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: Dmaj7 – C#m7b5 – F#7 – Bm7 – A – E – G# – G – A13b9 – G13 – Gmaj7 – Gm7 – C7 – Fmaj7 – Em7b5 – A7 – Dm9 – C – A#69#11 – Dm – F9 – E9 – D#9 – F#7b9 – Am7 – D7 – F#m7b5 – B7b9 – Em – D – C# – A# – Bm – A13 – G#m7 – C#7 – F#maj7 – A#m7 – D#7sus4 – Gmaj7#11 – A13sus – F# – G#o7 – A6 – D6 – G6 – F#m7 – Em7 – D#13.

Un Tipo Como Yo in D

D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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