Second Wind in A

Second Wind in A

Second Wind in A: Rebeca Mauléon-Santana, as played by Tito Puente's mambo. Bebop Major and Major Pentatonic scales bring out the groove and energy of these changes. Chords: E13sus – D#13sus – D13sus – D#m7b5 – G#7b9 – C#m7 – F#7alt – Bm7 – F69 – G69 – A69 – E13 – A6 – G6 – A – A7 – G#m7b5 – C#7b9 – F#m7 – Fm7 – Em7 – A13 – Dmaj7 – F#7b9 – D#9 – E9 – Em9 – D#m7 – A7#5 – A7#5b9 – D#9#11 – Dmaj9 – E7sus – E7 – Amaj7 – D#13.

Second Wind in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through E to D# (descending half step), D# to D (descending half step), D to D# (ascending half step), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to F (ascending tritone), F to G (ascending whole step), G to A (ascending whole step), A to E (descending perfect fourth), E to A (ascending perfect fourth), A to G (descending whole step), G to A (ascending whole step), A to A (ascending unison), A to G# (descending half step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to F (descending half step), F to E (descending half step), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to F# (ascending major third), F# to D# (descending minor third), D# to E (ascending half step), E to E (ascending unison), E to D# (descending half step), D# to A (ascending tritone), A to A (ascending unison), A to D# (ascending tritone), D# to D (descending half step), D to E (ascending whole step), E to E (ascending unison), E to A (ascending perfect fourth), A to D# (ascending tritone). 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 D# to E by half 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.