Siembra in F

Siembra in F

Siembra in F: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: F#m9 – Cmaj7#11 – E – G13sus – D#13sus – D#13b9 – C#13sus – C#7alt – Bsus – Asus – F#sus – Esus – Dsus – C#sus – F#7sus – G#7#9#5 – C#9sus – C#7#9#5 – C#7#5 – Bm9 – A – C#m7b5 – C – Cmaj9 – F#7b9 – D#m7b5 – G#13sus – D# – B – A9 – D9 – D13 – F#7b9#5 – C7b9 – E13sus – Fm7#5 – D13#11 – B13sus.

Siembra in F

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

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

Scales for Improvisation

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