Song for Chano in F

Song for Chano in F

Song for Chano in F: 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. – G#6 – Dm9b5 – C#maj9 – Fm9 – C# – D# – C#maj7 – A#m9 – G# – F#maj9 – A# – Bmaj9 – C7alt – D#9sus – D#9#5 – G#maj9 – D#13 – D7#9 – C#13 – C7#5 – F9 – E9 – F#13 – E13 – Dm7b5 – G7#5 – F# – C#m6 – E – C7sus – A#6 – D#7sus – D7sus – B7sus – G7#9#5 – C7#9 – F7#9#5 – D#7b9 – C#9 – G7b9#5 – C7#9#5 – G#9 – C7b9.

Song for Chano in F

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. 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 G# (descending major third), G# to D (ascending tritone), D to C# (descending half step), C# to F (ascending major third), F 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 B (ascending half step), B to C (ascending half step), C to D# (ascending minor third), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to D# (descending perfect fourth), D# to D (descending half step), D to C# (descending half step), C# to C (descending half step), C to F (ascending perfect fourth), F to E (descending half step), E to F# (ascending whole step), F# to E (descending whole step), E to D (descending whole step), D to G (ascending perfect fourth), G to F# (descending half step), F# to C# (descending perfect fourth), C# to E (ascending minor third), E to C (descending major third), C to A# (descending whole step), A# to D# (ascending perfect fourth), D# to D (descending half step), D to B (descending minor third), B to G (descending major third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to D# (descending whole step), D# to C# (descending whole step), C# to G (ascending tritone), G to C (ascending perfect fourth), C to G# (descending major third), G# to C (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 C to N.C. by unison.

Scales for Improvisation

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