We will focus on voicings that play the root in the left hand at all times so that the harmony is always clear, although in performance, the root is often omitted (because it is covered by the bassist). This chapter will discuss how to voice these harmonies in a manner that is idiomatic to jazz. While unvoiced chords are useful for conceptualizing harmony, you would not want to perform these tall stacks of thirds. So far in this unit, you have written chords in an unvoiced format.
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