Re# Tangos Modern Voicing
II – III – II – I progression in Re# minor
Re# 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 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 E to F# (ascending whole step), F# to E (descending whole step), E to Eb (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 Eb to E by half step.
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
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.