Speak No Evil in Do#

Speak No Evil in Do#

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 Do#

C# major (or Db) sits in barre chord territory across the fretboard. Every chord demands precise barring, but the payoff is a bright, crystalline sound a half step above C that cuts through a band mix. C# is a intermediate-advanced-level key on guitar because no open strings fall within the key naturally, so every chord requires full barre technique. 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 half step), D# to E (ascending half step), E to F# (ascending whole step), F# to B (ascending perfect fourth), B to G (descending major third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to A (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 A to D 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.