Song for Chano in E

Song for Chano in E

Song for Chano in E: 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. – G6 – C#m9b5 – Cmaj9 – Em9 – C – D – Cmaj7 – Am9 – G – Fmaj9 – A – A#maj9 – B7alt – D9sus – D9#5 – Gmaj9 – D13 – C#7#9 – C13 – B7#5 – E9 – D#9 – F13 – D#13 – C#m7b5 – F#7#5 – F – Cm6 – D# – B7sus – A6 – D7sus – C#7sus – A#7sus – F#7#9#5 – B7#9 – E7#9#5 – D7b9 – C9 – F#7b9#5 – B7#9#5 – G9 – B7b9.

Song for Chano in E

E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. 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 G (descending perfect fourth), G to C# (ascending tritone), C# to C (descending half step), C to E (ascending major third), E to C (descending major third), C to D (ascending whole step), D to C (descending whole step), C to A (descending minor third), A to G (descending whole step), G to F (descending whole step), F to A (ascending major third), A to A# (ascending half step), A# to B (ascending half step), B to D (ascending minor third), D to D (ascending unison), D to G (ascending perfect fourth), G to D (descending perfect fourth), D to C# (descending half step), C# to C (descending half step), C to B (descending half step), B to E (ascending perfect fourth), E to D# (descending half step), D# to F (ascending whole step), F to D# (descending whole step), D# to C# (descending whole step), C# to F# (ascending perfect fourth), F# to F (descending half step), F to C (descending perfect fourth), C to D# (ascending minor third), D# to B (descending major third), B to A (descending whole step), A to D (ascending perfect fourth), D to C# (descending half step), C# to A# (descending minor third), A# to F# (descending major third), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to D (descending whole step), D to C (descending whole step), C to F# (ascending tritone), F# to B (ascending perfect fourth), B to G (descending major third), G to B (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 B to N.C. by half step.

Scales for Improvisation

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