the McCoy Tyner school · ii–V–I in C major
Quartal Voicings in C Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Dm11 | D – A – G – C – F | root · 5 · 11 · ♭7 · ♭3 |
| G7sus | G – D – G – C – F | root · 5 · root · 11 · ♭7 |
| C6/9 | C – G – E – A – D | root · 5 · 3 · 6 · 9 |
Why it works
From Dm11 to G7sus, 2 voices move (D3→G2, A3→D3) against 3 held tones. Into C6/9, 5 voices settle by step or small leap (total motion of just 19 semitones). Smoothness here is measurable, not a metaphor.
In C major this sits entirely on white keys — nothing to negotiate, which makes it the right key to memorize the shape in before taking it around the circle. The lowest note is G2 in the low register, comfortably clear of the muddy zone.
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 G and headed to F. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where C major lives in the repertoire
C major is where every method book starts, but in the working repertoire it belongs to singalong standards like "All of Me", and tunes that lean minor-to-relative-major such as "Fly Me to the Moon" keep landing on its ii–V–I as a home cadence. Master the shape here, then leave quickly — the bandstand rarely stays in C.
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: ← G · C · F →