Bill Evans, Kind of Blue · ii–V–I in F major
The "So What" Voicing in F 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 |
|---|---|---|
| Gm11 | G – C – F – B♭ – D | root · 11 · ♭7 · ♭3 · 5 |
| C7sus(♯9) | C – F – B♭ – E♭ – G | root · 11 · ♭7 · ♯9 · 5 |
| Fmaj13 | A – D – G – C – E | 3 · 13 · 9 · 5 · 7 |
Why it works
From Gm11 to C7sus(♯9), 5 voices move (G3→C4, C4→F4, F4→B♭4, B♭4→E♭5, D5→G5) against 0 held tones. Into Fmaj13, 5 voices settle by step or small leap (total motion of just 15 semitones). Smoothness here is measurable, not a metaphor.
In F major, 3 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 G3 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 C and headed to B♭. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where F major lives in the repertoire
F major carries a big slice of the bossa and swing repertoire — "The Girl from Ipanema" and "Days of Wine and Roses" both resolve to F, and both lean on this ii–V–I repeatedly. It is also the first flat key most players learn, one friendly step around the circle from C, which makes it the natural second stop when taking a voicing on tour.
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: ← C · F · B♭ →