Chega de Saudade (No More Blues) in B

Chega de Saudade (No More Blues) in B

Chega de Saudade (No More Blues) in B — Antonio Carlos Jobim / Newton Mendonça's bossa nova classic. Explore Bebop Major and Lydian scales over these sophisticated changes. Chords: C#m7 – F#7 – Bmaj7 – B7 – Emaj7 – Em6 – D#m7 – G#7 – A7 – Dmaj7 – D6 – C#m7b5 – F#7b9 – B6.

Chega de Saudade (No More Blues) 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 C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to B (ascending unison), B to E (ascending perfect fourth), E to E (ascending unison), E to D# (descending half step), D# to G# (ascending perfect fourth), G# to A (ascending half step), A to D (ascending perfect fourth), D to D (ascending unison), D to C# (descending half step), C# to F# (ascending 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 C# by whole step.

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.