Four in Do#

Four in Do#

Four in C# — 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: C#Maj7 – D#m7 – G#7 – F#7 – Fm7 – A#7 – F#m7 – B7 – EMaj7.

Four in Do#

C# major (or Db) sits in barre chord territory across the fretboard. Every chord demands precise barring, but the payoff is a bright, crystalline sound a half step above C that cuts through a band mix. C# is a intermediate-advanced-level key on guitar because no open strings fall within the key naturally, so every chord requires full barre technique. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through C# to D# (ascending whole step), D# to G# (ascending perfect fourth), G# to F# (descending whole step), F# to F (descending half step), F to A# (ascending perfect fourth), A# to F# (descending major third), F# to B (ascending perfect fourth), B to E (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 E to C# by minor third.

Scales for Improvisation

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