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Waltz For Debby in B
Waltz for Debby in B: 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: D#m7 – G#7b5 – G#7 – Fm7 – A#7 – B11 – B7 – EMaj7 – A9 – G#m – G#m7/Bb – C#7/a – Edim7 – B6/g – Ddim7 – C#m7 – F#9 – F#7b9 – B – B69 – G#m7 – F#7 – D#7 – D#m7b5 – C#7 – C#m7b5 – F#7/Ab – A#7/c – Gm7 – D#Maj7 – Dm7 – F#m7/Eb – C#9 – D7.
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 D# to G# (ascending perfect fourth), G# to G# (ascending unison), G# to F (descending minor third), F to A# (ascending perfect fourth), A# to B (ascending half step), B to B (ascending unison), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to G# (descending half step), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to E (ascending minor third), E to B (descending perfect fourth), B to D (ascending minor third), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to B (ascending unison), B 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 G (descending minor third), G to D# (descending major third), D# to D (descending half step), D to F# (ascending major third), F# to C# (descending perfect fourth), C# to D (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 D to D# by half 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.