Song for Chano in B

Song for Chano in B

Song for Chano in B: 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. – D6 – G#m9b5 – Gmaj9 – Bm9 – G – A – Gmaj7 – Em9 – D – Cmaj9 – E – Fmaj9 – F#7alt – A9sus – A9#5 – Dmaj9 – A13 – G#7#9 – G13 – F#7#5 – B9 – A#9 – C13 – A#13 – G#m7b5 – C#7#5 – C – Gm6 – A# – F#7sus – E6 – A7sus – G#7sus – F7sus – C#7#9#5 – F#7#9 – B7#9#5 – A7b9 – G9 – C#7b9#5 – F#7#9#5 – D9 – F#7b9.

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

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.