Bill Evans, Kind of Blue · ii–V–I in C major
The "So What" Voicing in C 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 |
|---|---|---|
| Dm11 | D – G – C – F – A | root · 11 · ♭7 · ♭3 · 5 |
| G7sus(♯9) | G – C – F – B♭ – D | root · 11 · ♭7 · ♯9 · 5 |
| Cmaj13 | E – A – D – G – B | 3 · 13 · 9 · 5 · 7 |
Why it works
From Dm11 to G7sus(♯9), 5 voices move (D3→G3, G3→C4, C4→F4, F4→B♭4, A4→D5) against 0 held tones. Into Cmaj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
In C major, 1 of the 15 notes falls 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 D3 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 G and headed to F. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where C major lives in the repertoire
C major is where every method book starts, but in the working repertoire it belongs to singalong standards like "All of Me", and tunes that lean minor-to-relative-major such as "Fly Me to the Moon" keep landing on its ii–V–I as a home cadence. Master the shape here, then leave quickly — the bandstand rarely stays in C.
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: ← G · C · F →