Bill Evans, Kind of Blue · ii–V–I in D major
The "So What" Voicing in D 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 |
|---|---|---|
| Em11 | E – A – D – G – B | root · 11 · ♭7 · ♭3 · 5 |
| A7sus(♯9) | A – D – G – C – E | root · 11 · ♭7 · ♯9 · 5 |
| Dmaj13 | F♯ – B – E – A – C♯ | 3 · 13 · 9 · 5 · 7 |
Why it works
From Em11 to A7sus(♯9), 5 voices move (E3→A3, A3→D4, D4→G4, G4→C5, B4→E5) against 0 held tones. Into Dmaj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
In D major, 2 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 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 A and headed to G. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where D major lives in the repertoire
D major is scarcer in the American songbook than its two open guitar strings suggest, but bossa nova adopted it wholeheartedly — Jobim's "Wave" is the canonical D major vehicle, and its final cadence is this progression. It also turns up mid-tune constantly as the ii–V–I of the relative approach to F♯ minor sections.
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: ← A · D · G →