Bill Evans, Kind of Blue · ii–V–I in B♭ major
The "So What" Voicing in B♭ 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 |
|---|---|---|
| Cm11 | C – F – B♭ – E♭ – G | root · 11 · ♭7 · ♭3 · 5 |
| F7sus(♯9) | F – B♭ – E♭ – A♭ – C | root · 11 · ♭7 · ♯9 · 5 |
| B♭maj13 | D – G – C – F – A | 3 · 13 · 9 · 5 · 7 |
Why it works
From Cm11 to F7sus(♯9), 5 voices move (C3→F3, F3→B♭3, B♭3→E♭4, E♭4→A♭4, G4→C5) against 0 held tones. Into B♭maj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
In B♭ major, 5 of the 15 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 F and headed to E♭. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where B♭ major lives in the repertoire
B♭ major is the horn key: rhythm changes ("I Got Rhythm" and its hundred contrafacts) live here, and so does a large share of the blues repertoire. A jobbing pianist probably plays more ii–V–Is in B♭ than in any key except E♭ — this page is core curriculum, not a variation.
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: ← F · B♭ · E♭ →