Club Morocco in F#

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
B9♯11
B9♯11
A♯maj9
F♯m69
C♯maj9
C13♯11
B9♯11
B9♯11
A♯m11
F♯m69
B9♯11
A♯maj9
G♯9sus
C♯maj9
C♯maj9
C♯maj9
Bmaj9
F7♯9♯5
D♯7♯9♯5
F♯m69
C♯maj9
C13♯11
B9♯11
B9♯11
A♯m11
F♯m69
B9♯11
A♯maj9
F♯m69
C♯maj9
C13♯11
B9♯11
B9♯11
A♯m11
F♯m69
B9♯11
A♯maj9

Chord Diagrams — Club Morocco in F# (Guitar)

B9♯11
EADGBE11x234
EADGBE111x236frEADGBE2x341x9frEADGBExx1234
A♯maj9
EADGBE1113x
3frEADGBE1111435frEADGBE11243x6frEADGBE112234
F♯m69
EADGBE11234
EADGBE2222114frEADGBE1111237frEADGBEx3124x
C♯
EADGBE11x432
4frEADGBE1112346frEADGBE1113249frEADGBE111342
C♯maj9
EADGBE1111x4
3frEADGBEx2143x8frEADGBE11124310frEADGBExx2143
C13♯11
C - E - G - B♭ - D - F♯ - A
A♯m11
4frEADGBE111342
6frEADGBE1111148frEADGBE11xx2311frEADGBE11x234
D♯m9
4frEADGBE2222x1
7frEADGBExx24139frEADGBE333x1211frEADGBE111134
G♯9sus
EADGBE1122xx
4frEADGBE1111349frEADGBE11x23411frEADGBE111134
G♯7♭9
EADGBE111x2
4frEADGBE11xx235frEADGBE11xx2310frEADGBE11x234
D
EADGBExx132
2frEADGBE1114325frEADGBE11123410frEADGBE111342
C♯m9
EADGBE2222x1
5frEADGBE222x147frEADGBE333x129frEADGBE111134
Cmaj7
EADGBE231
3frEADGBE1113245frEADGBE111xx410frEADGBE333xx1
Bmaj9
EADGBE22214x
4frEADGBE11xx346frEADGBE11243x8frEADGBExx2143
Cm7
EADGBEx2134x
3frEADGBE1111324frEADGBExx23148frEADGBE111113
F7♯9♯5
F - A - C♯ - E♭ - G♯
A♯m7♭5
EADGBEx1324x
EADGBE11xx245frEADGBE2x341x8frEADGBE222xx1
D♯7♯9♯5
D♯ - G - B - C♯ - E♯#

Club Morocco in F#

Club Morocco in F#

F# major pushes guitarists into full barre territory at fret 2 and beyond. No open chords exist naturally, but the key rewards advanced players with dark, powerful voicings. Common in metal and progressive rock where low tunings bring it closer to standard pitch. F# is a intermediate-advanced-level key on guitar because the open B string is the 4th scale degree and the open high E is the minor 7th, both usable as color tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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

samba4/4 · 38 bars · Form: A-B-C-Coda

Chords: B9♯11, A♯maj9, F♯m69, C♯, C♯maj9, C13♯11, A♯m11, D♯m9, G♯9sus, G♯7♭9, D, C♯m9, Cmaj7, Bmaj9, Cm7, F7♯9♯5, A♯m7♭5, D♯7♯9♯5.

Scales for Improvisation F# bebop minor, F# bebop.