Club Morocco in E

Jose Roberto Bertrami, Alex Malheiros, as played by Azymuth(1982)sambaFast Funky Samba (Reverse Partido Alto)
Do Re MiC D E
A
-
B
-
C
-
C
o
d
a
A9♯11
A9♯11
G♯maj9
Em69
Bmaj9
A♯13♯11
A9♯11
A9♯11
G♯m11
Em69
A9♯11
G♯maj9
F♯9sus
Bmaj9
Bmaj9
Bmaj9
Amaj9
D♯7♯9♯5
C♯7♯9♯5
Em69
Bmaj9
A♯13♯11
A9♯11
A9♯11
G♯m11
Em69
A9♯11
G♯maj9
Em69
Bmaj9
A♯13♯11
A9♯11
A9♯11
G♯m11
Em69
A9♯11
G♯maj9

Chord Diagrams — Club Morocco in E (Guitar)

A9♯11
EADGBEx13
4frEADGBE1112347frEADGBExx123411frEADGBE11x234
G♯maj9
EADGBE1111x4
3frEADGBE1112434frEADGBE11322410frEADGBE22214x
Em69
EADGBE1111
EADGBE1112x35frEADGBE333x1210frEADGBE1234
B
EADGBE111234
4frEADGBE111xx47frEADGBE1113429frEADGBE11x243
Bmaj9
EADGBE22214x
4frEADGBE11xx346frEADGBE11243x8frEADGBExx2143
A♯13♯11
A♯ - D - F - G♯ - C - E - G
G♯m11
EADGBE111342
4frEADGBE1111146frEADGBE11xx239frEADGBE11x334
C♯m9
EADGBE2222x1
5frEADGBE222x147frEADGBE333x129frEADGBE111134
F♯9sus
EADGBE111134
4frEADGBExx13247frEADGBE11x2349frEADGBE111134
F♯7♭9
EADGBE2134
3frEADGBE11xx238frEADGBE11x23412frEADGBE3241xx
C
EADGBEx321
3frEADGBE1112345frEADGBE111xx48frEADGBE111342
Bm9
EADGBEx1234
3frEADGBE222x147frEADGBE11113410frEADGBE112234
A♯maj7
EADGBE11x324
3frEADGBE111xx46frEADGBE1114238frEADGBE11333x
Amaj9
EADGBE11x34
4frEADGBE112435frEADGBEx231411frEADGBE22214x
A♯m7
EADGBE111x32
EADGBExx23146frEADGBE1111138frEADGBE11x423
D♯7♯9♯5
D♯ - G - B - C♯ - E♯#
G♯m7♭5
EADGBExx13
EADGBE2x341x6frEADGBE222xx111frEADGBEx1324x
C♯7♯9♯5
C♯ - F - A - B - E

Club Morocco in E

Club Morocco 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 A to G# (descending half step), G# to E (descending major third), E to B (descending perfect fourth), B to B (ascending unison), B to A# (descending half step), A# to G# (descending whole step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to C (ascending tritone), C to B (descending half step), B to A# (descending half step), A# to A (descending half step), A to A# (ascending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from C# to A by major third.

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.

samba4/4 · 38 bars · Form: A-B-C-Coda

Chords: A9♯11, G♯maj9, Em69, B, Bmaj9, A♯13♯11, G♯m11, C♯m9, F♯9sus, F♯7♭9, C, Bm9, A♯maj7, Amaj9, A♯m7, D♯7♯9♯5, G♯m7♭5, C♯7♯9♯5.

Scales for Improvisation E bebop minor, E bebop.