Tin Tin Deo in B
Tin Tin Deo in B
Tin Tin Deo in B: Walter "Gil" Fuller & Chano Pozo's Afro-Cuban jazz classic. Phrygian Dominant and Harmonic Minor scales define the exotic, modal color of these sophisticated changes. Chords: Bm6 – Am6 – Gmaj9 – F#7#9 – G#7alt – C#m7b5 – C9 – F#7b9 – Bm9 – E9 – A9 – G#7#9 – Em9 – A13b9 – Dmaj7 – G9#11 – F#m7 – B7b9 – Dmaj9 – G#m7b5 – C#7#9.
Tin Tin Deo in B
B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.
Voice Leading
The bass line moves through B to A (descending whole step), A to G (descending whole step), G to F# (descending half step), F# to G# (ascending whole step), G# to C# (ascending perfect fourth), C# to C (descending half step), C to F# (ascending tritone), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to G# (descending half step), G# to E (descending major third), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to F# (descending half step), F# to B (ascending perfect fourth), B to D (ascending minor third), D to G# (ascending tritone), G# to C# (ascending perfect fourth). 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 B by whole step.
Scales for Improvisation
B 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, B Mixolydian adds the flat seventh for an authentic blues-rock edge.