Speak No Evil in La#

Speak No Evil in La#

Wayne Shorter's modal minor composition layers Dorian tonality on the tonic minor with Lydian Dominant color on the unexpected major seventh chords and Altered scale tension on the resolving dominants. The harmonic ambiguity is central to the tune's personality — Shorter avoids clear tonal resolution at every turn. A defining composition of the post-bop era that rewards deep harmonic listening.

Speak No Evil in La#

A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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