Club Morocco in A

Jose Roberto Bertrami, Alex Malheiros, as played by Azymuth(1982)sambaFast Funky Samba (Reverse Partido Alto)
Do Re MiC D E
A
-
B
-
C
-
C
o
d
a
D9♯11
D9♯11
C♯maj9
Am69
Emaj9
D♯13♯11
D9♯11
D9♯11
C♯m11
Am69
D9♯11
C♯maj9
B9sus
Emaj9
Emaj9
Emaj9
Dmaj9
G♯7♯9♯5
F♯7♯9♯5
Am69
Emaj9
D♯13♯11
D9♯11
D9♯11
C♯m11
Am69
D9♯11
C♯maj9
Am69
Emaj9
D♯13♯11
D9♯11
D9♯11
C♯m11
Am69
D9♯11
C♯maj9

Chord Diagrams — Club Morocco in A (Guitar)

D9♯11
EADGBExx123
4frEADGBE11x2347frEADGBEx31429frEADGBE111234
C♯maj9
EADGBE1111x4
3frEADGBEx2143x8frEADGBE11124310frEADGBExx2143
Am69
4frEADGBEx24
5frEADGBE1122227frEADGBE1112310frEADGBE333x12
E
EADGBE231
2frEADGBExx12434frEADGBE1114327frEADGBE111234
Emaj9
EADGBE3124
EADGBE1112346frEADGBEx2143x9frEADGBE11xx34
D♯13♯11
D♯ - G - A♯ - C♯ - F - A - C
C♯m11
EADGBE111x23
7frEADGBE1113429frEADGBE11111411frEADGBE11xx23
F♯m9
EADGBE2314
EADGBE1111237frEADGBE2222x110frEADGBExx2413
B9sus
EADGBEx123
2frEADGBE1111344frEADGBE1122xx7frEADGBE111134
B7♭9
EADGBE11x234
5frEADGBE3241xx7frEADGBE111x238frEADGBE11xx23
F
EADGBE111342
3frEADGBE11x2435frEADGBE1114328frEADGBE111234
Em9
EADGBE24
EADGBE12435frEADGBE2222x110frEADGBE11324
D♯maj7
EADGBE11333x
3frEADGBE111x436frEADGBE1113248frEADGBE111xx4
Dmaj9
2frEADGBE1111x4
4frEADGBEx2143x7frEADGBEx231410frEADGBE11x234
D♯m7
EADGBExx1423
6frEADGBE1111327frEADGBExx231411frEADGBE111114
G♯7♯9♯5
G♯ - C - E - F♯ - B
C♯m7♭5
4frEADGBEx1324x
5frEADGBE11xx248frEADGBE2x341x11frEADGBE222xx1
F♯7♯9♯5
F♯ - A♯ - D - E - A

Club Morocco in A

Club Morocco in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through D to C# (descending half step), C# to A (descending major third), A to E (descending perfect fourth), E to E (ascending unison), E to D# (descending half step), D# to C# (descending whole step), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to B (ascending unison), B to F (ascending tritone), F to E (descending half step), E to D# (descending half step), D# to D (descending half step), D to D# (ascending half step), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to F# (ascending 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 D by major third.

Scales for Improvisation

A 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, A Mixolydian adds the flat seventh for an authentic blues-rock edge.

samba4/4 · 38 bars · Form: A-B-C-Coda

Chords: D9♯11, C♯maj9, Am69, E, Emaj9, D♯13♯11, C♯m11, F♯m9, B9sus, B7♭9, F, Em9, D♯maj7, Dmaj9, D♯m7, G♯7♯9♯5, C♯m7♭5, F♯7♯9♯5.

Scales for Improvisation A bebop minor, A bebop.