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

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 D (ascending half step), D to D# (ascending half step), D# to F (ascending whole step), F to A# (ascending perfect fourth), A# to F# (descending major third), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to G# (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 G# 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.