La Enganadora in G#
Chord Diagrams — La Enganadora in G# (Guitar)
La Enganadora in G#
La Engañadora in G#: Enrique Jorrín's minor cha-cha-chá. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: G# – Gdim7 – G#7 – G#7#5 – C# – Ddim7 – Bdim7 – A#m7 – D#7sus4 – D#7 – D#aug – D#m – D#dim7 – D# – A#m – A#m#5 – G#6 – D#9 – D#9#5 – Adim7 – D#m#5 – C#maj7 – C#6 – A#7 – Fm7 – D#7b9 – A#m6 – D#9sus4 – Cm7.
La Enganadora 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 G# to G (descending half step), G to G# (ascending half step), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to D (ascending half step), D to B (descending minor third), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to D# (ascending unison), D# to D# (ascending unison), D# to D# (ascending unison), D# to D# (ascending unison), D# to A# (descending perfect fourth), A# to A# (ascending unison), A# to G# (descending whole step), G# to D# (descending perfect fourth), D# to D# (ascending unison), D# to A (ascending tritone), A to D# (ascending tritone), D# to C# (descending whole step), C# to C# (ascending unison), C# to A# (descending minor third), A# to F (descending perfect fourth), F to D# (descending whole step), D# to A# (descending perfect fourth), A# to D# (ascending perfect fourth), D# to C (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 C to G# 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.