O Pato (The Duck) in B

O Pato (The Duck) in B

O Pato (The Duck) in B — Jaime Silva & Neuza Teixiera's samba classic. Explore Bebop Major and Lydian scales over these sophisticated changes. Chords: B6/9 – C#9 – C#m9 – F#9 – Bmaj9 – F#7b9 – F#m7 – F#m9 – B7b9 – Emaj9 – E6 – F#13 – Bmaj7 – B9 – Emaj7 – Em6 – D#m7 – C#m7 – G#7b9.

O Pato (The Duck) 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 C# (ascending whole step), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to F# (descending perfect fourth), F# to F# (ascending unison), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to E (ascending unison), E to F# (ascending whole step), F# to B (ascending perfect fourth), B to B (ascending unison), 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 G# (descending perfect fourth). 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 B by minor 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.