Aquarela do Brasil in B
Aquarela do Brasil in B
Aquarela do Brasil in B — Ary Barroso's samba classic. Explore Bebop Major and Major Pentatonic scales over these sophisticated changes. Chords: B6 – Bm6 – G#7(b9) – G#7(#9) – C#m9 – F#9 – BMaj7 – C#m7 – F7b9 – F(b5) – B7 – A#7 – A7 – G#7 – D#MI7(b5) – C#mi – C#mi(#5) – C#mi6 – C#mi7 – A9 – A#7(#9)/G# – D#MI7 – G#Maj7 – C#9 – BMaj9 – F#7(#9).
Aquarela do Brasil in B
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 B to B (ascending unison), B to G# (descending minor third), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to C# (ascending whole step), C# to F (ascending major third), F to F (ascending unison), F to B (ascending tritone), B to A# (descending half step), A# to A (descending half step), A to G# (descending half step), G# to D# (descending perfect fourth), D# to C# (descending whole step), C# to C# (ascending unison), C# to C# (ascending unison), C# to C# (ascending unison), C# to A (descending major third), A to A# (ascending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to B (descending whole step), B to F# (descending perfect fourth). 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 F# to B by perfect fourth.
Scales for Improvisation
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.