Chord Voicings for Jazz Piano (rootless, left-hand, Type B)

“Type B” Rootless Chord Voicings for Piano

“Rootless voicings” on piano (especially for left-hand support) are great for handling big jazz chords that normally can’t be covered by one hand alone. This video tutorial  shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root.

This is Part Two of a pair of lessons, covering “Type B” voicings.  The first lesson,  covering “Type A”  shows another way of executing the same idea, only with the notes in a different arrangement.


Continue reading “Chord Voicings for Jazz Piano (rootless, left-hand, Type B)”

Jazz improv practice: A nice drill using “approach tones”

Here’s a nice jazzy drill, to give you practice on:

(1) Adding interest to your melody lines,  by sometimes preceding the “target tone(s)” of a chord with “approach tones;” and,

(2) increased mastery of any given scale, especially as it relates to the underlying chords.

As a result, the repeated act of mindfully (and not mindlessly) practicing this drill can increase your general facility with approach tones, as well as give you (possibly new) theoretical insights regarding chord-scale relationships. Dig? You’ll see.

Learn all 12 Minor & Minor 7th Chords – Today!

Hello Friends,

Today I’m happy to present the next lesson in my ongoing course, Chords 108.


Class Audience: Any musician who’s struggling to memorize the individual notes to all those dang chords on piano or keyboards, and looking for a solution.

Today: Learn how to immediately call up the notes to any of the twelve minor chords on a keyboard — without having to rely on rote memory.  This lesson applies to all twelve minor seventh chords as well.

Coming nextDominant seventh chords.

*This series is currently FREE to the public, but will soon be a premium members-only course.  Our members keep this site alive, and 100% ad-free.  Thanks to all!

Piano Chord Catalog – a reference for my “Chords 108” series

Dear Members,

Here’s a downloadable piano chord catalog, which I recently put together as a reference for my ‘Piano Chords 108’ series.

The objective of Chords 108 is for you to learn how to memorize all the standard chords.

Therefore, this catalog should be relied upon only to check your understanding — not as a place to look up chords without learning the simple patterns that define how chords are constructed.

Of course, one could use the catalog that way (as a “crutch”), but that would defeat the entire purpose of this course!


Chords are listed alphabetically. Each chord is spelled out by using a simple image (consisting of dots on a keyboard, indicating which keys/notes make up the chord in question).

Important: This book can be useful to any musician, not just to those who are studying ‘Chords 108.’

In a nutshell, all the standard three and four-note chords are illustrated.


Major triads (all)

Minor triads (all)

Major 7th chords (all)

Minor 7th chords (all)

Dominant 7th chords (all)

Diminished triads (all)

Diminished 7th chords (all)

Half-diminished 7th chords (‘Minor-7 flat-5’) (all)

Augmented triads (all) Continue reading “Piano Chord Catalog – a reference for my “Chords 108” series”

New easy sheet for Christmas preparations – O Holy Night

Hi All,

Here’s more sheet music to help you get ready for Christmas (if you’re interested, of course).

Yes, it’s only September, but I wanted you to have this stuff early, so you can practice and prepare.

This one is the beautiful song called O Holy Night.

As usual, the notes are labeled with letters.

O Holy Night

More Sheets



Linus the Jazz Cat

NEW Custom Sheet for Members: “Prelude in C” by Bach

MEMBERS: Here’s a new custom sheet, Prelude in C by Bach, from The Well-Tempered Clavier, Book OnePrelude in C is an extremely popular piece that will never lose its appeal to piano players and listeners alike.

This sheet music has each note labeled with its musical letter-name, such as E, D#, A… Some markings (dynamics, etc.) have been omitted to make room for the added letters.

You can read about the pros and cons of marking in letters on sheet music, here.


(*Non-members can sign-up via this same link).

Music Theory “Trivia” Time

Which interval is pictured above?

(a) Diminished Seventh.

(b) Minor Sixth.

(c) Augmented Fifth.

(d) Both A and C are correct, with name depending on the implied key center. They sound the same, by either name.

(e) Both B and C are correct, with name depending on the implied key center. They sound the same, by either name.

(f) The famous “Lost Interval of Egypt.”


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Bohemian Rhapsody Movie Sparks “Third Beat” Questions


In the film Bohemian Rhapsody, there’s a scene where Queen’s guitarist Brian May is pitching his song We Will Rock You to the band (film clip is below).

He says, “…now, I want you to clap on the third beat.”  Of course, this is a movie, and I have no idea if he really said it like that.

Regardless, I’m using this scene as a fun starting point to talk briefly about counting rhythm.

Fact is, when We Will Rock You is counted in the regular way, the beat looks like this:

The completely natural (and intuitive, and correct) way that most people would count this song is:

Continue reading “Bohemian Rhapsody Movie Sparks “Third Beat” Questions”