Second Wind in B

Second Wind in B

Second Wind in B: 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: F#13sus – F13sus – E13sus – Fm7b5 – A#7b9 – D#m7 – G#7alt – C#m7 – G69 – A69 – B69 – F#13 – B6 – A6 – B – B7 – A#m7b5 – D#7b9 – G#m7 – Gm7 – F#m7 – B13 – Emaj7 – G#7b9 – F9 – F#9 – F#m9 – Fm7 – B7#5 – B7#5b9 – F9#11 – Emaj9 – F#7sus – F#7 – Bmaj7 – F13.

Second Wind 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 F# to F (descending half step), F to E (descending half step), E to F (ascending half step), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to G (ascending tritone), G to A (ascending whole step), A to B (ascending whole step), B to F# (descending perfect fourth), F# to B (ascending perfect fourth), B to A (descending whole step), A to B (ascending whole step), B to B (ascending unison), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G (descending half step), G to F# (descending half step), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to G# (ascending major third), G# to F (descending minor third), F to F# (ascending half step), F# to F# (ascending unison), F# to F (descending half step), F to B (ascending tritone), B to B (ascending unison), B to F (ascending tritone), F to E (descending half step), E to F# (ascending whole step), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to F (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 F to F# by half 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.