Siembra in G#

Siembra in G#

Siembra in G#: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Am9 – D#maj7#11 – G – A#13sus – F#13sus – F#13b9 – E13sus – E7alt – Dsus – Csus – Asus – Gsus – Fsus – Esus – A7sus – B7#9#5 – E9sus – E7#9#5 – E7#5 – Dm9 – C – Em7b5 – D# – D#maj9 – A7b9 – F#m7b5 – B13sus – F# – D – C9 – F9 – F13 – A7b9#5 – D#7b9 – G13sus – G#m7#5 – F13#11 – D13sus.

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

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.