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Tea For Two in B
This cabaret classic's relentless ii-V-I motion is a disciplined training ground for Dorian, Mixolydian, and Bebop Major language deployed in B. The symmetrical phrase structure demands harmonic precision and motivic development in equal measure. The C#m7 – F#7 – Bmaj7 – E7 – D#m7 – G#7 – Fm7 – A#7 – D#maj7 – Gm7 – C7 – D#m7b5 – G#7b9 – D#dim7 – Emaj7 – C#m7/Ab – A7 – Ddim7 – B6 changes are used by generations of jazz educators to build ii-V-I fluency and consistent swing.
Key of B
B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to D# (descending half step), D# to G# (ascending perfect fourth), G# to F (descending minor third), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G (ascending major third), G to C (ascending perfect fourth), C to D# (ascending minor third), D# to G# (ascending perfect fourth), G# to D# (descending perfect fourth), D# to E (ascending half step), E to C# (descending minor third), C# to A (descending major third), A to D (ascending perfect fourth), D to B (descending minor 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 B to C# by whole step.
Scales for Improvisation
B 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, B Mixolydian adds the flat seventh for an authentic blues-rock edge.