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[bug]

There is no one right way and no one wrong way to voice rootless chords. Once the root is gone the foundation is gone. It's like a house with no basement so it is very shaky. It is experimental. You can find a dozen names for what to call a chord with no root. Since there are twelve tones any tone can be a melody and any tone can be the bass. You have twelve options constantly. That ought to keep you thinking for a long time. There is no end of learning.