Son de la Loma in B

Son de la Loma in B

Son de la Loma in B: Miguel Matamoros's son cubano. Mixolydian and Major Pentatonic scales bring out the groove and energy of these changes. Chords: B6 – B – E – F#7sus4 – F#7 – D#7b9 – G#7#5 – C#m – C#m7 – G#7b9 – F#9 – A – G#.

Son de la Loma in B

B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through B to B (ascending unison), B to E (ascending perfect fourth), E to F# (ascending whole step), F# to F# (ascending unison), F# to D# (descending minor third), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to G# (descending perfect fourth), G# to F# (descending whole step), F# to A (ascending minor third), A to G# (descending half step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from G# to B by minor third.

Scales for Improvisation

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