Song for Chano in D

Song for Chano in D

Song for Chano in D: 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. – F6 – Bm9b5 – A#maj9 – Dm9 – A# – C – A#maj7 – Gm9 – F – D#maj9 – G – G#maj9 – A7alt – C9sus – C9#5 – Fmaj9 – C13 – B7#9 – A#13 – A7#5 – D9 – C#9 – D#13 – C#13 – Bm7b5 – E7#5 – D# – A#m6 – C# – A7sus – G6 – C7sus – B7sus – G#7sus – E7#9#5 – A7#9 – D7#9#5 – C7b9 – A#9 – E7b9#5 – A7#9#5 – F9 – A7b9.

Song for Chano in D

D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. 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 F (ascending perfect fourth), F to B (ascending tritone), B to A# (descending half step), A# to D (ascending major third), D to A# (descending major third), A# to C (ascending whole step), C to A# (descending whole step), A# to G (descending minor third), G to F (descending whole step), F to D# (descending whole step), D# to G (ascending major third), G to G# (ascending half step), G# to A (ascending half step), A to C (ascending minor third), C to C (ascending unison), C to F (ascending perfect fourth), F to C (descending perfect fourth), C to B (descending half step), B to A# (descending half step), A# to A (descending half step), A to D (ascending perfect fourth), D to C# (descending half step), C# to D# (ascending whole step), D# to C# (descending whole step), C# to B (descending whole step), B to E (ascending perfect fourth), E to D# (descending half step), D# to A# (descending perfect fourth), A# to C# (ascending minor third), C# to A (descending major third), A to G (descending whole step), G to C (ascending perfect fourth), C to B (descending half step), B to G# (descending minor third), G# to E (descending major third), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to C (descending whole step), C to A# (descending whole step), A# to E (ascending tritone), E to A (ascending perfect fourth), A to F (descending major third), F to A (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 A to N.C. by minor third.

Scales for Improvisation

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