ABSTRACT
This chapter discusses three types of voicing paradigms: upper-structure triads, rootless formations, incomplete, and explores their harmonic and voice-leading potentials. The use of upper-structure triads involves the superimposition of major or minor triads on top of single notes, guide tones, triads, and intervallic structures. Upper-structure formations are extremely useful in reharmonization. Upper-structure formations appear in different types of chords. Upper-structure triads add a new set of practical and theoretical considerations. Five-part chords are often used in an abbreviated form as rootless formations. Rootless chords tend to be harmonically and aurally more ambiguous than complete chords. Jazz musicians can capitalize on that ambiguity. Rootless formations are just as effective in expressing the meaning of chords and harmonic progressions as complete chords. The concept of rootless formations brings up an important point about the role of the bass voice. Extensions and alterations are characterized by a unique sound and project specific voice-leading behaviors.
