Club Morocco in G#

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
C♯9♯11
C♯9♯11
Cmaj9
G♯m69
D♯maj9
D13♯11
C♯9♯11
C♯9♯11
Cm11
G♯m69
C♯9♯11
Cmaj9
A♯9sus
D♯maj9
D♯maj9
D♯maj9
C♯maj9
G7♯9♯5
F7♯9♯5
G♯m69
D♯maj9
D13♯11
C♯9♯11
C♯9♯11
Cm11
G♯m69
C♯9♯11
Cmaj9
G♯m69
D♯maj9
D13♯11
C♯9♯11
C♯9♯11
Cm11
G♯m69
C♯9♯11
Cmaj9

Chord Diagrams — Club Morocco in G# (Guitar)

C♯9♯11
EADGBEx213
4frEADGBE111x238frEADGBE1112349frEADGBE111123
Cmaj9
EADGBEx3
EADGBE22214x5frEADGBE111138frEADGBE11x234
G♯m69
3frEADGBE222x14
4frEADGBE1122226frEADGBE1111239frEADGBE333x12
D♯
EADGBExx1243
3frEADGBE11x4326frEADGBE11x2348frEADGBE111xx4
D♯maj9
3frEADGBE1111x4
5frEADGBEx2143x8frEADGBE1111x411frEADGBExx2314
D13♯11
D - F♯ - A - C - E - G♯ - B
Cm11
EADGBE11x234
EADGBE1111x26frEADGBE1113428frEADGBE111114
Fm9
EADGBE111134
EADGBEx12346frEADGBE2222x111frEADGBE22221
A♯9sus
EADGBE111x34
EADGBE1122xx6frEADGBE1111348frEADGBExx1324
A♯7♭9
EADGBEx123
4frEADGBE3241xx6frEADGBE111x2312frEADGBE11x234
E
EADGBE231
2frEADGBExx12434frEADGBE1114327frEADGBE111234
D♯m9
4frEADGBE2222x1
7frEADGBExx24139frEADGBE333x1211frEADGBE111134
Dmaj7
EADGBE111xx
2frEADGBE111x435frEADGBE1113247frEADGBE111xx4
C♯maj9
EADGBE1111x4
3frEADGBEx2143x8frEADGBE11124310frEADGBExx2143
Dm7
EADGBExx312
5frEADGBE1111326frEADGBExx231410frEADGBE111113
G7♯9♯5
G - B - D♯ - F - A♯
Cm7♭5
EADGBEx1324x
4frEADGBE11xx248frEADGBE11123410frEADGBE333xx1
F7♯9♯5
F - A - C♯ - E♭ - G♯

Club Morocco in G#

Club Morocco in G#

G# major (or Ab) lives at fret 4 on the low E string. All chords require barre technique, making it less common in guitar-centric songwriting but standard in piano-driven pop. Guitarists often use a capo to access friendlier shapes. G# is a intermediate-advanced-level key on guitar because the open G string is a half step below the root, creating dissonance — avoid letting it ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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

samba4/4 · 38 bars · Form: A-B-C-Coda

Chords: C♯9♯11, Cmaj9, G♯m69, D♯, D♯maj9, D13♯11, Cm11, Fm9, A♯9sus, A♯7♭9, E, D♯m9, Dmaj7, C♯maj9, Dm7, G7♯9♯5, Cm7♭5, F7♯9♯5.

Scales for Improvisation G# bebop minor, G# bebop.