the McCoy Tyner school · ii–V–I in D major
Quartal Voicings in D Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Em11 | E – B – A – D – G | root · 5 · 11 · ♭7 · ♭3 |
| A7sus | A – E – A – D – G | root · 5 · root · 11 · ♭7 |
| D6/9 | D – A – F♯ – B – E | root · 5 · 3 · 6 · 9 |
Why it works
From Em11 to A7sus, 2 voices move (E3→A2, B3→E3) against 3 held tones. Into D6/9, 5 voices settle by step or small leap (total motion of just 19 semitones). Smoothness here is measurable, not a metaphor.
In D major, 1 of the 15 notes falls 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 A2 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 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
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: ← A · D · G →