La Enganadora in B
Chord Diagrams — La Enganadora in B (Guitar)
La Enganadora in B
La Engañadora in B: Enrique Jorrín's minor cha-cha-chá. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: B – A#dim7 – B7 – B7#5 – E – Fdim7 – Ddim7 – C#m7 – F#7sus4 – F#7 – F#aug – F#m – F#dim7 – F# – C#m – C#m#5 – B6 – F#9 – F#9#5 – Cdim7 – F#m#5 – Emaj7 – E6 – C#7 – G#m7 – F#7b9 – C#m6 – F#9sus4 – D#m7.
La Enganadora 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 A# (descending half step), A# to B (ascending half step), B to B (ascending unison), B to E (ascending perfect fourth), E to F (ascending half step), F to D (descending minor third), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to F# (ascending unison), F# to F# (ascending unison), F# to F# (ascending unison), F# to F# (ascending unison), F# to C# (descending perfect fourth), C# to C# (ascending unison), C# to B (descending whole step), B to F# (descending perfect fourth), F# to F# (ascending unison), F# to C (ascending tritone), C to F# (ascending tritone), F# to E (descending whole step), E to E (ascending unison), E to C# (descending minor third), C# to G# (descending perfect fourth), G# to F# (descending whole step), F# to C# (descending perfect fourth), C# to F# (ascending perfect fourth), F# to D# (descending minor third). 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 D# to B by major third.
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.