Re# Fandango (Dual Harmony)
iv – III – II – I → VI – IV⁰ – VI – V7 – VI progression in Re# minor
Re# Fandango (Dual Harmony) — iv – III – II – I → VI – IV⁰ – VI – V7 – VI
The Fandango uniquely mixes two harmonic worlds: the Cadencia Andaluza (Phrygian) for instrumental preludes and remates, and Traditional Harmony (major/minor) for the vocal accompaniment. In E: Am-G-F-E (Phrygian intro) → C-F-C-G7-C (major verses) → F-E (Phrygian resolution).
Playing in Re# minor
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 Ab to F# (descending whole step), F# to E (descending whole step), E to Eb (descending half step), Eb to B (descending major third), B to E (ascending perfect fourth), 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 root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from B to Ab by minor third.
Capo Transposition
To play in D# using familiar open chords: capo 1 with open D shapes; capo 3 with open C shapes; capo 6 with open A 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
D# minor pentatonic is your safest starting point because all five notes are chord tones or stable tensions within the natural minor harmony. When a dominant seventh chord appears, switch briefly to D# Dorian or harmonic minor to capture the raised 6th or 7th that the chord implies.
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.