Piano Voicing Mnemonics

I. One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 3 7 9 &E wwwB D Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice

ww
&E bBb
C7 3 b7 9 w D Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice

ww
&Ebb bBb
C- b3 b7 9 w D Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 7 3 5 &B wwE G Look at triad and lower root a half step

w
C7 b7 3 6 &Bb wwE A Look at triad and “spread out” outer voices a whole step
bw
&Bb bEb
w
b ww
C- b7 b3 5 G Look at minor triad and lower root a whole step

Common LH Chord Fingering: 5 2 1 Common RH Chord Fingering: 1 3 5

(exception -- category B dominant 7 voicing: 1 2 5)
II. II V I Progression in Major

A. Chord Qualities
1. II chord is minor 7 (II-)
2. V chord is dominant 7 (V7)
3. I chord is major 7 (I∆)

B. Example in the key of C

& œ œ œ œ œ œ œ
1 2 3 4 5 6 7 1
1. C major scale: C D E C F G A B

1 2œ 3 4 5 6 7 1

2. II V I in the Key of C: D- G7 C∆

note: any 3 chords in a row progressing counterclockwise around the circle is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a
II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.

C. Good voice-leading: 3rd to 7th and 7th to 3rd

1. the 7th moves down a half step to become the 3rd of the next chord
2. the 3rd stays on the same note to become the 7th of the next chord

Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd
of the V7); the other two notes remain the same

1
 Example 1: Category A to B to A
KEY OF C

±
w ww ww
&Eww
II- V7 I∆ D-
D- G 7G7 C C∆

w EB w
W
9 6 W 9 H
W D
b7 H 3 7 C H H
B
b3 b7 H 3 F F H E

KEY OF F

II- V7 I∆ G-G - CC7

7 F ± F∆
& ww ww ww G
bw bw w E
9 6 W 9 A H
A WW
b7 H 3 7 F H E H
b3 b7 H 3 Bb Bb H A
___________________________________________________________________________________________________________

KEY OF Bb

±
B b Bb∆
w w ww
II- V7 I∆ C- C - F7

&Db b ww
F7

bDAww w
W
9 6 W 9 H W C
b7 H 3 7 Bb H H A
b3 b7 H 3 Eb Eb H D

___________________________________________________________________________________________________________

Example 2: Category B to A to B
KEY OF C

II- V7 I∆ D-
D- G 7G7 C± C∆

& ww ww ww
5
b3
9
b7
W
H
5
3
A
F w H
A WW
F HH w
G
E w
b7 H 3 7 C H B B
___________________________________________________________________________________________________________

KEY OF F

± F∆
w b ww ww C
II- V7 I∆ G-G - CC7 F

& b ww
7

w w
W
5 9 W 5 D D HW
b3 b7 H 3 Bb H
Bb H A
b7 H 3 7 F H E E
___________________________________________________________________________________________________________

KEY OF Bb

II- V7 I∆ C- C - F7
F7 ±
B b Bb∆
&G b ww bEbGww ww
bw w w
5 9 W 5 WW F
b3 b7 H 3 Eb H
HH D
b7 H 3 7 Bb H A A

2
IV. One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

w C
b b wwBb
& Gb
CØ b3 b5 b7 R Eb
bw m7b5 chord in first inversion (b3 on bottom, root on top)

C7alt 3 #5 b7 b9 b bBb
E G# ww Db
& # ww think category A dominant 7 voicing, lower 9th (and add #5 which is a
whole step below the b7)

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

& bC b Eb
ww Gb
b ww
CØ b7 R b3 b5 Bb m7b5 chord in third inversion (b7 on bottom, “point” to root)

C7alt b7 b9 3 #5 & Db# wEw G#

Bb
b b ww think category B dominant 7 voicing, lower 6th (and add b9 which is a half
step above the root)

Common LH Chord Fingering: 5 3 2 1 Common RH Chord Fingering: 1 2 3 5

note: for Category B half diminished chord, use 5 4 2 1

V. II V I Progression in Minor

A. Chord Qualities
1. II chord is half diminished (IIØ)
2. V chord is dominant 7 altered (V7alt)
3. I chord is minor (I-)

B. Example in the key of C minor: DØ G7alt C-

C. Good voice-leading: 3rd to 7th and 7th to 3rd

1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step
and the lower note moves down a half step (the other two notes remain the same), then you’re automatically on the V7
alt chord
2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step

3
 ø
Example 1: Category A to B to A
KEY OF C MINOR

w b # wwwD#w b wwwD
& b Dwww
IIØ V7alt I- DDØ G 7G7alt
alt -
CC-

b wBb
H H
H H
R H b5 H 9 H HH
b7 H 3 H b7 C H B WH
b5 b9 H 5 Ab Ab H G
b3 b7 W b3 F F W Eb

ø
KEY OF G MINOR

IIØ V7alt I- AAØ DD7alt

7alt -
GG-

& b Awww # b #A#

www wwA
w w b wwF
H H
R H b5 H 9 HH H
H
b7 H 3 H b7 G H F# H
H
W
b5 b9 H 5 Eb Eb H D
b3 b7 W b3 C C W Bb

ø
Example 2: Category B to A to B
KEY OF C MINOR

IIØ V7alt I- DDØ G 7G7alt

alt -
CC-

& b Ab
ww bw
# wwwAb wG
ww b b wwEbw
b5 b9 H 5 H
WH
b3 b7 W b3 F H
H F HW
H
R H #5 H 9 D H D# H D
b7 H 3 H b7 C H B H Bb

ø
KEY OF G MINOR

b w bw b wwwDw
www # #Ebwww
IIØ V7alt I- A
AØ D
D7alt
7alt -
GG-

& Eb
H
W
b5 b9 H 5 H HH
H
b3 b7 W b3 C C H
W Bb
R H #5 H 9 A H A# H A
b7 H 3 H b7 G H F# H F

