Cubanita in D

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
-
B
-
C
-
D
-
E
-
F
-
G
-
C
o
d
a
E7♯9♯5
D7♯9♯5
C9♭5
D♯7♯9♯5
Dmaj9
C♭maj7
A7♯9♯5
D7♯9♯5
C9♭5
E7♯9♯5
Bm69
F♯7♯9♯5
Bm69
D9♭5
Dmaj9
C♭maj7
A7♯9♯5
Bm69
F♯7♯9♯5
Bm69
D9♭5
E7♯9♯5
D7♯9♯5
C9♭5
D7♯9♯5
C9♭5
E7♯9♯5

Chord Diagrams — Cubanita in D (Guitar)

E7♯9♯5
E - G♯ - C - D - G
D7♯9♯5
D - F♯ - A♯ - C - F
C9♭5
EADGBE11x234
EADGBEx14237frEADGBE1112348frEADGBE1123x4
F♯m9
EADGBE2314
EADGBE1111237frEADGBE2222x110frEADGBExx2413
D♯7♯9♯5
D♯ - G - B - C♯ - E♯#
Dmaj7
EADGBE111xx
2frEADGBE111x435frEADGBE1113247frEADGBE111xx4
Bm
EADGBE111342
7frEADGBE1111349frEADGBExx134210frEADGBExx3241
Bm♯5
EADGBE111342
7frEADGBE1111349frEADGBExx134210frEADGBExx3241
Bm6
EADGBE2314
EADGBExx23146frEADGBE2x134x7frEADGBE111234
F♯7
EADGBE111132
4frEADGBE11x3247frEADGBEx3241x9frEADGBE111134
Am9
EADGBEx2413
5frEADGBE1111348frEADGBE13210frEADGBE2222x1
D9
4frEADGBE222221
7frEADGBEx12349frEADGBE11234x10frEADGBE111324
Gm9
EADGBE2341
3frEADGBE1111346frEADGBE11xx28frEADGBE2222x1
A♯9
EADGBEx1234
5frEADGBE11234x6frEADGBE11132412frEADGBE2222x1
Dmaj9
2frEADGBE1111x4
4frEADGBEx2143x7frEADGBEx231410frEADGBE11x234
A
EADGBEx234
2frEADGBE111x45frEADGBE1113427frEADGBEx1243
Bmaj7
EADGBE111324
4frEADGBE111xx47frEADGBE1114239frEADGBE11333x
A7♯9♯5
A - C♯ - F - G - C
B7alt
EADGBEx1234x
6frEADGBExx43127frEADGBE1243x9frEADGBExx123
Bm69
EADGBEx2134
5frEADGBE2233x17frEADGBE1122229frEADGBE1112x3
F♯7♯9♯5
F♯ - A♯ - D - E - A
D9♭5
4frEADGBE11x234
5frEADGBEx13249frEADGBE11123410frEADGBE1123x4

Cubanita in D

Cubanita in D

D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

D 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, D 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: E7♯9♯5, D7♯9♯5, C9♭5, F♯m9, D♯7♯9♯5, Dmaj7, Bm, Bm♯5, Bm6, F♯7, Am9, D9, Gm9, A♯9, Dmaj9, A, C♭maj7, A7♯9♯5, B7alt, Bm69, F♯7♯9♯5, D9♭5.

Scales for Improvisation D bebop, D bebop major.