My Funny Valentine in Re#

My Funny Valentine in Re#

The D# 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: D#m – D#mMaj7 – D#m7 – D#m6 – BMaj7 – G#m7 – Fm7b5 – A#7b9 – C#7 – F#Maj7.

My Funny Valentine 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 D# (ascending unison), D# to D# (ascending unison), D# to D# (ascending unison), D# to B (descending major third), B to G# (descending minor third), G# to F (descending minor third), F to A# (ascending perfect fourth), A# to C# (ascending minor third), C# to F# (ascending perfect fourth). 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 minor third.

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.