Voicings · E♭△7 · Piano
E♭△7 is spelled E♭ – G – B♭ – D (1 3 5 7) — the tonic Imaj7 of a major key, and any maj7 chord. Here are 6 ways to voice it on piano: close position, drop 2, drop 3, shell, rootless a, rootless b. Every diagram is playable — press play to hear the chord, or “roll it” to hear the voices one by one, low to high.
The voicings
Root, third, fifth and seventh stacked within one octave — the reference voicing (piano; too tight to finger on guitar).
Take the close voicing and drop its second-highest voice an octave. The most-used four-note voicing on guitar and in piano left hands.
Drop the third-highest voice of the close voicing an octave: a wide, open sound.
Root, seventh and third only. The fifth is dropped — it adds nothing to the chord's identity — leaving a light, clear voicing.
Bill Evans-style left-hand voicing: the third on the bottom, the ninth on top, the bass player supplies the root.
The companion rootless voicing with the seventh on the bottom. Alternate A and B so the top voice moves by step through a ii–V–I.
Reference
| Chord tone | Note | Interval |
|---|---|---|
| 1 | E♭ | unison |
| 3 | G | major 3rd |
| 5 | B♭ | perfect 5th |
| 7 | D | major 7th |
Arpeggio: E♭△7 arpeggio on piano. Scale: E♭ Major (Ionian).
Common questions
E♭, G, B♭, D — chord tones 1 3 5 7. Rootless voicings add the 9th, F, and leave the root to the bass.
The shell voicing: E♭ – D – G in the left hand. Three notes that carry the whole identity of the chord.
Start from the close voicing E♭ G B♭ D and drop the second note from the top an octave: B♭ – E♭ – G – D. It spreads the chord so it fits the hand — and on guitar it fits four adjacent strings.
E♭△7 is the tonic Imaj7 of a major key, and any maj7 chord. Its character is bright, settled, at rest.
Keep going
Same chord on guitar · Major 7th hub.
Other chords from E♭