Siembra in D#

Siembra in D#

Siembra in D#: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Em9 – A#maj7#11 – D – F13sus – C#13sus – C#13b9 – B13sus – B7alt – Asus – Gsus – Esus – Dsus – Csus – Bsus – E7sus – F#7#9#5 – B9sus – B7#9#5 – B7#5 – Am9 – G – Bm7b5 – A# – A#maj9 – E7b9 – C#m7b5 – F#13sus – C# – A – G9 – C9 – C13 – E7b9#5 – A#7b9 – D13sus – D#m7#5 – C13#11 – A13sus.

Siembra in D#

D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through E to A# (ascending tritone), A# to D (ascending major third), D to F (ascending minor third), F to C# (descending major third), C# to C# (ascending unison), C# to B (descending whole step), B to B (ascending unison), B to A (descending whole step), A to G (descending whole step), G to E (descending minor third), E to D (descending whole step), D to C (descending whole step), C to B (descending half step), B to E (ascending perfect fourth), E to F# (ascending whole step), F# to B (ascending perfect fourth), B to B (ascending unison), B to B (ascending unison), B to A (descending whole step), A to G (descending whole step), G to B (ascending major third), B to A# (descending half step), A# to A# (ascending unison), A# to E (ascending tritone), E to C# (descending minor third), C# to F# (ascending perfect fourth), F# to C# (descending perfect fourth), C# to A (descending major third), A to G (descending whole step), G to C (ascending perfect fourth), C to C (ascending unison), C to E (ascending major third), E to A# (ascending tritone), A# to D (ascending major third), D to D# (ascending half step), D# to C (descending minor third), C to A (descending minor third). A half-step bass movement creates a strong leading-tone pull that demands resolution. The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from A to E by perfect fourth.

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.