the Bud Powell school · ii–V–I in A♭ major
Shell Voicings in A♭ Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| B♭m7 | B♭ – A♭ | root · ♭7 |
| E♭7 | E♭ – G | root · 3 |
| A♭maj7 | A♭ – G | root · 7 |
Why it works
From B♭m7 to E♭7, 2 voices move (B♭2→E♭3, A♭3→G3) against 0 held tones. Into A♭maj7, 1 voice settles by step or small leap (total motion of just 7 semitones). Smoothness here is measurable, not a metaphor.
A♭ major puts 4 of the 6 notes on black keys, so the hand rides high on the keyboard — many players find these grips easier to grab here, the way Irving Berlin could only play in F♯. The lowest note is A♭2 in the low register.
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
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♭ →