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Waltz For Debby in D#
Waltz for Debby in D#: 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: Gm7 – C7b5 – C7 – Am7 – D7 – D#11 – D#7 – G#Maj7 – C#9 – Cm – Cm7/Bb – F7/a – G#dim7 – D#6/g – F#dim7 – Fm7 – A#9 – A#7b9 – D# – D#69 – Cm7 – A#7 – G7 – Gm7b5 – F7 – Fm7b5 – A#7/Ab – D7/c – Bm7 – GMaj7 – F#m7 – A#m7/Eb – F9 – F#7.
Key of D#
D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.
Voice Leading
The bass line moves through G to C (ascending perfect fourth), C to C (ascending unison), C to A (descending minor third), A to D (ascending perfect fourth), D to D# (ascending half step), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C (descending half step), C to C (ascending unison), C to F (ascending perfect fourth), F to G# (ascending minor third), G# to D# (descending perfect fourth), D# to F# (ascending minor third), F# to F (descending half step), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to C (descending minor third), C to A# (descending whole step), A# to G (descending minor third), G to G (ascending unison), G to F (descending whole step), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D (ascending major third), D to B (descending minor third), B to G (descending major third), G to F# (descending half step), F# to A# (ascending major third), A# to F (descending perfect fourth), F to F# (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 F# to G by half step.
Scales for Improvisation
D# 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, D# Mixolydian adds the flat seventh for an authentic blues-rock edge.