Song for Chano in A

Song for Chano in A

Song for Chano in A: Ray Barretto, arr. Hector Martignon's Latin jazz classic. Dorian and Harmonic Minor scales define the exotic, modal color of these sophisticated changes. Chords: N.C. – C6 – F#m9b5 – Fmaj9 – Am9 – F – G – Fmaj7 – Dm9 – C – A#maj9 – D – D#maj9 – E7alt – G9sus – G9#5 – Cmaj9 – G13 – F#7#9 – F13 – E7#5 – A9 – G#9 – A#13 – G#13 – F#m7b5 – B7#5 – A# – Fm6 – G# – E7sus – D6 – G7sus – F#7sus – D#7sus – B7#9#5 – E7#9 – A7#9#5 – G7b9 – F9 – B7b9#5 – E7#9#5 – C9 – E7b9.

Song for Chano in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

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