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Waltz For Debby in A#
Waltz for Debby in A#: Bill Evans's jazz waltz blossoms through lush upper-structure voicings and subtle harmonic extensions. Bebop Major and Lydian scales trace the major chord color — Dorian enriches the minor ii passages. Chords: Dm7 – G7b5 – G7 – Em7 – A7 – A#11 – A#7 – D#Maj7 – G#9 – Gm – Gm7/Bb – C7/a – D#dim7 – A#6/g – C#dim7 – Cm7 – F9 – F7b9 – A# – A#69 – Gm7 – F7 – D7 – Dm7b5 – C7 – Cm7b5 – F7/Ab – A7/c – F#m7 – DMaj7 – C#m7 – Fm7/Eb – C9 – C#7.
Key of A#
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 D to G (ascending perfect fourth), G to G (ascending unison), G to E (descending minor third), E to A (ascending perfect fourth), A to A# (ascending half step), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G (descending half step), G to G (ascending unison), G to C (ascending perfect fourth), C to D# (ascending minor third), D# to A# (descending perfect fourth), A# to C# (ascending minor third), C# to C (descending half step), C to F (ascending perfect fourth), F to F (ascending unison), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to G (descending minor third), G to F (descending whole step), F to D (descending minor third), D to D (ascending unison), D to C (descending whole step), C to C (ascending unison), C to F (ascending perfect fourth), F to A (ascending major third), A to F# (descending minor third), F# to D (descending major third), D to C# (descending half step), C# to F (ascending major third), F to C (descending perfect fourth), C to C# (ascending half step). 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 C# to D by half step.
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.