4
 5

Common Two-Handed Piano Voicings

(two notes in the LH, three notes in the RH)**

Symbol Scale Name Scale Two-Hand Voicings* Mnemonic 5

& 5 www
A
C D E(F)G ACommon Two-Handed Piano
A D GVoicings
œ œ
C Major BC A 3 6 9 5 R (E C) RH pinky on the root, come down in 4ths
&avoid tone:œ4thœ(F)œ
œ œ œ
(two
( )
notes in the LH, three
R notes in the RH)**
in both hands

A 3 6 9w
? 63 w5 7 (E A D G B)
avoid tone: 4th (F) 9
Symbol Scale Name Scale Two-Hand Voicings* Mnemonic
same as above - just lower top note � step5
C Major C D E(F)G A B C A 3 6 9 5 R (E A D G C) RH pinky on the root, come down in 4ths
Common
avoid tone: 4th (F)
Two-Handed Piano
B 7 3 6 9 5 (B E A D Voicings
G) RH pinky on the 5th, come down in 4ths
in
in both
both hands
hands
A three notes in the RH)**
(two notes in the LH,

Symbol Scale Name Scale & www

A 3 6 79 5 7Voicings*
Two-Hand
5
(E A D G B) same
Mnemonicas above - just lower top note � step

? 6 ww Piano Voicings
C7 Mixolydian C D E(F)G A Bb C A 3 b79 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths5
C Major
5th mode of maj C D E(F)G
avoid tone: A
4thB(F)
C A 73 36 69 95 5R (B
B (E E
AADD
G G)
C) RH
RH
in RH;
pinky
pinky on the 5th,
3 &onb7thein root,
come down in 4ths
LH come down in 4ths
Common
avoid tone: 4th (F) Two-Handed in both hands
3 in both hands
(two notes in theBLH, b7 3three 6 9 5notes
(Bb EinAthe D G)RH)** RH pinky on the 5th, come down in 4ths

ww
A 3B6 9 5 7 (E A D G B) in
sameRH;asb7 & 3 in
above LHlower top note � step
- just
7 pinky on the root, come down in 4ths5

& w
C
Symbol Mixolydian
Scale Name C D E(F)G A Bb C
Scale A
Two-Hand 3 b7 9 5 Voicings*
R (E Bb D G C) RH
Mnemonic
5
5th mode of maj avoid tone: 4th (F) B 7 3 966 9 5 (B E A D Voicings
G) in
RHRH; pinky3 &onb7thein 5th,
LH come down in 4ths

w
Common Two-Handed RPiano

? w
C-
C Dorian
Major Eb F GAABBb
C D E(F)G CC A 3b36b7 9 59R5 (E (Eb
A DBbG D C)G C) RH pinky
in both hands on the root, come down in 4ths
2nd mode of maj avoid tone: 4th (two
(F)notes in theBLH, b7 3three 6 9 5notes
(Bb EinAthe D G)RH)** RH pinky on the 5th, come down in 4ths
3 RH ; hands
in both b3 & b7 in LH
7 in RH; b7 & 3 in LH
Symbol
7 Scale Name Scale Two-Hand Voicings* Mnemonic
C Mixolydian C D E(F)G A Bb C B b7 b3
A 3 6b799557R(E(EABb 5 R 4 (Bb DGEb G
D B)
G C)C F) “point”
same
RH pinkyas to R inthe
above
on -RH
just and
root, lower go up
come top anote
down4thinand step
�4ths
5th mode of maj avoid tone: 4th (F) down
in RH; a 4th; b7
3 &onb7the & b3
in root, in LH
LH come down in 4ths
C
C- Major
Dorian C D E(F)G
Eb F GA ABBbCC A 3b36b7 9 59R5 (E R (EbA DBbG D C)G C) RH pinky
avoid tone: 4th (F) B 7 3 6 9 5 (B E A D G) RH pinky on the 5th, come down in 4ths 5
2nd mode of maj in both; hands
RH hands
b3on& the
b7 in LHcome down in 4ths
B b7 3 6 9 5 (Bb E A D G) in
RHbothpinky 5th,
ø
C Locrian C(Db)Eb F Gb Common Two-Handed
Ab Bb C R b5 b7 b3 b6 Piano
(C Gb
GVoicings
Bb Eb Ab) in RH;
think A b7 & 3
voicing in ofLH dominant 7 chord up a

ww
B 3b76A
A b39 557R(E A DEb
4 (Bb B)
G C F) same
“point” as toaboveø -RH
R in justand lower topanote
go up 4th and� step

œ bœ œ &
7th mode of maj avoid tone: b9th (Db)
(two notes in the LH, three notes in the RH)** raised 5th (C = Ab7)
&Cœ D œE(F)G )A œBb C
œF G( œ4th
w
7 down a 4th; b7 & b3 in LH
C Mixolydian A Bb C A 3 b7R 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths
B 7 3b7 6 9 55(B E ABb D G) RH pinky on the 5th, come
comedown inin4ths
4thsa5
R 459b79b3

? ww
b
C-
Symbol Dorian
5th mode
Scale Nameof maj C D Eb
avoid
Scale tone: (F) b5 b3
A
Two-Hand R(Gb(Eb
Voicings* C F Bb DG C)
Eb) RH
in pinky
RH;
think
Mnemonic &onb7the
B3hands
voicing inofroot,
LH dominant down
7 chord up
2nd mode of maj avoid tone: 4th (F) in both ø
ø raised
in RH 5th
; b3 (C
& b7= Ab7)
in LH
C
C
Locrian
Major
C(Db)Eb F Gb
C D E(F)G A B C
Common
Ab Bb C Two-Handed R
B b5
A
b7b7b3 b6Piano
3b76339659R5(E
(C Gb
(Bb A ED A
Bb
GD
Voicings
Eb Ab)
C)G)
think A voicing of5th,
RH pinky onøthe root,come
dominantdown 7 chord up a
come downinin4ths 4ths
7th mode of maj avoid tone:
avoid tone: 4th (F) (two
b9th notes
(Db) in the LH, three
B b7 b3 5 R 4 (Bb Eb G C F) notes in the RH)** raised
in RH;
“point” 5th
b7 (C
& 3 =
in Ab7)
LH
to R in RH and go up a 4th and
C 7 Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) in both hands
RH pinky on the root, come down in 4ths

ww
o Diminished C D Eb F Gb down a 4th; chord
b7 & b3 in onLHthe bottom;
C
Symbol 5th mode
Scale Nameof maj avoid
Scale tone: 4thAb(F)A B C aTwo-Hand
b5tritone R B 4 b7in b3
each hand
Voicings*
(Gb C Fwith a
Bb Eb) start
in RH;on
Mnemonic
think B3any & b7 inofLH
voicing tone
dominant 7 chord up a

w
A 3 6 3rd9 5between
7 (E A D G B) same aas above - just it,lowerthentop note � step

