Cubanita in C

Victor Mendoza (arranged by V. Mendoza, D. Eskenazi & A. Mallet)(1993)songoJazz Songo/Iyesá
Do Re MiC D E
Clave 2-3
I
n
t
r
o
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A
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B
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C
-
D
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E
-
F
-
G
-
C
o
d
a
D7♯9♯5
C7♯9♯5
A♯9♭5
C♯7♯9♯5
Am♯5
Am♯5
Am♯5
Cmaj9
C♭maj7
G7♯9♯5
C7♯9♯5
A♯9♭5
D7♯9♯5
Am69
E7♯9♯5
Am69
C9♭5
Cmaj9
C♭maj7
G7♯9♯5
Am69
E7♯9♯5
Am69
C9♭5
D7♯9♯5
C7♯9♯5
A♯9♭5
C7♯9♯5
A♯9♭5
D7♯9♯5

Chord Diagrams — Cubanita in C (Guitar)

D7♯9♯5
D - F♯ - A♯ - C - F
C7♯9♯5
C - E - G♯ - B♭ - D♯
A♯9♭5
EADGBEx123
4frEADGBE4x2315frEADGBE11123412frEADGBEx2134
Em9
EADGBE24
EADGBE12435frEADGBE2222x110frEADGBE11324
C♯7♯9♯5
C♯ - F - A - B - E
Cmaj7
EADGBE231
3frEADGBE1113245frEADGBE111xx410frEADGBE333xx1
Am
EADGBEx231
2frEADGBE444x15frEADGBE1111347frEADGBEx1342
Am♯5
EADGBEx231
2frEADGBE444x15frEADGBE1111347frEADGBEx1342
Am6
EADGBEx2314
4frEADGBE2222x15frEADGBE1112347frEADGBE111x32
E7
EADGBE21
5frEADGBEx3241x7frEADGBE1111349frEADGBE111xx2
Gm9
EADGBE2341
3frEADGBE1111346frEADGBE11xx28frEADGBE2222x1
C9
EADGBE222221
7frEADGBE1123447frEADGBE1113249frEADGBExx2143
Fm9
EADGBE111134
EADGBEx12346frEADGBE2222x111frEADGBE22221
G♯9
EADGBE11234x
4frEADGBE1113245frEADGBExx214310frEADGBE222221
Cmaj9
EADGBEx3
EADGBE22214x5frEADGBE111138frEADGBE11x234
G
EADGBE213
3frEADGBE1113425frEADGBE11x2437frEADGBE111432
Bmaj7
EADGBE111324
4frEADGBE111xx47frEADGBE1114239frEADGBE11333x
G7♯9♯5
G - B - D♯ - F - A♯
A7alt
EADGBEx123x
4frEADGBEx43128frEADGBEx413212frEADGBEx1234x
Am69
4frEADGBEx24
5frEADGBE1122227frEADGBE1112310frEADGBE333x12
E7♯9♯5
E - G♯ - C - D - G
C9♭5
EADGBE11x234
EADGBEx14237frEADGBE1112348frEADGBE1123x4

Cubanita in C

Cubanita in C

With no sharps or flats, C major is the theoretical home base on guitar. The open G, B, and high E strings all belong to the C major chord, creating natural sustain. C is a beginner-level key on guitar because the open B and high E strings ring within the scale, and every basic chord uses familiar open shapes. 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 whole step), C to A# (descending whole step), A# to E (ascending tritone), E to C# (descending minor third), C# to C (descending half step), C to A (descending minor third), A to A (ascending unison), A to A (ascending unison), A to E (descending perfect fourth), E to G (ascending minor third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to G# (ascending minor third), G# to C (ascending major third), C to G (descending perfect fourth), G to Cb (ascending perfect fourth), Cb to G (descending perfect fourth), G to A (ascending whole step), A to A (ascending unison), A to E (descending perfect fourth), E to C (descending major third). 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 C to D by whole step.

Scales for Improvisation

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

songo4/4 · 30 bars · Form: Intro-A-B-C-D-E-F-G-Coda

Chords: D7♯9♯5, C7♯9♯5, A♯9♭5, Em9, C♯7♯9♯5, Cmaj7, Am, Am♯5, Am6, E7, Gm9, C9, Fm9, G♯9, Cmaj9, G, C♭maj7, G7♯9♯5, A7alt, Am69, E7♯9♯5, C9♭5.

Scales for Improvisation C bebop, C bebop major.