Cubanita in E

Victor Mendoza (arranged by V. Mendoza, D. Eskenazi & A. Mallet)(1993)songoJazz Songo/Iyesá
Do Re MiC D E
Clave 2-3
I
n
t
r
o
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A
-
B
-
C
-
D
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E
-
F
-
G
-
C
o
d
a
F♯7♯9♯5
E7♯9♯5
D9♭5
F7♯9♯5
C♯m♯5
C♯m♯5
Emaj9
C♭maj7
B7♯9♯5
E7♯9♯5
D9♭5
F♯7♯9♯5
C♯m69
G♯7♯9♯5
C♯m69
E9♭5
Emaj9
C♭maj7
B7♯9♯5
C♯m69
G♯7♯9♯5
C♯m69
E9♭5
F♯7♯9♯5
E7♯9♯5
D9♭5
E7♯9♯5
D9♭5
F♯7♯9♯5

Chord Diagrams — Cubanita in E (Guitar)

F♯7♯9♯5
F♯ - A♯ - D - E - A
E7♯9♯5
E - G♯ - C - D - G
D9♭5
4frEADGBE11x234
5frEADGBEx13249frEADGBE11123410frEADGBE1123x4
G♯m9
EADGBE11143
4frEADGBE1111347frEADGBE2213419frEADGBE2222x1
F7♯9♯5
F - A - C♯ - E♭ - G♯
Emaj7
EADGBE312
EADGBE333xx14frEADGBE111x437frEADGBE111324
C♯m
EADGBEx4213x
4frEADGBE1113426frEADGBE1132x49frEADGBE111134
C♯m♯5
EADGBEx4213x
4frEADGBE1113426frEADGBE1132x49frEADGBE111134
C♯m6
EADGBE11x324
5frEADGBExx23148frEADGBE2x134x9frEADGBE111234
G♯7
EADGBE111xx2
4frEADGBE1111326frEADGBE11x32411frEADGBE111134
Bm9
EADGBEx1234
3frEADGBE222x147frEADGBE11113410frEADGBE112234
E9
EADGBE213
EADGBE113x426frEADGBE2222219frEADGBE11112
Am9
EADGBEx2413
5frEADGBE1111348frEADGBE13210frEADGBE2222x1
C9
EADGBE222221
7frEADGBE1123447frEADGBE1113249frEADGBExx2143
Emaj9
EADGBE3124
EADGBE1112346frEADGBEx2143x9frEADGBE11xx34
B
EADGBE111234
4frEADGBE111xx47frEADGBE1113429frEADGBE11x243
Bmaj7
EADGBE111324
4frEADGBE111xx47frEADGBE1114239frEADGBE11333x
B7♯9♯5
B - D♯ - G - A - D
C♯7alt
EADGBEx4321
3frEADGBEx23414frEADGBEx1234x8frEADGBExx4312
C♯m69
EADGBEx4132
EADGBEx3124x7frEADGBE4123x9frEADGBE2222x1
G♯7♯9♯5
G♯ - C - E - F♯ - B
E9♭5
EADGBE11243
3frEADGBE114236frEADGBE11x2347frEADGBE3214

Cubanita in E

Cubanita 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 F# to E (descending whole step), E to D (descending whole step), D to G# (ascending tritone), G# to F (descending minor third), F to E (descending half step), E to C# (descending minor third), C# to C# (ascending unison), C# to C# (ascending unison), C# to G# (descending perfect fourth), G# to B (ascending minor third), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to C (ascending minor third), C to E (ascending major third), E to B (descending perfect fourth), B to Cb (ascending half step), Cb to B (descending half step), B to C# (ascending whole step), C# to C# (ascending unison), C# to G# (descending perfect fourth), G# to E (descending major third). 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 F# by whole 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.

songo4/4 · 30 bars · Form: Intro-A-B-C-D-E-F-G-Coda

Chords: F♯7♯9♯5, E7♯9♯5, D9♭5, G♯m9, F7♯9♯5, Emaj7, C♯m, C♯m♯5, C♯m6, G♯7, Bm9, E9, Am9, C9, Emaj9, B, C♭maj7, B7♯9♯5, C♯7alt, C♯m69, G♯7♯9♯5, E9♭5.

Scales for Improvisation E bebop, E bebop major.