the Red Garland school · ii–V–I in D major
Block Chords in D Major
The audio adds each chord's root in the bass — that's the context these rootless shapes are designed to sit in. The MIDI file is exactly the notation.
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Em7 | G – B – D – G – D – G | ♭3 · 5 · ♭7 · ♭3 · ♭7 · ♭3 |
| A13 | G – B – C♯ – F♯ – C♯ – F♯ | ♭7 · 9 · 3 · 13 · 3 · 13 |
| Dmaj9 | F♯ – A – E – F♯ – C♯ – F♯ | 3 · 5 · 9 · 3 · 7 · 3 |
Why it works
From Em7 to A13, 4 voices move (D4→C♯4, G4→F♯4, D5→C♯5, G5→F♯5) against 2 held tones. Into Dmaj9, 3 voices settle by step or small leap (total motion of just 6 semitones). Smoothness here is measurable, not a metaphor.
In D major, 8 of the 18 notes fall on black keys — a mixed terrain that is exactly why this progression must be practiced in every key, not just C. The lowest note is F♯3 in the octave below middle C; below roughly C3, close intervals start to blur, and this voicing stays clear of that line.
Practice tip: play the progression rubato first and listen for the held tones, then put the metronome on 2 and 4 at a slow tempo. When the grab is automatic, move around the circle of fourths — you are coming from A and headed to G. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where D major lives in the repertoire
D major is scarcer in the American songbook than its two open guitar strings suggest, but bossa nova adopted it wholeheartedly — Jobim's "Wave" is the canonical D major vehicle, and its final cadence is this progression. It also turns up mid-tune constantly as the ii–V–I of the relative approach to F♯ minor sections.
About this voicing style
A chiming right-hand octave with a fifth locked inside, over a rootless left hand. Read the full story and get it in all 12 keys →
Listen: Red Garland on "Billy Boy" (Milestones); "If I Were a Bell" (Relaxin').
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← A · D · G →