Song for Chano in G

Song for Chano in G

Song for Chano in G: 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. – A#6 – Em9b5 – D#maj9 – Gm9 – D# – F – D#maj7 – Cm9 – A# – G#maj9 – C – C#maj9 – D7alt – F9sus – F9#5 – A#maj9 – F13 – E7#9 – D#13 – D7#5 – G9 – F#9 – G#13 – F#13 – Em7b5 – A7#5 – G# – D#m6 – F# – D7sus – C6 – F7sus – E7sus – C#7sus – A7#9#5 – D7#9 – G7#9#5 – F7b9 – D#9 – A7b9#5 – D7#9#5 – A#9 – D7b9.

Song for Chano in G

G major is the singer-songwriter's key. The open G, B, and D strings spell out the full G major triad with zero fretting. Add the open high E for a Gadd6 shimmer. Nearly every diatonic chord (Em, Am, C, D) has a comfortable open voicing. G is a beginner-level key on guitar because the open G, B, and D strings form a complete G major triad without fretting a single note, and the open low E adds a rich 6th color. 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 A# (descending whole step), A# to E (ascending tritone), E to D# (descending half step), D# to G (ascending major third), G to D# (descending major third), D# to F (ascending whole step), F to D# (descending whole step), D# to C (descending minor third), C to A# (descending whole step), A# to G# (descending whole step), G# to C (ascending major third), C to C# (ascending half step), C# to D (ascending half step), D to F (ascending minor third), F to F (ascending unison), F to A# (ascending perfect fourth), A# to F (descending perfect fourth), F to E (descending half step), E to D# (descending half step), D# to D (descending half step), D to G (ascending perfect fourth), G to F# (descending half step), F# to G# (ascending whole step), G# to F# (descending whole step), F# to E (descending whole step), E to A (ascending perfect fourth), A to G# (descending half step), G# to D# (descending perfect fourth), D# to F# (ascending minor third), F# to D (descending major third), D to C (descending whole step), C to F (ascending perfect fourth), F to E (descending half step), E to C# (descending minor third), C# to A (descending major third), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to F (descending whole step), F to D# (descending whole step), D# to A (ascending tritone), A to D (ascending perfect fourth), D to A# (descending major third), A# to D (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 D to N.C. by whole step.

Scales for Improvisation

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