the McCoy Tyner school · ii–V–I in B♭ major
Quartal Voicings in B♭ Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Cm11 | C – G – F – B♭ – E♭ | root · 5 · 11 · ♭7 · ♭3 |
| F7sus | F – C – F – B♭ – E♭ | root · 5 · root · 11 · ♭7 |
| B♭6/9 | B♭ – F – D – G – C | root · 5 · 3 · 6 · 9 |
Why it works
From Cm11 to F7sus, 2 voices move (C3→F2, G3→C3) against 3 held tones. Into B♭6/9, 5 voices settle by step or small leap (total motion of just 19 semitones). Smoothness here is measurable, not a metaphor.
In B♭ major, 5 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 F2 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 F and headed to E♭. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where B♭ major lives in the repertoire
B♭ major is the horn key: rhythm changes ("I Got Rhythm" and its hundred contrafacts) live here, and so does a large share of the blues repertoire. A jobbing pianist probably plays more ii–V–Is in B♭ than in any key except E♭ — this page is core curriculum, not a variation.
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: ← F · B♭ · E♭ →