the Bud Powell school · ii–V–I in A major
Shell Voicings in A Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Bm7 | B – A | root · ♭7 |
| E7 | E – G♯ | root · 3 |
| Amaj7 | A – G♯ | root · 7 |
Why it works
From Bm7 to E7, 2 voices move (B2→E3, A3→G♯3) against 0 held tones. Into Amaj7, 1 voice settles by step or small leap (total motion of just 7 semitones). Smoothness here is measurable, not a metaphor.
In A major, 2 of the 6 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 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 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 belongs more to guitars than to the songbook, which makes it a stealth weakness for pianists: it appears mid-tune (the bridge of many rhythm-changes contrafacts touches it) and at jam sessions led by singers who count off "same tune, up a half step". The grip is friendly — two sharps under the hand — the surprise is only ever the unfamiliarity.
About this voicing style
Two notes per chord — root plus 3rd or 7th. The bebop left hand. Read the full story and get it in all 12 keys →
Listen: Bud Powell — "Celia"; Thelonious Monk's left hand on "Straight, No Chaser".
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E · A · D →