&
(whole-half) minor hands play
raised tritone
5th
øabove
(C the= Ab7) skip a minor
C- Dorian C D Eb F G A Bb C A b3 b7 5 9 5 R (Eb Bb D G C) RH pinky on root, come down in 4ths
Cø Major C D E(F)G A B C (e.g.,
B
A b7
3 6C399Gb
65 9RA5(E Eb)
(Bb A ED A
G D
C) G) 3rd
RH between
pinky on hands;
the 5th,
root,then
come play
come a tritone
down
down inin 4thsin
4ths

w
C 2nd mode of maj
Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 66b3 b6 (C Gb Bb Eb Ab) in RH
think A ;b7
b3 &3the
voicingb7inofin LHcome down
dominant 7 chord up a

? bw
avoid tone: 4th (F) B 7 3 9 5 (B E A D G) RH
the
in pinky
RH
RH; on
& 5th,
LH in 4ths
in
in both
both5th hands
hands ø
7th mode of maj avoid tone: b9th (Db) 3 raised (C = Ab7)
Co Diminished C D Eb F Gb Ab A B C B
a tritone b7 b3 b7 in5 each
R 4 (Bb handEbwithG Ca F) “point”
start on to anyR chord
in RHtone and on go the
up abottom;
4th and
(whole-half) A
minor 3 6 3rd9 5between
7 (E A D G B)
hands same
down
play aas
a above
4th;
tritoneb7 -&just
above b3 lower
in
it, LH
then top note
skip � step
a minor
C7sus4
C- Dorian
Mixolydian CD Eb FGGAABb
D(E)F BbCC b5
b7 b3
A R
4 64b79b759b35 R(Gb
(Bb F(EbACBbDF G)
Bb
DG Eb)
C) think
RH B
A voicing
thinkpinky on theof
voicing
ø
dominant
ofroot,
minor come 7 chord
down
7 chord upin aup
4thsa
5th
7 2nd modeof
Mixolydian ofmaj
maj C D E(F)G (e.g., C Gb A Eb) 3rd
raisedbetween
5th (C hands;
= Ab7) then play a tritone in
C 5th mode avoid tone: A 3rdBb(E)C A 3 b7 9
B 7 3 6 9 5 (B E A D G)5 R (E Bb D G C) RH
in
RH
(C7 RHpinky
sus4; b3
pinky on the
& the
= on
G-)b7 in root,
5th, come down
LHcome down in 4ths in 4ths
5th mode of maj avoid tone: 4th (F) the RH
in both
RH; 3hands
& b7 in LH
ø in
C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voicing of dominant 7 chord up a
B
4 b7 b79b35 R5 (F R 4Bb (BbDEb G C)G C F) “point”
think B to R in
ø RH
voicing and go7 up
of minor a 4th
chord upand a 5th
o
C7sus4 7th mode
Diminishedof maj avoid tone: b9th
C D Eb F Gb Ab A B C (Db) B b7 3 6 9 5
a tritone in each hand with a(Bb E A D G) raised
RH
down ona5th
pinky
startsus4 any(C =&Ab7)
onchord
4th; b7the 5th,
b3tone come
in LHthe
on down in 4ths
bottom;
Mixolydian C D(E)F G A Bb C b7 4 63rd9 5between
(Bb F Ahands D G) (C7
think = G-)
C7 (whole-half)
Mixolydian C D E(F)G minor in
playRH;aAtritone
voicing
b7 inofLH
& 3above minor
it, come7 chord
then skip aup
minora 5th
C 5th mode of maj avoid tone: A 3rdBb(E)C A
b5 3R b74 9 5b3R (Gb
b7 (E Bb C DBb
F G C)Eb) RH
think pinky
sus4
B on theofroot,
voicing dominant down
then play a tritone ina
7 chord in up4ths

ww
5th mode of maj avoid tone: 4th (F) (e.g., C A Gb A Eb) (C7
3rd
in between
RH; 3 =& G-)
hands;
b7 in LH
b œ CCœ
ø

A œBbAœCBb
&
ø raised 5th (C = Ab7)
& œ
the RH
b œ
w
C Locrian C(Db)Eb EbFEFGF# GbGAb Bb R b5“diminished”
b7 b3 b6 (C Gb Bb Eb Ab) think A any
voicing of tone
dominant 7 chord up a
œ
Diminished C
C Db any voicing D from start on onchord but the rootin(i.e.,
œ
C7b9 Dorian D Eb b39b7 9 (F
5 RBb (Eb Bb G C) RH pinky
C- A
4B b7 R5 R D G C) think B øtheof
voicing root,
minor come down
7 chord up a4ths
5th
7th mode of
(half-whole) maj avoid tone: b9th (Db) any b7 3
chord
5 6 9 5
tone (Bb
but EtheA D
rootG) RH
raised
3, 5,pinky
b7,5thoron
(C the
b9); = 5th,
Ab7)
play acome
tritonedown
above in 4ths
it,

