Un Tipo Como Yo in D#

Un Tipo Como Yo in D#

Un Tipo Como Yo in D#: NG La Banda's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: D#maj7 – Dm7b5 – G7 – Cm7 – A# – F – A – G# – A#13b9 – G#13 – G#maj7 – G#m7 – C#7 – F#maj7 – Fm7b5 – A#7 – D#m9 – C# – B69#11 – D#m – F#9 – F9 – E9 – G7b9 – A#m7 – D#7 – Gm7b5 – C7b9 – Fm – D# – D – B – Cm – A#13 – Am7 – D7 – Gmaj7 – Bm7 – E7sus4 – G#maj7#11 – A#13sus – G – Ao7 – A#6 – D#6 – G#6 – Gm7 – Fm7 – E13.

Un Tipo Como Yo in D#

D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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