Bill Evans, Kind of Blue · ii–V–I in E♭ major
The "So What" Voicing in E♭ 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 |
|---|---|---|
| Fm11 | F – B♭ – E♭ – A♭ – C | root · 11 · ♭7 · ♭3 · 5 |
| B♭7sus(♯9) | B♭ – E♭ – A♭ – D♭ – F | root · 11 · ♭7 · ♯9 · 5 |
| E♭maj13 | G – C – F – B♭ – D | 3 · 13 · 9 · 5 · 7 |
Why it works
From Fm11 to B♭7sus(♯9), 5 voices move (F3→B♭3, B♭3→E♭4, E♭4→A♭4, A♭4→D♭5, C5→F5) against 0 held tones. Into E♭maj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
E♭ major puts 8 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 F3 in the octave below middle C.
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 may be the most standard-dense key in jazz: "Misty" and "There Will Never Be Another You" both call it home, both saturated with exactly this cadence. It is also the key horn players default to, so a rhythm-section pianist ends up comping ii–V–I in E♭ more nights than in any other key. If you drill one non-C key to reflex level, make it this one.
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: ← B♭ · E♭ · A♭ →