Un Tipo Como Yo in E

Un Tipo Como Yo in E

Un Tipo Como Yo in E: NG La Banda's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Emaj7 – D#m7b5 – G#7 – C#m7 – B – F# – A# – A – B13b9 – A13 – Amaj7 – Am7 – D7 – Gmaj7 – F#m7b5 – B7 – Em9 – D – C69#11 – Em – G9 – F#9 – F9 – G#7b9 – Bm7 – E7 – G#m7b5 – C#7b9 – F#m – E – D# – C – C#m – B13 – A#m7 – D#7 – G#maj7 – Cm7 – F7sus4 – Amaj7#11 – B13sus – G# – A#o7 – B6 – E6 – A6 – G#m7 – F#m7 – F13.

Un Tipo Como Yo in E

E major is arguably guitar's most powerful key. The open low E and high E strings ring sympathetically as the root, while the open B provides the fifth. This triple reinforcement gives E-based riffs and chords unmatched depth and volume. E is a beginner-level key on guitar because both the low E and high E strings ring as the root, and the open B is the fifth — three open strings reinforce the tonic chord. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

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