the Teddy Wilson school · ii–V–I in A major
Stride Tenths in A Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Bm9 | B – D – F♯ – A – C♯ | root · ♭3 · 5 · ♭7 · 9 |
| E9 | E – G♯ – B – D – F♯ | root · 3 · 5 · ♭7 · 9 |
| Amaj9 | A – C♯ – E – G♯ – B | root · 3 · 5 · 7 · 9 |
Why it works
From Bm9 to E9, 5 voices move (B1→E2, D3→G♯3, F♯3→B3, A3→D4, C♯4→F♯4) against 0 held tones. Into Amaj9, 5 voices settle by step or small leap (total motion of just 34 semitones). Smoothness here is measurable, not a metaphor.
In A major, 6 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 A1 in octave 1; 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 E and headed to D. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where A major lives in the repertoire
A major belongs more to guitars than to the songbook, which makes it a stealth weakness for pianists: it appears mid-tune (the bridge of many rhythm-changes contrafacts touches it) and at jam sessions led by singers who count off "same tune, up a half step". The grip is friendly — two sharps under the hand — the surprise is only ever the unfamiliarity.
About this voicing style
The swing-era left hand: root and third spread a tenth apart, under a right-hand chord. Read the full story and get it in all 12 keys →
Listen: Teddy Wilson with Billie Holiday; Art Tatum's left hand; Fats Waller's stride.
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E · A · D →