Nací Moreno in A#
Chord Diagrams — Nací Moreno in A# (Guitar)
Nací Moreno in A#
Nació Moreno in A#: Fania All-Stars's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: G#m7 – G7 – F#7 – F7b5 – E7 – D#7 – D7 – C#m7 – Bmaj7 – Esus – E9 – D#7#9#5 – C#13#11 – E13 – D#7alt – A13#11 – G#m69 – F#69 – E69 – D#m – C#9 – B9 – Amaj13 – G#madd9 – G#m – A9#11 – G#mM7 – Amaj7 – G#7b9 – B – A#m7b5 – G#m7b5 – Gm7b5 – F#m7b5 – Fm7b5 – D#7b9b5 – C#9#11 – G#7sus – G#7 – C#m – D#7sus – D#7#9 – A6 – G# – A69 – G#m6 – F#6.
Nací Moreno in A#
A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to 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 F# (descending half step), F# to F (descending half step), F to E (descending half step), E to D# (descending half step), D# to D (descending half step), D to C# (descending half step), C# to B (descending whole step), B to E (ascending perfect fourth), E to E (ascending unison), E to D# (descending half step), D# to C# (descending whole step), C# to E (ascending minor third), E to D# (descending half step), D# to A (ascending tritone), A to G# (descending half step), G# to F# (descending whole step), F# to E (descending whole step), E to D# (descending half step), D# to C# (descending whole step), C# to B (descending whole step), B to A (descending whole step), A to G# (descending half step), G# to G# (ascending unison), G# to A (ascending half step), A to G# (descending half step), G# to A (ascending half step), A to G# (descending half step), G# to B (ascending minor third), B to A# (descending half step), A# to G# (descending whole step), G# to G (descending half step), G to F# (descending half step), F# to F (descending half step), F to D# (descending whole step), D# to C# (descending whole step), C# to G# (descending perfect fourth), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to D# (ascending whole step), D# to D# (ascending unison), D# to A (ascending tritone), A to G# (descending half step), G# to A (ascending half step), A to G# (descending half step), G# to F# (descending whole step). 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 F# to G# by whole step.
Scales for Improvisation
A# 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, A# Mixolydian adds the flat seventh for an authentic blues-rock edge.