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My Funny Valentine in B
The B reading of My Funny Valentine: built on a descending chromatic bass over a static minor tonic, one of jazz's most haunting devices. Aeolian and Dorian blend naturally; Harmonic Minor is essential over the V7. Changes: Bm – F#7/b – Bm7/Bb – G#m7b5 – GMaj7 – Em9 – C#m7b5 – F#7b9 – C#7b5b9 – F#m7 – B7b5b9 – Em7b5 – A7b9 – DMaj7 – Em7 – D – F#7#5 – F#7 – Bm7 – Am7 – G#7b9 – A#9 – Am9 – G#7b5#9 – A7.
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 F# (descending perfect fourth), F# to B (ascending perfect fourth), B to G# (descending minor third), G# to G (descending half step), G to E (descending minor third), E to C# (descending minor third), C# to F# (ascending perfect fourth), F# to C# (descending perfect fourth), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to E (ascending whole step), E to D (descending whole step), D to F# (ascending major third), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to A (descending whole step), A to G# (descending half step), G# to A# (ascending whole step), A# to A (descending half step), A to G# (descending half step), G# to A (ascending half step). 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 A to B by whole step.
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.