? b ww
b
2nd mode of maj 9 in RHsus4;b7
b3 &
e.g., 3 b7 b9 5 (E Bb Db G) (C7
in
thenRH;skip =a& 3b7ininLH
G-)
minor 3rdLHbetween hands; then
Co7sus4 Diminished
Mixolydian CD Eb FGGb
D(E)F A Ab
Bb A CBC ab5
b7tritone 4 64b7
R in
9b7 each
5 b3
(Bb Fhand
(Gb AC DFwith
G) a
Bb Eb) start
play on
think any
Atritone
aB chord
voicing thetone
in of RHon7the
minor
dominant 7 bottom;
chord
chordup aup5th a
(whole-half)
5th mode of maj avoid tone: 3rd (E) B
minor b7 b3 b3 5between
3rd R 4 (Bbhands Eb G C F) “point”
play a
sus4 to R in
tritone RH and
øabove it, go up
then a 4th
skip and
a minor
raised
(C7 5th= (C
G-) = Ab7)
C7b9
C- Diminished
Dorian CD DbEb EbFEGF# AG BbACBb C (e.g.,
anyb3
A Cb7Gb9 5AREb)
“diminished” (Ebvoicing
Bb D fromG C) down
3rd
RH ona 4th;
startbetween
pinky b7the&root,
hands;
anyonchord b3toneincome
then LH
play
but thearoot
downtritone in
in(i.e.,
4ths
(half-whole) any chord tone but the root the
3, RH
5, b7, or b9); play a tritone above up it,
ww
C7alt 2nd
Supermode of maj
Locrian C Db Eb Fb Gb Ab Bb C 4A b7 3 b7 9 5#9R #5(F b9Bb(EDBb G C)D# G# Db) in RHA
think B; b3
voicing
& b7of in minor
LH 7 chord
dominant 7 chord aand
5th
o e.g., 3 b7 B b9 5 (E Bb Db G) thensus4
skip a minor 3rd between hands; then

& w
C ø 7th mode of mel min C D Eb F Gb Ab A B C
Diminished aRtritone in each hand with a �����
start
(C7 RHany
on =up � steptone on the bottom;
chord
G-)
C Locrian C(Db)Eb F Gb Ab Bb C B b5 b7
b7 b3 4 b3 b6 (C Gb Bb Eb Ab)
5between
R 4 (Bbhands Eb G C F) play
think
“point”aAtritone
voicing
to R in inRHthedominant
of RH go up7achord
and 4th and up a
(whole-half) minor R
3rd play a tritone øabove it, then skip a minor

bw
7sus4 7th mode
Mixolydianof maj avoid tone:
C D(E)F G A Bb C b9th (Db) b7 4 6 59#55 (Bb F A D G) raised
think 5th (C = Ab7)
C 3rd between hands; then play a tritone 5th
A voicing of minor 7 chord up a

? bw
B b7 3
(e.g., C Gb A Eb) b9 b5 (Bb E G# Db Gb) down
think Ba 4th; b7
voicing &of b3 in
dominant LH 7 chord and
in
5th mode of maj avoid tone: 3rd (E) ����� sus4
C7b9
7alt Diminished C Db Eb E F# G A Bb C any b3
“diminished” voicing from (C7
the
startRHonRH = down
any G-)
chord � tonestep but the root (i.e.,
Super Locrian C Db
andEb in Fb Gb Ab Bb C C7+9b5 = 3R b74b7b7 b3
#5 (Gb
#9tone b9 C BbF Bb
D# Eb) think B A voicing of dominant 7 chord up anda
C
Note: In the Jamey Aebersold books
(half-whole) ������ �������, A
any C7alt
chord but(Ethe root G# Db) 3, 5, b7, or b9);
ø play a tritone above it,
ø 7th mode of mel min raised
����� RH5th (C
up � = Ab7)
step
C Locrian C(Db)Eb F Gb Ab Bb C 4
R b7
e.g., 9 5 R (F
b53b7b7b3b9b65(C Bb(E GbD G
Bb Bb C)
DbEb G)Ab) think B voicing
A a minor 3rd
then skip of minor
dominant 7
between chord up
7 hands;
chord up a 5th
a
then
7sus4 7th mode of maj avoid tone: b9th (Db) play
(C7
raisedsus4
a tritone
5th=
ø
G-)
(C in
= the
Ab7) RH
C Mixolydian C D(E)F G A Bb C b7 4 6 9
b7 chords 5 (Bb
3 #5 b9have F
b5 (BbA D G) think A voicing of minor 7 chord up a 5th
* “Category A” chords have the 3rd in the lowest voice; “Category B B” the E7thG#inDb
theGb) think B voicing of dominant 7 chord and
lowest voice.
5th mode of maj avoid tone: 3rd (E) (C7
����� sus4
RH = down
G-) � step
**o All voicings
C have five notes withC the
Diminished D Eb exception
F Gb AbofAthe BC diminished and
ab5tritone dominant
in each 7b9
hand
R 4 b7 b3 (Gb C F Bb Eb) voicings
with a which have fouron
start
think B(two
any notes
chord
voicing ofintoneeach
dominant onhand)
the7 bottom;
chord up a
Note:
7alt In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt ø
95 5#9R #5
(whole-half)
Diminished C Db Eb E F# G A Bb C minor
any 3rd between
“diminished” hands
voicing from play
start a
on tritone
any above
chord it,
tone then
but skip a minor
C7b9
C Super Locrian Fb Gb Ab Bb C 4A b73 b7 (F b9Bb(EDBb G C)D# G# Db) raised
think B
think A5th (C = of
voicing
voicing Ab7)
of dominant
minor 7 the root
7 chord
chord up(i.e.,
aand
5th
(half-whole)
7th mode of mel min (e.g.,
any chordC Gbtone A Eb) but the root 3rd
3, between
5,sus4
����� b7,
RHorupb9);hands;
� playthen
step play aabove
a tritone tritone it, in
e.g., 3 b7 b9 5 (E Bb Db G) (C7RH
the
then skip=aG-)minor 3rd between hands; then
* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice.
o b7 3 #5 b9 b5 (Bb E G# Db Gb) play
think aBtritone
voicing in of
thedominant
RH
** All voicings
C have five notes withC the
Diminished D Eb exception
F Gb AbofAthe BC diminished B and dominant
a tritone in each 7b9 handvoicings
with a which have fouron(two
start any notes
chord intone
each the7 bottom;
onhand) chord and
����� RH down � step
 C
Symbol MajorName
Scale C D E(F)G A B C
Scale A 3 6 9 5 RVoicings*
Two-Hand (E A D G C) RH pinky on the root, come down in 4ths5
Mnemonic
C7 Mixolydian C D E(F)G
avoid tone: A 4thBb (F)C B 3b7b7b3955RR4(E(Bb
A BbEbD G C)C F) “point”
RH pinky to on
R intheRH root,andcome go updowna 4thinand 4ths
B b7
7 3 36 6 9 9 5 5(B(BbE EA DA G)
D G) in
RH
downboth a3hands
pinky 4th;onb7
b7 the&5th,
b3 in comeLH down in 4ths
C- 5th mode of maj
Dorian
Major avoid
C D Ebtone:F
C D E(F)G ACommon G4th
A Bb
BC (F) C A
Two-Handedb3
A 3 6 9 5 R (E b7 9 5 R (Eb
Piano Bb D
C)G C)
A D GVoicings in
RH
RH RH;
pinky
pinky & on
on in
the LH
root, come down in 4ths
C RH;
in both b7
hands& 3the in root,
LH come down in 4ths
2nd mode of maj (two (F)notes in theALH, 5
avoid tone: 4th 3 6 three 9 5 7 (E notesA DinGtheB) RH)**in
in RH
samebothas; hands
b3 & b7- just
above in LH lower top note � step

