Bemsha Swing in Re#

Bemsha Swing in Re#

Monk and Denzil Best's collaborative groove piece channels Monk's rhythmic wit through Mixolydian and Lydian Dominant color over a loping D# swing. The deceptively simple head conceals harmonic surprises that reward careful listening and internalization. Study the D#7 – F#7 – F7 – B7 changes to develop command of Lydian Dominant dominant color in a swinging context.

Bemsha Swing 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 F# (ascending minor third), F# to F (descending half step), F to B (ascending tritone). 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 B 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.