Do Re MiC D E

Maria Maria

Nascimento Milton4/4mpb
E/A♭
C/A♭
D/A♭
A♯/A♭
E/G
F♯m7/E♭
D/F
E/A♭
C/A♭
D/A♭
A♯/A♭
E/G
F♯m7/E♭
D/F
E/A♭
C/A♭
D/A♭
A♯/A♭
%
E/A♭
C/A♭
D/A♭
A♯/A♭
E/G
F♯m7/E♭
D/F
%
A7sus4
A♯/A♭
F/A♭
%
%
%
A7sus4
A♯/A♭
F/A♭
%
%
%
B7sus4
C/B♭
G/B♭
%
E/A♭
C/A♭
D/A♭
A♯/A♭
E/G
F♯m7/E♭
D/F
E/A♭
C/A♭
D/A♭
A♯/A♭
E/G
F♯m7/E♭
D/F

Chord Diagrams — Maria Maria in A (Guitar)

Display
FingerNoteDegree
Starting fret
Open123456789101112
A
5frEADGBE111342
EADGBEx234
2frEADGBE111x4
7frEADGBEx1243
E/A♭
4frEADGBE111432
EADGBE231
2frEADGBExx1243
7frEADGBE111234
C/A♭
5frEADGBE111xx4
EADGBEx321
3frEADGBE111234
8frEADGBE111342
D/A♭
5frEADGBE111234
EADGBExx132
2frEADGBE111432
10frEADGBE111342
A♯/A♭
6frEADGBE111342
EADGBE11x234
3frEADGBE11143x
8frEADGBE11x243
E/G
7frEADGBE111234
EADGBE231
2frEADGBExx1243
4frEADGBE111432
F♯m7
9frEADGBE111132
EADGBE111113
4frEADGBExx1423
10frEADGBExx2314
F♯m7/E♭
9frEADGBE111132
EADGBE111113
4frEADGBExx1423
10frEADGBExx2314
Dmaj7
7frEADGBE111xx4
EADGBE111xx
2frEADGBE111x43
5frEADGBE111324
G6
5frEADGBE111x34
EADGBE21
EADGBE2x143x
10frEADGBE3333x1
D/F
5frEADGBE111234
EADGBExx132
2frEADGBE111432
10frEADGBE111342
Fmaj7
3frEADGBE11x333
EADGBExx321
EADGBE111423
8frEADGBE111324
Am7
5frEADGBE111113
EADGBEx21
EADGBEx2314
7frEADGBE11x423
A7sus4
5frEADGBE111134
EADGBEx23
7frEADGBEx1324
10frEADGBE11x234
F/A♭
5frEADGBE111432
EADGBE111342
3frEADGBE11x243
8frEADGBE111234
Bm7
7frEADGBE111113
EADGBE111132
3frEADGBExx2314
9frEADGBE11x423
B7sus4
7frEADGBE111134
EADGBEx123
2frEADGBE111134
4frEADGBE1122xx
C/B♭
8frEADGBE111342
EADGBEx321
3frEADGBE111234
5frEADGBE111xx4
G/B♭
7frEADGBE111432
EADGBE213
3frEADGBE111342
5frEADGBE11x243

Explore More

Maria Maria in A

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 A to E (descending perfect fourth), E to C (descending major third), C to D (ascending whole step), D to A# (descending major third), A# to E (ascending tritone), E to F# (ascending whole step), F# to F# (ascending unison), F# to D (descending major third), D to G (ascending perfect fourth), G to D (descending perfect fourth), D to F (ascending minor third), F to A (ascending major third), A to A (ascending unison), A to F (descending major third), F to B (ascending tritone), B to B (ascending unison), B to C (ascending half step), C to G (descending perfect fourth). 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 whole 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.

mpb4/4 · 65 bars · Form: AB

Chords: A, E/A♭, C/A♭, D/A♭, A♯/A♭, E/G, F♯m7, F♯m7/E♭, Dmaj7, G6, D/F, Fmaj7, Am7, A7sus4, F/A♭, Bm7, B7sus4, C/B♭, G/B♭.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A