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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: C#m7 – F#7b5 – F#7 – D#m7 – G#7 – A11 – A7 – DMaj7 – G9 – F#m – F#m7/Bb – B7/a – Ddim7 – A6/g – Cdim7 – Bm7 – E9 – E7b9 – A – A69 – F#m7 – E7 – C#7 – C#m7b5 – B7 – Bm7b5 – E7/Ab – G#7/c – Fm7 – C#Maj7 – Cm7 – Em7/Eb – B9 – C7.
Key of A
A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to D# (descending minor third), D# to G# (ascending perfect fourth), G# to A (ascending half step), A to A (ascending unison), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to F# (descending half step), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to D (ascending minor third), D to A (descending perfect fourth), A to C (ascending minor third), C to B (descending half step), B to E (ascending perfect fourth), E to E (ascending unison), E to A (ascending perfect fourth), A to A (ascending unison), A to F# (descending minor third), F# to E (descending whole step), E to C# (descending minor third), C# to C# (ascending unison), C# to B (descending whole step), B to B (ascending unison), B to E (ascending perfect fourth), E to G# (ascending major third), G# to F (descending minor third), F to C# (descending major third), C# to C (descending half step), C to E (ascending major third), E to B (descending perfect fourth), B 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 C# 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.