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Ain't No Mountain High Enough in D#
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 D# to D# (ascending unison), D# to D# (ascending unison), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to A# (ascending whole step), A# to B (ascending half step), B to B (ascending unison), B to B (ascending unison), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to G# (descending perfect fourth), G# to D# (descending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to D (ascending half step), D to E (ascending whole step), E to E (ascending unison), E to E (ascending unison), E to E (ascending unison), E to A (ascending perfect fourth), A to B (ascending whole step), B to C (ascending half step), C to C (ascending unison), C to C (ascending unison), C to B (descending half step), B to E (ascending perfect fourth), E to A (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from A to D# by tritone.
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.