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My Funny Valentine in F#
The F# 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: F#m – C#7/b – F#m7/Bb – D#m7b5 – DMaj7 – Bm9 – G#m7b5 – C#7b9 – G#7b5b9 – C#m7 – F#7b5b9 – Bm7b5 – E7b9 – AMaj7 – Bm7 – A – C#7#5 – C#7 – F#m7 – Em7 – D#7b9 – F9 – Em9 – D#7b5#9 – E7.
Key of F#
F# major pushes guitarists into full barre territory at fret 2 and beyond. No open chords exist naturally, but the key rewards advanced players with dark, powerful voicings. Common in metal and progressive rock where low tunings bring it closer to standard pitch. F# is a intermediate-advanced-level key on guitar because the open B string is the 4th scale degree and the open high E is the minor 7th, both usable as color tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.
Voice Leading
The bass line moves through F# to C# (descending perfect fourth), C# to F# (ascending perfect fourth), F# to D# (descending minor third), D# to D (descending half step), D to B (descending minor third), B to G# (descending minor third), G# to C# (ascending perfect fourth), C# to G# (descending perfect fourth), G# to C# (ascending 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 B (ascending whole step), B to A (descending whole step), A to C# (ascending major third), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to D# (descending half step), D# to F (ascending whole step), F to E (descending half step), E to D# (descending half step), D# to E (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 E to F# by whole step.
Scales for Improvisation
F# 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, F# Mixolydian adds the flat seventh for an authentic blues-rock edge.