the Teddy Wilson school · ii–V–I in B♭ major
Stride Tenths in B♭ Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Cm9 | C – E♭ – G – B♭ – D | root · ♭3 · 5 · ♭7 · 9 |
| F9 | F – A – C – E♭ – G | root · 3 · 5 · ♭7 · 9 |
| B♭maj9 | B♭ – D – F – A – C | root · 3 · 5 · 7 · 9 |
Why it works
From Cm9 to F9, 5 voices move (C2→F2, E♭3→A3, G3→C4, B♭3→E♭4, D4→G4) against 0 held tones. Into B♭maj9, 5 voices settle by step or small leap (total motion of just 34 semitones). Smoothness here is measurable, not a metaphor.
In B♭ major, 4 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 B♭1 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 F and headed to E♭. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where B♭ major lives in the repertoire
B♭ major is the horn key: rhythm changes ("I Got Rhythm" and its hundred contrafacts) live here, and so does a large share of the blues repertoire. A jobbing pianist probably plays more ii–V–Is in B♭ than in any key except E♭ — this page is core curriculum, not a variation.
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: ← F · B♭ · E♭ →