All Of Me in Re#

All Of Me in Re#

All Of Me in D# — one of jazz's most accessible classics, with its memorable I-VI7-II7-V sequence. Mixolydian colors the secondary dominants; Major Blues adds soul; Bebop Major locks in the tonic. Changes: D#6 – G7 – C7 – Fm7 – Cm7 – F7 – A#7 – G#6 – G#m6 – D#Maj7 – Gm7.

All Of Me in Re#

D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through D# to G (ascending major third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to C (descending perfect fourth), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to G# (descending whole step), G# to G# (ascending unison), G# to D# (descending perfect fourth), D# to G (ascending major third). The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from G to D# by major third.

Scales for Improvisation

D# major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, D# Mixolydian adds the flat seventh for an authentic blues-rock edge.