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Waltz For Debby in F
Waltz for Debby in F: 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: Am7 – D7b5 – D7 – Bm7 – E7 – F11 – F7 – A#Maj7 – D#9 – Dm – Dm7/Bb – G7/a – A#dim7 – F6/g – G#dim7 – Gm7 – C9 – C7b9 – F – F69 – Dm7 – C7 – A7 – Am7b5 – G7 – Gm7b5 – C7/Ab – E7/c – C#m7 – AMaj7 – G#m7 – Cm7/Eb – G9 – G#7.
Key of F
F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through A to D (ascending perfect fourth), D to D (ascending unison), D to B (descending minor third), B to E (ascending perfect fourth), E to F (ascending half step), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to D (descending half step), D to D (ascending unison), D to G (ascending perfect fourth), G to A# (ascending minor third), A# to F (descending perfect fourth), F to G# (ascending minor third), G# to G (descending half step), G to C (ascending perfect fourth), C to C (ascending unison), C to F (ascending perfect fourth), F to F (ascending unison), F to D (descending minor third), D to C (descending whole step), C to A (descending minor third), A to A (ascending unison), A to G (descending whole step), G to G (ascending unison), G to C (ascending perfect fourth), C to E (ascending major third), E to C# (descending minor third), C# to A (descending major third), A to G# (descending half step), G# to C (ascending major third), C to G (descending perfect fourth), G to G# (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 G# to A by half step.
Scales for Improvisation
F 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, F Mixolydian adds the flat seventh for an authentic blues-rock edge.