Like Someone In Love in B
Like Someone In Love in B
Like Someone in Love in B: Van Heusen's accessible ballad rewards clean Bebop Major vocabulary and gentle Dorian color on the minor ii chords. Mixolydian smooths the dominant passages — an ideal standard for building bebop fluency. Chords: BMaj7 – B6/a – C#7/F – F#7/f – D#m7 – D7 – C#m7 – F#7 – F#9#5 – F#m7 – B9 – B9#5 – E6 – Eaug – A#m7 – D#7 – G#Maj7 – G#6 – G#m7 – C#7 – F#7#5.
Like Someone In Love in 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 C# (ascending whole step), C# to F# (ascending perfect fourth), F# to D# (descending minor third), D# to D (descending half step), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to B (ascending unison), B to E (ascending perfect fourth), E to E (ascending unison), E to A# (ascending tritone), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G# (ascending unison), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from F# 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.