Pablo Pueblo in F
Chord Diagrams — Pablo Pueblo in F (Guitar)
Pablo Pueblo in F
Pueblo Latino in F: C. Curet Alonso's minor guaracha. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: G# – F# – D#mi7 – C#mi7 – G69 – F#69 – E13 – F7 – F7b9 – A#m – A#m69 – D#m7 – G#7#9 – G#7b9 – C#maj7 – G7b9 – C7#9 – F13 – B9 – Cm7b5 – D#13 – D#7 – G#7 – C#maj9 – Dmaj9 – G69#11 – F#69#11 – C7 – A#m11 – A#7 – A#m9 – G9#11 – F#maj7 – A#m7.
Pablo Pueblo 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 G# to F# (descending whole step), F# to D# (descending minor third), D# to C# (descending whole step), C# to G (ascending tritone), G to F# (descending half step), F# to E (descending whole step), E to F (ascending half step), F to F (ascending unison), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to G (ascending tritone), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to B (ascending tritone), B to C (ascending half step), C to D# (ascending minor third), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to D (ascending half step), D to G (ascending perfect fourth), G to F# (descending half step), F# to C (ascending tritone), C to A# (descending whole step), A# to A# (ascending unison), A# to A# (ascending unison), A# to G (descending minor third), G to F# (descending half step), F# to A# (ascending major third). 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 A# to G# by whole step.
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.