It Might As Well Be Spring in Re#

Richard Rodgers()swingModerately
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Chord Diagrams — It Might As Well Be Spring in Re# (Guitar)

Re♯6
EADGBE11xx34
4frEADGBEx4231x6frEADGBE3333x110frEADGBE2x143x
Sol♯9
EADGBE11234x
4frEADGBE1113245frEADGBExx214310frEADGBE222221
Solm7
3frEADGBE111113
5frEADGBE11x4238frEADGBE11x23410frEADGBE111132
Do7
EADGBEx3241
3frEADGBE1111345frEADGBE111xx28frEADGBE111132
Fam7
EADGBE111113
3frEADGBExx14238frEADGBE1111329frEADGBExx2314
La♯7
EADGBE111x34
6frEADGBE1111328frEADGBE11x32411frEADGBEx3241x
Re♯
EADGBExx1243
3frEADGBE11x4326frEADGBE11x2348frEADGBE111xx4
La♯m7
EADGBE111x32
EADGBExx23146frEADGBE1111138frEADGBE11x423
Re♯7
EADGBExx1324
6frEADGBE111x348frEADGBE111xx211frEADGBE111132
Sol♯
EADGBE11132x
4frEADGBE1113426frEADGBE11x2438frEADGBE111432
Lam7
EADGBEx21
EADGBEx23145frEADGBE1111137frEADGBE11x423
Re7
EADGBExx213
3frEADGBEx3241x5frEADGBE11113410frEADGBE111132
Re♯69/b
Si - Re♯ - Sol - La♯ - Do - Fa
Dom7
EADGBEx2134x
3frEADGBE1111324frEADGBExx23148frEADGBE111113
La♯9
EADGBEx1234
5frEADGBE11234x6frEADGBE11132412frEADGBE2222x1
La♯7/c
Do - La♯ - Re - Fa - Sol♯
Sol7
EADGBE321
3frEADGBE1111325frEADGBE11x32410frEADGBE111134
Fa7
EADGBE111132
3frEADGBE11x3248frEADGBE11113410frEADGBE111xx2
Sol♯m7
4frEADGBE111113
6frEADGBE11x4239frEADGBE11x23x11frEADGBE111132
Do♯7
EADGBEx3241x
4frEADGBE111x346frEADGBE1114329frEADGBE111132
Dom7/d
Re - Do - Mi♭ - Sol - Si♭
Fa7/cis
Do♯9
EADGBE222221
8frEADGBE3142xx9frEADGBE11132410frEADGBExx2143
Sol♯6
EADGBE1111x3
3frEADGBE2x143x6frEADGBE111x349frEADGBEx4231x
Fam7/g
Sol - Fa - La♭ - Do - Mi♭
Re7♭5
EADGBE11xx2
3frEADGBExx24135frEADGBE11x23x9frEADGBE2x341x
Fam7/d
Re - Fa - La♭ - Do - Mi♭

It Might As Well Be Spring in Re#

It Might As Well Be Spring 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 G# (ascending perfect fourth), G# to G (descending half step), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to A# (descending perfect fourth), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to A (ascending half step), A to D (ascending perfect fourth), D to D# (ascending half step), D# to C (descending minor third), C to A# (descending whole step), A# to A# (ascending unison), A# to G (descending minor third), G to F (descending whole step), F to G# (ascending minor third), G# to C# (ascending perfect fourth), C# to C (descending half step), C to F (ascending perfect fourth), F to C# (descending major third), C# to G# (descending perfect fourth), G# to F (descending minor third), F to D (descending minor third), D to F (ascending 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 F to D# by whole step.

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.

swing2/2 · 56 bars · Form: AABA

Chords: Re♯6, Sol♯9, Solm7, Do7, Fam7, La♯7, Re♯, La♯m7, Re♯7, Sol♯, Lam7, Re7, Re♯69/b, Dom7, La♯9, La♯7/c, Sol7, Fa7, Sol♯m7, Do♯7, Dom7/d, Fa7/cis, Do♯9, Sol♯6, Fam7/g, Re7♭5, Fam7/d.

Scales for Improvisation Re# bebop, Re# bebop major.