& b b ww
B b7 3 6 9 5 (Bb E A D G) RH pinky on the 5th, come down in 4ths
C œTwo-Handed
BbCC b œ
&C(Db)Eb Gbb œAbb œBb
b œF Gœ(two
ø
F Common Piano Voicings
D( b œEb
in RH;Ab7 & 3 in LH
œD
bw
C Locrian R b5
b7 b7b3 b3 5 b6R 4(C Gb
(Bb Bb
Eb GEbG
C Ab)
F) think
“point” voicing of5th,dominant 7achord up a
Symbol
C-
C7
Scale Name
Dorian
Mixolydian
Scale
C
C E(F)G
)tone: A ABb B
Two-Hand
A b3
A 733 3b7
6b7 69b6 Voicings*
99595575R(B
R
(E EBb
(E(Eb
A A D
D G)
DBb
G D
B)
G C)C)
Mnemonic
RH as to
samepinky
RH pinky
R in
on
above
on øthe-RH
the root,
just and come
root,lower
go up
come
cometopdown
down 4thininand
note
down in�4ths
4ths
step
4ths
7th mode of maj avoid b9th notes in the LH,
(Db) threeb3 notes in the RH)** raised
down 5th
a hands (C = Ab7)
4th; b7 & b3 in LH

? b ww
2nd mode of maj
5th mode of maj avoid tone:
avoid tone: b9th
4th(Db)(F) in both
RH ;3b3&&
in RH; b7b7ininLH LH
C Major C D E(F)G A B C A 37 63 96b759 R 55(B(E E AA DD G G)
C) RH
RH pinky
pinky on on the 5th,
root,come comedown downinin4ths 4ths
C-
Symbol Dorian
Scale Name C D Eb F G A Bb C
Scale
B
A
Two-Hand
b5 b3
R 4b7b7 b5 b3
9Voicings*
R(Gb(EbC Bb DG
F Bb C)
Eb) RH
thinkpinky
Mnemonic B voicingon thetheofroot,
dominantcome down7 chord in up4thsa
avoid tone: 4th (F) in both hands
ø 2nd mode of maj B b7 3b3R659R5 4(Bb (BbE Eb
AD G G)
C F) “point”
RH
in RHpinky
; to
b3 R&in
on øthe
b7 RH 5th,
in and
LH comego updowna 4thinand 4ths
C7 Locrian C(Db)Eb FAGb AbCBb C R b5 b7 b3 b6 (E (C Gb Bb raised 5th (C = Ab7)
Mixolydian
Major CCDDE(F)GE(F)G A BBb C AA 336b79 59 R5 R (E A Bb D GDC)GEbC)Ab)
RH
think
RH
down
in RH; A
pinky
pinkyab7 voicing
4th;
onon
&b7 3the
the &ofroot,
in b3
LH dominant
income
LH down 7 chord in up4thsa
C ø root, come down in 4ths

bw
7th
5th mode of maj avoid tone: b9th 4th (Db)
(F) A 3 6 9 5 7 (E A D G B) same
in RH;as
raised 3above
5th &(Cb7 =in - Ab7)
just
LHlower top note � step

& b ww
avoid tone: 4th (F) B b7 b3 5 R 4 (Bb Eb G C F) in“point”
both hands to R in RH and go up a 4th and
C7o Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RH
down pinky
a 4th;onb7 the&root,
b3 income LH down in 4ths
ø 7b7 b3
C
C- Diminished
Dorian
5th mode of maj
Locrian C D Eb
avoid
C(Db)Eb tone: Gb
F FG AAb
4th
Gb Bb(F)ACBb
Ab B CC aBtritone
b5
A R 3b7
b3 36b7
4b7 b7 999b3
6in 5each
55(B(Bb
R(GbEhand
(EbABb
E
C D G)
Fwith
A D
Bb a C)
D G)
Eb)
G start
think
RH
in RH; on
B
pinky any
3voicing
&onb7chordinof
the 5th,
tone come
dominant
root,
LH come down
on the 77bottom;
chord
down inin4ths
up
up aa
4ths
C AR b5 b3 b6
(E (CA Gb GBbB)Eb Ab) think A voicing of dominant chord

w
(whole-half)
2nd mode of maj 3
minor 3rd 6 9 45 7between Dhands same
in both
playRH;
raised as
a above
hands
tritone
b7
5th &
(C
ø - just lower top note � step
ø3above
=in LH
Ab7) it, then skip a minor

