Shell voicings
Music theory · Jazz harmony · Level 4 · 13 min
The jazz pianist's first move when accompanying a melody is the shell voicing: the left hand plays only the core of the chord, root + third or root + seventh, or all three together. Popularised by Bud Powell in the 1940s, this voicing leaves the right hand completely free for the melody or improvisation.
Two forms that connect
In a ii–V–I, you alternate so the voices barely move:
| Dm7 | G7 | Cmaj7 | |
|---|---|---|---|
| Form A (1-3 / 1-7 / 1-3) | D + F | G + F | C + E |
| Form B (1-7 / 1-3 / 1-7) | D + C | G + B | C + B |
| Three notes (1-3-7 / 1-7-3 / 1-3-7) | D F C | G F B | C E B |
With three notes, our guide tones sit above the bass. Here is the ii–V–I with a little right-hand melody:
M:4/4
L:1/8
%%staves {RH LH}
V:RH clef=treble
V:LH clef=bass
K:C
[V:RH] "Dm7"a2 g f e2 d2 | "G7"B2 d f a2 g2 | "Cmaj7"e6 z2 |]
[V:LH] [D,F,C]8 | [G,,F,B,]8 | [C,E,B,]8 |]
Where to put the left hand?
Roots ideally lie between the F and F of the octave below middle C; thirds and sevenths just above. Too low: mud. Too high: the left hand treads on the right.
Adding rhythm
Shells can be held (ballad), or played short on certain beats, like a horn section. A classic rhythm: the Charleston, one hit on beat 1 and one on the “and” of beat 2.