the Bill Evans school · ii–V–I in A♭ major
Rootless Voicings — A Form in A♭ Major
The audio adds each chord's root in the bass — that's the context these rootless shapes are designed to sit in. The MIDI file is exactly the notation.
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| B♭m9 | D♭ – F – A♭ – C | ♭3 · 5 · ♭7 · 9 |
| E♭13 | D♭ – F – G – C | ♭7 · 9 · 3 · 13 |
| A♭maj9 | C – E♭ – G – B♭ | 3 · 5 · 7 · 9 |
Why it works
From B♭m9 to E♭13, a single voice does all the work: A♭3 falls a half step to G3 while the other 3 notes hold. That stepwise pivot is the engine of the progression. Into A♭maj9, 3 voices settle by step (total motion of just 5 semitones). Smoothness here is measurable, not a metaphor.
In A♭ major, 5 of the 12 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 C3 in the octave below middle C; 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 is the home key of "All the Things You Are" — the tune's long journey ends by cadencing into A♭ — and a favorite resolution point in the bebop songbook. Charlie Parker heads love living a half step above G, and pianists inherit the key whether they like it or not.
About this voicing style
The classic four-note left hand: 3–5–7–9 grammar, no root, maximum color. Read the full story and get it in all 12 keys →
Listen: Bill Evans — "Waltz for Debby"; Wynton Kelly on "Freddie Freeloader".
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E♭ · A♭ · D♭ →