Si Alegrías Extended
iii – IV – V – IV – I – V7 – I progression in Si major
Si Alegrías Extended — iii – IV – V – IV – I – V7 – I
Extended Alegrias variation starting from the iii chord (G#m in E major). Creates a richer harmonic journey through IV and V before resolving. Documented by Granados as one of the characteristic harmonic structures for concert guitar alegrias.
Playing in Si major
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 E (ascending half step), E to F# (ascending whole step), F# to E (descending whole step), E to B (descending perfect fourth), B to F# (descending perfect fourth), F# to B (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from B to D# by major third.
Capo Transposition
To play in B using familiar open chords: capo 2 with open A shapes; capo 4 with open G shapes; capo 7 with open E shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
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.
Strumming Pattern
Try a D-D-DU waltz pattern at 80-100 BPM. Accent beat 1 strongly and keep beats 2-3 lighter. For fingerpicking, use a bass-pluck-pluck pattern with alternating bass notes.