Prelude To A Kiss in Do

Prelude To A Kiss in Do

Ellington's sophisticated ballad moves through unexpected chromatic harmonic detours that support Bebop Major lines on the tonic, Dorian color on the minor passing chords, and Mixolydian phrasing on the dominant seventh chords. The melody's unusual intervallic construction — built largely on half steps and tritones — gives the piece a distinctly Ellingtonian personality. Mastering the melody itself is the best preparation for improvising on it.

Prelude To A Kiss in Do

With no sharps or flats, C major is the theoretical home base on guitar. The open G, B, and high E strings all belong to the C major chord, creating natural sustain. C is a beginner-level key on guitar because the open B and high E strings ring within the scale, and every basic chord uses familiar open shapes. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through C to G# (descending major third), G# to D (ascending tritone), D to G (ascending perfect fourth), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to F (ascending unison), F to A (ascending major third), A to E (descending perfect fourth), E 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 C by perfect fourth.

Scales for Improvisation

C 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, C Mixolydian adds the flat seventh for an authentic blues-rock edge.