Nací Moreno in B
Chord Diagrams — Nací Moreno in B (Guitar)
Nací Moreno in B
Nació Moreno in B: Fania All-Stars's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Am7 – G#7 – G7 – F#7b5 – F7 – E7 – D#7 – Dm7 – Cmaj7 – Fsus – F9 – E7#9#5 – D13#11 – F13 – E7alt – A#13#11 – Am69 – G69 – F69 – Em – D9 – C9 – A#maj13 – Amadd9 – Am – A#9#11 – AmM7 – A#maj7 – A7b9 – C – Bm7b5 – Am7b5 – G#m7b5 – Gm7b5 – F#m7b5 – E7b9b5 – D9#11 – A7sus – A7 – Dm – E7sus – E7#9 – A#6 – A – A#69 – Am6 – G6.
Nací Moreno 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 A to G# (descending half step), 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 whole step), C to F (ascending perfect fourth), F to F (ascending unison), F to E (descending half step), E to D (descending whole step), D to F (ascending minor third), F to E (descending half step), E to A# (ascending tritone), A# to A (descending half step), A to G (descending whole step), G to F (descending whole step), F to E (descending half step), E to D (descending whole step), D to C (descending whole step), C to A# (descending whole step), A# to A (descending half step), A to A (ascending unison), A to A# (ascending half step), A# to A (descending half step), A to A# (ascending half step), A# to A (descending half step), A to C (ascending minor third), C to B (descending half step), B to A (descending whole step), A to G# (descending half step), G# to G (descending half step), G to F# (descending half step), F# to E (descending whole step), E to D (descending whole step), D to A (descending perfect fourth), A to A (ascending unison), A to D (ascending perfect fourth), D to E (ascending whole step), E to E (ascending unison), E to A# (ascending tritone), A# to A (descending half step), A to A# (ascending half step), A# to A (descending half step), A to G (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 G to A by whole step.
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.