Second Wind in E

Second Wind in E

Second Wind in E: 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: B13sus – A#13sus – A13sus – A#m7b5 – D#7b9 – G#m7 – C#7alt – F#m7 – C69 – D69 – E69 – B13 – E6 – D6 – E – E7 – D#m7b5 – G#7b9 – C#m7 – Cm7 – Bm7 – E13 – Amaj7 – C#7b9 – A#9 – B9 – Bm9 – A#m7 – E7#5 – E7#5b9 – A#9#11 – Amaj9 – B7sus – B7 – Emaj7 – A#13.

Second Wind in E

E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

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