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: D13sus – C#13sus – C13sus – C#m7b5 – F#7b9 – Bm7 – E7alt – Am7 – D#69 – F69 – G69 – D13 – G6 – F6 – G – G7 – F#m7b5 – B7b9 – Em7 – D#m7 – Dm7 – G13 – Cmaj7 – E7b9 – C#9 – D9 – Dm9 – C#m7 – G7#5 – G7#5b9 – C#9#11 – Cmaj9 – D7sus – D7 – Gmaj7 – C#13.

Second Wind in G

G major is the singer-songwriter's key. The open G, B, and D strings spell out the full G major triad with zero fretting. Add the open high E for a Gadd6 shimmer. Nearly every diatonic chord (Em, Am, C, D) has a comfortable open voicing. G is a beginner-level key on guitar because the open G, B, and D strings form a complete G major triad without fretting a single note, and the open low E adds a rich 6th color. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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