Bill Evans, Kind of Blue · ii–V–I in A♭ major
The "So What" Voicing 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♭m11 | B♭ – E♭ – A♭ – D♭ – F | root · 11 · ♭7 · ♭3 · 5 |
| E♭7sus(♯9) | E♭ – A♭ – D♭ – G♭ – B♭ | root · 11 · ♭7 · ♯9 · 5 |
| A♭maj13 | C – F – B♭ – E♭ – G | 3 · 13 · 9 · 5 · 7 |
Why it works
From B♭m11 to E♭7sus(♯9), 5 voices move (B♭2→E♭3, E♭3→A♭3, A♭3→D♭4, D♭4→G♭4, F4→B♭4) against 0 held tones. Into A♭maj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
A♭ major puts 11 of the 15 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 B♭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
Three fourths plus a major third on top. One grip, planed across all three chords. Read the full story and get it in all 12 keys →
Listen: Miles Davis — "So What" (Evans behind the theme); Herbie Hancock — "Maiden Voyage".
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E♭ · A♭ · D♭ →