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Four in B
Four in B — Miles Davis's crisp, up-tempo composition built on economical ii-V-I statements. Bebop Major over the tonic, Dorian on the iim7, Mixolydian on the dominant — every measure counts. Changes: Bmaj7 – Bm7 – E7 – C#m7 – Em7 – A7 – Bmaj7/G – Dm7 – G7 – F#7 – D#m7.
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 B (ascending unison), B to E (ascending perfect fourth), E to C# (descending minor third), C# to E (ascending minor third), E to A (ascending perfect fourth), A to B (ascending whole step), B to D (ascending minor third), D to G (ascending perfect fourth), G to F# (descending half step), F# to D# (descending minor third). 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 D# to B by major third.
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.