Second Wind in D

Second Wind in D

Second Wind in D: 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: A13sus – G#13sus – G13sus – G#m7b5 – C#7b9 – F#m7 – B7alt – Em7 – A#69 – C69 – D69 – A13 – D6 – C6 – D – D7 – C#m7b5 – F#7b9 – Bm7 – A#m7 – Am7 – D13 – Gmaj7 – B7b9 – G#9 – A9 – Am9 – G#m7 – D7#5 – D7#5b9 – G#9#11 – Gmaj9 – A7sus – A7 – Dmaj7 – G#13.

Second Wind in D

D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

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