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Angel Eyes in B
Angel Eyes in B — a dark, brooding ballad with sustained minor tension. Dorian suits the extended minor vamp; Harmonic Minor tightens the cadential moments; blues inflections add emotional weight. Changes: Bm7 – G7/c – Bm6 – G9/c – Bm9 – G#m7b5 – D13 – GMaj7 – F#7b5 – C#m11 – C#7b9 – G9 – F#7b9 – Bm – C#m7 – F#7 – F#7#5 – Bm/Bb – BmMaj7 – Am9 – D7b9 – Gmaj9 – E7b9 – Cmaj9 – G#m9 – F#Maj7 – Bmaj9 – Cm7 – F7#5.
Key of B
B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through B to G (descending major third), G to B (ascending major third), B to G (descending major third), G to B (ascending major third), B to G# (descending minor third), G# to D (ascending tritone), D to G (ascending perfect fourth), G to F# (descending half step), F# to C# (descending perfect fourth), C# to C# (ascending unison), C# to G (ascending tritone), G to F# (descending half step), F# to B (ascending perfect fourth), B to C# (ascending whole step), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to B (ascending unison), B to A (descending whole step), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to E (descending minor third), E to C (descending major third), C to G# (descending major third), G# to F# (descending whole step), F# to B (ascending perfect fourth), B to C (ascending half step), C to F (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. 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 F to B by tritone.
Scales for Improvisation
B 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, B Mixolydian adds the flat seventh for an authentic blues-rock edge.