the Teddy Wilson school · ii–V–I in E♭ major
Stride Tenths in E♭ Major
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| Fm9 | F – A♭ – C – E♭ – G | root · ♭3 · 5 · ♭7 · 9 |
| B♭9 | B♭ – D – F – A♭ – C | root · 3 · 5 · ♭7 · 9 |
| E♭maj9 | E♭ – G – B♭ – D – F | root · 3 · 5 · 7 · 9 |
Why it works
From Fm9 to B♭9, 5 voices move (F2→B♭2, A♭3→D4, C4→F4, E♭4→A♭4, G4→C5) against 0 held tones. Into E♭maj9, 5 voices settle by step or small leap (total motion of just 34 semitones). Smoothness here is measurable, not a metaphor.
In E♭ 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 E♭2 in the low register; 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 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
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: ← B♭ · E♭ · A♭ →