Si Tangos Modern Voicing
II – III – II – I progression in Si minor
Si Tangos Modern Voicing — II – III – II – I
Modern tangos voicing documented by Alejandro Roman. Uses Lydian tensions (#11) on the bII chord and dominant 9th on III: Bb(add#11)-C7(9)-Bb6(add#11)-A(addb9). Represents the jazz-influenced evolution of flamenco harmony.
Playing in Si minor
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 C to D (ascending whole step), D to C (descending whole step), C to B (descending half step). 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 B to C by half step.
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 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 B Dorian or harmonic minor to capture the raised 6th or 7th that the chord implies.
Strumming Pattern
Use D-DU-UDU at 100-120 BPM for a standard pop strum. Accent beats 2 and 4 for a backbeat feel. Vary dynamics between verse (lighter) and chorus (stronger) to build energy.