Pedro Navaja in F

Pedro Navaja in F

Pedro Navaja in F: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Fsus4 – D#sus4 – Gm7 – A7 – G#maj7 – G – F6 – D7 – C7 – C#7 – F#6 – D#7 – G#m7 – G6 – E7 – Am7 – G#6 – F7 – A#m7 – A6 – F#7 – Bm7.

Pedro Navaja in F

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through F to D# (descending whole step), D# to G (ascending major third), G to A (ascending whole step), A to G# (descending half step), G# to G (descending half step), G to F (descending whole step), F to D (descending minor third), D to C (descending whole step), C to C# (ascending half step), C# to F# (ascending perfect fourth), F# to D# (descending minor third), D# to G# (ascending perfect fourth), G# to G (descending half step), G to E (descending minor third), E to A (ascending perfect fourth), A to G# (descending half step), G# to F (descending minor third), F to A# (ascending perfect fourth), A# to A (descending half step), A to F# (descending minor third), F# to B (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from B to F by tritone.

Scales for Improvisation

F 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, F Mixolydian adds the flat seventh for an authentic blues-rock edge.