La Comparsa in B
La Comparsa in B
La Comparsa in B: Ernesto Lecuona's minor danzón. Aeolian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Bm11 – B7alt – Em9 – D – C#7alt – F#7 – F#7/C# – F#7b9 – Bmi7 – G9 – C6 – G7 – Dm7 – G9sus4 – F – C – A#9 – A9sus – A7 – Emi7 – A7b9 – Cmaj7 – D#9#11 – A# – D# – D#7 – Fm7 – A#7 – C69 – F69 – G – G7sus – C#7b5 – B – F#7/D – F#dim7.
La Comparsa 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 B to B (ascending unison), B to E (ascending perfect fourth), E to D (descending whole step), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to G (descending major third), G to C (ascending perfect fourth), C to G (descending perfect fourth), G to D (descending perfect fourth), D to G (ascending perfect fourth), G to F (descending whole step), F to C (descending perfect fourth), C to A# (descending whole step), A# to A (descending half step), A to A (ascending unison), A to E (descending perfect fourth), E to A (ascending perfect fourth), A to C (ascending minor third), C to D# (ascending minor third), D# to A# (descending perfect fourth), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to F (ascending whole step), F to A# (ascending perfect fourth), A# to C (ascending whole step), C to F (ascending perfect fourth), F to G (ascending whole step), G to G (ascending unison), G to C# (ascending tritone), C# to B (descending whole step), B to F# (descending perfect fourth), F# to F# (ascending unison). 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 F# to B by perfect fourth.
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.