Blue In Green in La#

Blue In Green in La#

Miles Davis and Bill Evans's impressionistic miniature from Kind of Blue creates a suspended harmonic atmosphere through Lydian color on the major chords, Dorian voicing on the minor tonic, and Altered dominant tension that never fully resolves. The circular ten-bar form resists conventional phrase structure, rewarding improvisers who can sustain mood over motion. One of jazz's most harmonically poetic compositions.

Blue In Green in La#

A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through A# to A (descending half step), A to D (ascending perfect fourth), D to C# (descending half step), C# to C (descending half step), C to F (ascending perfect fourth), F to E (descending half step), E to A (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from A to A# by half step.

Scales for Improvisation

A# 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, A# Mixolydian adds the flat seventh for an authentic blues-rock edge.