Song for Chano in C#

Song for Chano in C#

Song for Chano in C#: 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. – E6 – A#m9b5 – Amaj9 – C#m9 – A – B – Amaj7 – F#m9 – E – Dmaj9 – F# – Gmaj9 – G#7alt – B9sus – B9#5 – Emaj9 – B13 – A#7#9 – A13 – G#7#5 – C#9 – C9 – D13 – C13 – A#m7b5 – D#7#5 – D – Am6 – C – G#7sus – F#6 – B7sus – A#7sus – G7sus – D#7#9#5 – G#7#9 – C#7#9#5 – B7b9 – A9 – D#7b9#5 – G#7#9#5 – E9 – G#7b9.

Song for Chano in C#

C# major (or Db) sits in barre chord territory across the fretboard. Every chord demands precise barring, but the payoff is a bright, crystalline sound a half step above C that cuts through a band mix. C# is a intermediate-advanced-level key on guitar because no open strings fall within the key naturally, so every chord requires full barre technique. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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