Un Tipo Como Yo in B

Un Tipo Como Yo in B

Un Tipo Como Yo in B: NG La Banda's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Bmaj7 – A#m7b5 – D#7 – G#m7 – F# – C# – F – E – F#13b9 – E13 – Emaj7 – Em7 – A7 – Dmaj7 – C#m7b5 – F#7 – Bm9 – A – G69#11 – Bm – D9 – C#9 – C9 – D#7b9 – F#m7 – B7 – D#m7b5 – G#7b9 – C#m – B – A# – G – G#m – F#13 – Fm7 – A#7 – D#maj7 – Gm7 – C7sus4 – Emaj7#11 – F#13sus – D# – Fo7 – F#6 – B6 – E6 – D#m7 – C#m7 – C13.

Un Tipo Como Yo 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 half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to F# (descending whole step), F# to C# (descending perfect fourth), C# to F (ascending major third), F to E (descending half step), E to F# (ascending whole step), F# to E (descending whole step), E to E (ascending unison), E to E (ascending unison), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to A (descending whole step), A to G (descending whole step), G to B (ascending major third), B to D (ascending minor third), D to C# (descending half step), C# to C (descending half step), C to D# (ascending minor third), D# to F# (ascending minor third), F# to B (ascending perfect fourth), B to D# (ascending major third), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to B (descending whole step), B to A# (descending half step), A# to G (descending minor third), G to G# (ascending half step), G# to F# (descending whole step), F# to F (descending half step), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G (ascending major third), G to C (ascending perfect fourth), C to E (ascending major third), E to F# (ascending whole step), F# to D# (descending minor third), D# to F (ascending whole step), F to F# (ascending half step), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to D# (descending half step), D# to C# (descending whole step), C# to C (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 C to B by half 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.