? bw
7th mode of maj avoid tone: b9th (Db) in RH 5th
raised ; b3(C & b7 in LH
= Ab7)
ø (e.g.,
B b7C3 R Gb6 9A Eb) E A D G)
5 (Bb 3rd
RH between
pinky onhands; the 5th,then come playdowna tritone
in 4ths in
C Locrian C(Db)Eb F Gb Ab Bb C BR 7b53 b7 6 b59b35 b6 (B (C E Gb
A DBbG)Eb Ab)RHthink
the A
pinky
RH voicing
on the of
5th, dominant
come down 7 chord
in 4ths up a
b5 b7
B R 4b3b75b3 R 4(Gb (BbCEb GC
F Bb F)
Eb) in RH;
“point” b7
to &
R in 3
ø RHin LH and go up7achord 4th and
7 7th mode of maj
Dorian avoid
C D Ebtone:F Gb9th
A Bb (Db)
C b3 b7 9 5 R (Eb Bb D C) inthink
G C) RHboth
raised B5th
pinky
voicing
hands (C
onb7 = of
øthe Ab7)dominant
root,
up a
C-
Co
C Mixolydian
Diminished C
CDD E(F)G
Eb F Gb A AbBb A CBC A
A
a tritone 3 b7 9in5each R (EhandBb D G
with a RH
startpinky
down
raised ona5thanyon
4th; the
(Cchord root,
=&Ab7)b3tone income
LHthedown
come
on down
bottom;
in
in 4ths
4ths
2nd modeof
5th mode ofmaj
maj avoid tone: 4th (F) in RH; ;3b3&&
RHa tritone b7b7 ininLH LH
(whole-half) minor
b5 R 3rd
4b7 between Chands play above it, then skip a minor
C-7sus4
C Dorian
Mixolydian D Eb FGGAABb
C D(E)F BbCC A
b7
(e.g., b3
4 6C 9b7
Gb 59b3 5AR(Gb
(Bb F(Eb
Eb) A DF G)
Bb Bb
DG Eb)
C) think
RH
think B
A voicing
pinky
3rd between voicing theof
onøhands; dominant
ofroot,
minor
then come 7 chord
down
7 chord
play up
a tritonein aup
4ths a
5th
in
C7ø
B œCC œ
& bw
Mixolydian
2ndmode
modeofofmaj
maj Cavoid
D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RHraised
pinky 5th on(C the = Ab7)
root, come down in 4ths
bAb
œ An œBb
5th tone: 3rd (E) B b7 3
b3 6 59 R5 (Bb
4 (BbE A
Eb D
G G)
C F) RH pinky
sus4
“point” = on
to R&inthe
b7RH 5th, and comego updown 4thinand
7achord 4ths
&avoid b œ œ b9thb œ (F)
in
the
(C7 RH
RH ; b3 G-) in LH
Co
C Locrian C(Db)Eb F FGb
GbAb R b5 b7 b3 b6 (ChandGb Bb Eba Ab)
inthink A voicing in&of dominant up a
œ œ tone:
Diminished
5th mode of maj C D Eb tone: 4th a tritone in each with start
RH; ona3b7any
&& b7chord LH tone in onLHthe bottom;
w
in
downRH; 4th; ø3 in
b7 LH
b3
7th mode of maj
(whole-half) avoid (Db) minor 3rd between hands raiseda 5th
play tritone(C above
= Ab7)it, then skip a minor

? b ww
4B b7 b79b35 R5 (F R 4Bb (BbDEb G C F)
G C) “point”
think B to R in RH
voicing and go7 up
of minor a 4th
chord upand a 5th
o Diminished C B(e.g.,
b7 3C 6Gb A(Bb
9 5each Eb) E Awith
D G)a RH3rd between
pinky hands;
on chord
the 5th, then
come play
down abottom;
tritone
in 4thsin
C
C7sus4 Mixolydian CDD(E)F Eb FGGb A AbBb A CBC ab7tritone
b5 4 64 9b7
R
in
5 b3(Bb(Gb Fhand
AC DF G)
Bb Eb)
start
down
(C7
think
on
sus4
A
B
any
a 4th;
= b7 &
G-)
voicing of b3tone in on
minor
dominant LH7 the
chord
7 chordup a 5th
C- ø Dorian
(whole-half)
Locrian C D Eb F FGGb
C(Db)Eb A Bb CBb C A
minor b3b7 b7
3rd b39between
5 R(C (Eb Bb
BbDEbGAb)
hands inthe
C) RHRH;
play RH b7
pinky
aA &on3 the
tritone in LH
øabove root, it, come down
then skip in up
a minor 4ths a
C 5th mode of maj avoid tone: 3rd Ab (E) R b5 b6 Gb think
(C7 sus4
raised 5thvoicing
= (C
G-) = of
Ab7) dominant 7 chord up a
2nd mode of maj (e.g., C Gb A Eb) 3rd
in between
RH ; b3(C &øhands;
b7 in LH then play a tritone in
7th mode of maj avoid tone: b9th (Db) raised 5th = Ab7)
ø the RH
C7sus4 Locrian
Diminished C(Db)Eb
CC EF F#
GbGAb Bb C R b5“diminished”
b7 b3 (F b6 (C Gb BbDC)Eb Ab) think A voicing of tone
dominant 7 chord aup a
C7b9
C- Dorian CDDb EbEb FG A
A BbBb A C Bb C
C Aany
4 b7 b3
4 b7 69b395 95R55(Bb
R Bb
(Eb voicing
DBbG Gfrom
C) RHstart on
B any
pinky on chord
voicingthe root,
of minor comebut
7 the
down
chord rootin (i.e.,
up 4ths 5th

ww
C Mixolydian D(E)F G b7
B b7 F(Bb
R 4(Gb A D
Eb G)
GC F) think
“point” A to Rb9);
in
ø RH and go up7above
achord
4th and
o (half-whole)
7th
2nd mode
mode of
of maj
maj avoid tone: b9th (Db) b5
any Rchord 4 b7 tone b3 but CtheFroot
Bb Eb) think
3, 5,
raised B5th
b7,
sus4 voicing
or (C = of
play
Ab7)dominant
a tritone up a
it,
C 5th mode of maj
Diminished avoid
C D Eb tone:
F Gb 3rdAb(E) ABC a tritone in each hand with a RHsus4
instart
(C7 ;ab3
on =&
any b7
chord
G-) in b3LH
tone on LHthe bottom;

