the Bud Powell school · ii–V–I in E major
Shell Voicings in E Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| F♯m7 | F♯ – E | root · ♭7 |
| B7 | B – D♯ | root · 3 |
| Emaj7 | E – D♯ | root · 7 |
Why it works
From F♯m7 to B7, 2 voices move (F♯3→B3, E4→D♯4) against 0 held tones. Into Emaj7, 1 voice settles by step or small leap (total motion of just 7 semitones). Smoothness here is measurable, not a metaphor.
In E major, 3 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 E3 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 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
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: ← B · E · A →