Un Tipo Como Yo in A

Un Tipo Como Yo in A

Un Tipo Como Yo in A: NG La Banda's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Amaj7 – G#m7b5 – C#7 – F#m7 – E – B – D# – D – E13b9 – D13 – Dmaj7 – Dm7 – G7 – Cmaj7 – Bm7b5 – E7 – Am9 – G – F69#11 – Am – C9 – B9 – A#9 – C#7b9 – Em7 – A7 – C#m7b5 – F#7b9 – Bm – A – G# – F – F#m – E13 – D#m7 – G#7 – C#maj7 – Fm7 – A#7sus4 – Dmaj7#11 – E13sus – C# – D#o7 – E6 – A6 – D6 – C#m7 – Bm7 – A#13.

Un Tipo Como Yo in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through A to G# (descending half step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to B (descending perfect fourth), B to D# (ascending major third), D# to D (descending half step), D to E (ascending whole step), E to D (descending whole step), D to D (ascending unison), D to D (ascending unison), D to G (ascending perfect fourth), G to C (ascending perfect fourth), C to B (descending half step), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to G (descending whole step), G to F (descending whole step), F to A (ascending major third), A to C (ascending minor third), C to B (descending half step), B to A# (descending half step), A# to C# (ascending minor third), C# to E (ascending minor third), E to A (ascending perfect fourth), A to C# (ascending major third), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to A (descending whole step), A to G# (descending half step), G# to F (descending minor third), F to F# (ascending half step), F# to E (descending whole step), E to D# (descending half step), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to F (ascending major third), F to A# (ascending perfect fourth), A# to D (ascending major third), D to E (ascending whole step), E to C# (descending minor third), C# to D# (ascending whole step), D# to E (ascending half step), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to C# (descending half step), C# to B (descending whole step), B to A# (descending half step). 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 A by half step.

Scales for Improvisation

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