& w
œ
down 4th; ø &
b7
(C7 = G-) 3rdinbetween
œ b œ
e.g., 3 b7 5 b9 5 (E Bb Db G) raisedskip
then 5th a(Cminor = Ab7) hands; then
C7sus4 (whole-half)
Mixolydian & œ œ (œ) œ œ
C D(E)F G A Bb C minor
b7 4 6 3rd
9 5 between
(Bb F A hands
9 b3 (Gb C F Bb Eb) D G) play
think aAtritone
voicing above
of it, then
minor skip aup
7 chord minoraup5th

w
B b5 R
b7 b3 4 b75 R 4 (Bb Eb G C F) play
think
“point” aB tritone
tovoicing
R in in
RH the
of and RH
dominantgo up 7a chord
4th and a
(e.g., C Gb
6
4 b7 9 5 R (F Bb D G C) A Eb) 3rd
thinkbetween
B voicing hands; then
ø of minor 7 chord up play a tritone a in
5th

? w
b
5th mode of maj avoid tone: 3rd (E) sus4
raised
(C7 5th = (C
G-) = Ab7)
ø Diminished Cavoid tone:
Db Eb E F# 3rd (E) GAbA BbBb C any down
the RHa 4th; b7 & b3 in LH
C7b9
C
Co Locrian
Diminished C(Db)Eb
C D Eb F FGb GbAb A B CC R b5“diminished”
a tritone b74b3 b6 (Chand
intone
each
voicing
Gb Bb Eb from
Ab) start
think
(C7
on
A any
sus4 voicing
= G-)
chord of tone
dominant but the root (i.e.,
on the7above
chord up a
(half-whole) any chord b7 but thewithroot a start
3, 5, on
b7,any chord
or b9);ø play tone a tritone bottom; it,
C 7alt 7th mode
Super of maj
Locrian
(whole-half) avoid
C Db Eb tone:Fbb9th
Gb Ab (Db) Bb C 4A b7
minor3 b793rd5#9Rbetween
(F b9
#5 Bb(EDhandsG C)
Bb D# G# Db) raised
think
play aB
A 5th
tritone(C above
voicing = ofAb7)minor
dominant
it, 7 chord
then 7
skip up
chord
a minoraand5th
e.g., 3 b7 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then
øo
7sus4 7th mode of mel min (e.g., C Gb A Eb) �����
3rd
(C7 sus4
RH
between =up G-)� step
hands; then play a tritone in
C Diminished
Locrian C D(E)F
D Eb F Gb
C(Db)Eb A Ab A BC a b5
tritone inb6each Fhand DFwith aAb) play
start AaAtritone
on any inofof
chord thetone RHon7the bottom;
CC
C7b9 Mixolydian
Diminished C Db EbFG
C EGb F# Ab
Bb
GA Bb
C BbCC Rb7any
b5 b7 64 9b3
4R“diminished” b3 (C
b75between
(Bb (Gb GbA Bb
voicing
Chands Ebfrom
G)
Bb Eb) think
think
start
think
the RHon voicing
voicing
any
Btritone
voicingchord ofdominant
minor
tone
dominant 77chord
chord
but the root
chord up
up(i.e., aa
aup5th
(whole-half)
5th
7th modeofofmaj
mode maj avoidtone:
avoid tone:b9th3rd (E)
(Db) minor 3rd play
raised a
sus4
5th (C
ø above
ø= Ab7) it, then skip a minor
(half-whole) any chord tone but the root 3,
(C7 5, b7, or
= b9);
G-) play a tritone above it,

ww
B b7 C
(e.g., 3 #5Gbb9 A b5Eb)(Bb E G# Db Gb) raised
think B5th
3rd between (Chands;
voicing = ofAb7)dominant
then play7achord tritoneand in

&
e.g., 3 b7 b9 5 (E voicing Bb Db G) then
����� skip
RH adown
minor �3rd stepbetween hands; then

w
C7b9
C 7alt Diminished
Super Locrian C Db Eb E F#
C Db Eb Fb Gb Ab Bb C G A Bb C any
A 3 “diminished”
b7 #9 #5 b9 (E Bb D# from
G# Db) start
the
thinkRHon
A any
voicingchord of tone
dominant but the7 root
chord (i.e.,
and
Note: b5
C7+94any R 4
b7chord b7 b3
9 5R Rtone (Gb C F
(F Bb DtheG root Bb
C) Eb) think
play
think B
a voicing
tritone
B voicing inofthedominant
of minorRH 7
7 chordchord up
up it, a 5tha
C7sus4In the Jamey Aebersold books
(half-whole)
Mixolydian and in G
C D(E)F ������
A Bb�������,
C b7= 4C7alt 6 95 5 (Bb but F A D G) 3, 5, b7,
think or b9);
A voicing ø play
of minor a tritone
7 chordabove up a 5th

