Second Wind in G#

Second Wind in G#

Second Wind in G#: 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: D#13sus – D13sus – C#13sus – Dm7b5 – G7b9 – Cm7 – F7alt – A#m7 – E69 – F#69 – G#69 – D#13 – G#6 – F#6 – G# – G#7 – Gm7b5 – C7b9 – Fm7 – Em7 – D#m7 – G#13 – C#maj7 – F7b9 – D9 – D#9 – D#m9 – Dm7 – G#7#5 – G#7#5b9 – D9#11 – C#maj9 – D#7sus – D#7 – G#maj7 – D13.

Second Wind in G#

G# major (or Ab) lives at fret 4 on the low E string. All chords require barre technique, making it less common in guitar-centric songwriting but standard in piano-driven pop. Guitarists often use a capo to access friendlier shapes. G# is a intermediate-advanced-level key on guitar because the open G string is a half step below the root, creating dissonance — avoid letting it ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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