the McCoy Tyner school · ii–V–I in A major
Quartal Voicings in A Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Bm11 | B – F♯ – E – A – D | root · 5 · 11 · ♭7 · ♭3 |
| E7sus | E – B – E – A – D | root · 5 · root · 11 · ♭7 |
| A6/9 | A – E – C♯ – F♯ – B | root · 5 · 3 · 6 · 9 |
Why it works
From Bm11 to E7sus, 2 voices move (B2→E2, F♯3→B2) against 3 held tones. Into A6/9, 5 voices settle by step or small leap (total motion of just 19 semitones). Smoothness here is measurable, not a metaphor.
In A major, 3 of the 15 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 E2 in the low register; 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 E and headed to D. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where A major lives in the repertoire
A major belongs more to guitars than to the songbook, which makes it a stealth weakness for pianists: it appears mid-tune (the bridge of many rhythm-changes contrafacts touches it) and at jam sessions led by singers who count off "same tune, up a half step". The grip is friendly — two sharps under the hand — the surprise is only ever the unfamiliarity.
About this voicing style
Stacked fourths over open fifths — the modern, open, modal sound. Read the full story and get it in all 12 keys →
Listen: McCoy Tyner — "Passion Dance"; Chick Corea — "Matrix" comping.
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E · A · D →