the McCoy Tyner school · ii–V–I in E major
Quartal Voicings in E Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| F♯m11 | F♯ – C♯ – B – E – A | root · 5 · 11 · ♭7 · ♭3 |
| B7sus | B – F♯ – B – E – A | root · 5 · root · 11 · ♭7 |
| E6/9 | E – B – G♯ – C♯ – F♯ | root · 5 · 3 · 6 · 9 |
Why it works
From F♯m11 to B7sus, 2 voices move (F♯3→B2, C♯4→F♯3) against 3 held tones. Into E6/9, 5 voices settle by step or small leap (total motion of just 19 semitones). Smoothness here is measurable, not a metaphor.
In E major, 6 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 B2 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 B and headed to A. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where E major lives in the repertoire
E major is nearly absent from the classic songbook — which is precisely why it shows up in auditions and why modern composers (and guitarist-led bands) reach for it. Treat this page as insurance: the cadence feels different when the 3rd of the tonic is a black key under your thumb, and you want to have met that feeling before the gig does.
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: ← B · E · A →