? b ww
7th mode of mel min 9 b9 5 (E Bb Db G)
�����
raised RH
5th
sus4 up
(C � = step
Ab7)
Co Diminished
5th mode of maj C D Eb
avoid F Gb
tone: 3rdAb(E) ABC e.g.,
a tritone3 b7 in each hand with a (C7
then
start
(C7sus4
skipany
on =aG-)
minor
= G-) chord 3rd tonebetween hands; then
on the bottom;
7sus4
C7alt (whole-half)
Mixolydian C D(E)F G A Bb C minor
b7 b7
B 4 63 9#53rdb7 between
5 b9
(Bbb5F (Bb hands
A DEG) G# Db Gb) play
play
think Ba
a tritone
tritone in the
above
A voicing of dominant RH
it, then
minor 7 chord skip
7 chordaupminoraand5th
* “Category Super
C Locrian
A” chords have the 3rdC Db
in theEblowest
Fb Gbvoice;Ab Bb“Category
C A 3 b7
B” chords 4#9 #5 b9
have (E
theBb7thD#in G#
the Db) think
lowest voice. A voicing of dominant 7achord and
o 5th mode of maj avoid tone: 3rd (E) (e.g.,
4 b7 C
9 5Gb R A
(F Eb)
Bb D G C) 3rd
�����
thinkbetween
sus4
B RH down
voicing hands; �
of then
step
minor play
7 chord tritone
up a in
5th
** All voicings 7thhave
mode of notes
five mel min
with
CCDtheEbexception AbGofAAthe Cdiminished and dominant 7b9 voicings
with afromwhich have (C7
����� RH = G-)
upchord
� step
CC7b9 Diminished
Diminished Db Eb E F#
F Gb BBb
Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt
C aany “diminished”
tritone in each hand voicing thefour
start
start on
RHon
sus4
(two
any
any notes
chord intone
tone eachonbuthand)
thethebottom;
root (i.e.,
(half-whole) any (C75,ab7, = G-)
C7alt (whole-half)
Super Locrian C Db Eb Fb Gb Ab Bb C A 3chord
minor 3rd#9between
b7 tone
#5 b9 but(E the
Bbroot
hands D# G# Db) 3,
play
think tritone or
A voicing b9);
above play it,athen
of dominant tritone
skip7above
a minor
chord it,and
4e.g.,
B
(e.g., b7
b7 C3 93b7
Gb5#5Rb9 (F5Eb)
b9
A Bb
b5(E DG
(Bb
Bb E C)
G#
Db G)Db Gb) think
3rd
then B voicing
between
skip a hands;
minor of3rdminor
dominant
then 7 chord
play
between 7
a chordup aand
tritone
hands; in5th
then
7th mode of mel min RH up � step
�����sus4
C œ C7+9b7
b œ“Category
& b ww
CœBb
�����
play RH
(C7RHa tritone
the down
= G-)in the RH� step
&C # œ œ�������,
7sus4
b œ n œ
*C “Category Mixolydian
A” chords have the 3rd in the lowest Gvoice; chords haveF the
A D7th G)infrom
the lowest voice.
b œ
C D(E)F G A Bb B”4C7alt6 9 5 (Bb think A anyvoicing of tone
minor but7 the
chord up(i.e.,
a 5th
œ
C7b9
Note: Diminished
In the Jamey Aebersold books Db
andEb in E F#
������ A any
= b7“diminished” voicing start on chord root
** All voicings5thhave
modefive
of notes
maj with the
avoid exception
tone: 3rd of
(E) the diminished B and 3 #5
dominant b9 b5 (Bb
7b9
5 tone but the root
E G#
voicings Db Gb)
which havethink
four B
sus4 voicing
(two ofindominant
notesplay each hand)7 chord and

? b ww
(half-whole) any chord b9
(C7
3, 5, b7, =
or G-)
b9); a tritone above it,
����� RH down � step
7alt In theMixolydian
C7sus4 Diminished CC Db e.g., 63b79b7 b9
#55b9
F(EA Bb Db G) then skip a minor 3rd between 7 hands; then
CC7b9
Note: Super Locrian
Jamey Aebersold books andEb
CD(E)F
Db EbinGE
Fb AF#BbGAb
Gb
������ CA Bb Bb C
�������, C C7+9 b7 any “diminished”
A=43C7alt #9
5 (Bb
b7
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6
 Jazz Piano Pedagogy
Voicings Teaching/Learning Sequence*
I. Major
A. One-Hand Voicings
1. Category A: LH root / RH chord
2. Category B: LH root / RH chord
3. Alternate A-B beginning with A: LH root / RH chord
4. Alternate B-A beginning with B: LH root / RH chord
5. All of the above: chord in LH (RH tacit)
B. Two-Hand Voicings
1. Category A
2. Category B
3. Alternate A-B beginning with A
4. Alternate B-A beginning with B
II. Dominant 7
A. Repeat I with dominant chords
B. Play Bb Blues (first alone, then with play-along recording)
1. LH root / RH chord (start with both A and B; use best voice leading)
2. Chords in LH (RH tacit)
3. Chords in LH / head in RH
4. Two-Handed Voicings (start with both A and B; use best voice leading)
5. Chords in LH / related chord scales in RH (not in tempo)
6. Chords in LH / improvise in RH
C. Play Watermelon Man: follow steps II B 1-6 above
III. Minor
A. Repeat I with minor chords
B. Play Song for My Father: follow steps II B 1-6 above
C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing)
D. Play Maiden Voyage: follow steps II B 1-6 above
E. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure)
IV. II V I in Major (II- V7 I)
A. Alternate A-B-A beginning with A: LH root / RH chord
B. Alternate B-A-B beginning with B: LH root / RH chord
C. A and B above: chord in LH (RH tacit)
D. A and B above: two-handed voicings
E. Play Satin Doll: follow steps II B 1-6 above
V. Half-Diminished - Repeat I with half-diminished chords
VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords
VII. II V I in Minor ( IIø V7alt I-)
A. repeat IV A-D with minor II V I
B. Play Blue Bossa: follow steps II B 1-6 above
C. Play Summertime: follow steps II B 1-6 above
D. Play Footprints: follow steps II B 1-6 above
E. Play Autumn Leaves: follow steps II B 1-6 above
VIII. Diminished
A. Repeat I with diminished chords
B. Play Doxy: follow steps II B 1-6 above
IX. Dominant 7b9
A. Repeat I with dominant 7b9 chords
B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-)
C. Play F Blues: follow steps II B 1-6 above

* All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54: “Maiden Voyage” and can be ordered from
www.jazzbooks.com