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Dolphin Dance in B
Dolphin Dance in B: Herbie Hancock's semi-modal gem balances tonal and modal thinking across its unpredictable harmonic landscape. Lydian brightens the major chords, Dorian colors the minor sections, and Bebop Major lines stitch it together. Chords: Bmaj7 – Amaj7/Eb – A#m7b5 – D#7b9 – G#m7 – Emaj7#11 – Fm7 – A#7 – D#maj7 – Em7 – C#m7 – D#7#5 – D#7sus4 – F/G – Bmaj7#11/G – C#7sus4 – C#13b9 – Cm7 – F7 – B7 – Gm7 – C7 – A#m7 – Am7 – D7 – A#maj7/E – G#maj7/E – F#13b9/Eb – Emaj7#5/Eb.
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 A (descending whole step), A to A# (ascending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to E (descending major third), E to F (ascending half step), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to E (ascending half step), E to C# (descending minor third), C# to D# (ascending whole step), D# to D# (ascending unison), D# to F (ascending whole step), F to B (ascending tritone), B to C# (ascending whole step), C# to C# (ascending unison), C# to C (descending half step), C to F (ascending perfect fourth), F to B (ascending tritone), B to G (descending major third), G to C (ascending perfect fourth), C to A# (descending whole step), A# to A (descending half step), A to D (ascending perfect fourth), D to A# (descending major third), A# to G# (descending whole step), G# to F# (descending whole step), F# to E (descending whole step). 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 E to B by perfect fourth.
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.