Déjala Que Siga Andando in F#

Jose Antonio Méndez / Reinaldo Bolaños()guarachaGuaracha (Charanga style) ♩= 94
Do Re MiC D E
Clave 3-2
I
n
t
r
o
-
A
-
B
-
C
-
D
-
E
-
F
-
G
-
H
-
I
-
J

Chord Diagrams — Déjala Que Siga Andando in F# (Guitar)

F♯maj9
EADGBE111243
EADGBE11x2343frEADGBExx21438frEADGBE22214x
F♯9
EADGBE111324
3frEADGBExx21438frEADGBE22222111frEADGBE1111x2
B6
EADGBEx312x
EADGBE3333x17frEADGBE1x324x9frEADGBE11xx34
Bm6
EADGBE2314
EADGBExx23146frEADGBE2x134x7frEADGBE111234
G♯m7
4frEADGBE111113
6frEADGBE11x4239frEADGBE11x23x11frEADGBE111132
C♯7
EADGBEx3241x
4frEADGBE111x346frEADGBE1114329frEADGBE111132
F♯maj7
EADGBE111423
4frEADGBE11x3336frEADGBE111x439frEADGBE111324
F♯6
EADGBE2x143x
EADGBE11x3244frEADGBE111x349frEADGBE3333x1
A♯7sus
A♯ - D♯ - F - G♯
D♯m69
EADGBE1112x3
4frEADGBEx3124x9frEADGBE11142311frEADGBExx2134
C♯m7
4frEADGBE111x32
5frEADGBExx23149frEADGBE11111411frEADGBExx1423
F♯7
EADGBE111132
4frEADGBE11x3247frEADGBEx3241x9frEADGBE111134
Bmaj7
EADGBE111324
4frEADGBE111xx47frEADGBE1114239frEADGBE11333x
A♯m7
EADGBE111x32
EADGBExx23146frEADGBE1111138frEADGBE11x423
Cdim
EADGBEx41x23
3frEADGBEx1243x6frEADGBE31x42x10frEADGBExx12x3
C♯6
EADGBEx4231x
4frEADGBE3333x16frEADGBE1114239frEADGBE11x324
Ddim7
EADGBExx23
4frEADGBE11x2347frEADGBEx243110frEADGBE111234
C♯13sus
C♯ - F♯ - G♯ - B - D♯ - A♯
E13sus
E - A - B - D - F♯ - C♯
G♯m7♭5
EADGBExx13
EADGBE2x341x6frEADGBE222xx111frEADGBEx1324x
G7
EADGBE321
3frEADGBE1111325frEADGBE11x32410frEADGBE111134
F♯m
EADGBE111134
4frEADGBE11x3425frEADGBExx32419frEADGBE111342
A7
EADGBEx23
EADGBE111x25frEADGBE1111327frEADGBEx1324
Fmaj7
EADGBExx321
EADGBE1114233frEADGBE11x3338frEADGBE111324
A♯9♯11
EADGBEx123
5frEADGBE11123x8frEADGBExx123412frEADGBE11x234
Am9
EADGBEx2413
5frEADGBE1111348frEADGBE13210frEADGBE2222x1

Déjala Que Siga Andando in F#

Déjala Que Siga Andando 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 F# to F# (ascending unison), F# to B (ascending perfect fourth), B to B (ascending unison), B to G# (descending minor third), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to A# (ascending major third), A# to D# (ascending perfect fourth), D# to C# (descending whole step), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to A# (descending half step), A# to C (ascending whole step), C to C# (ascending half step), C# to D (ascending half step), D to C# (descending half step), C# to E (ascending minor third), E to G# (ascending major third), G# to G (descending half step), G to F# (descending half step), F# to A (ascending minor third), A to F (descending major third), F to A# (ascending perfect fourth), A# to A (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 A to F# by minor 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.

guaracha2/2 · 36 bars · Form: Intro-A-B-C-D-E-F-G-H-I-J

Chords: F♯maj9, F♯9, B6, Bm6, G♯m7, C♯7, F♯maj7, F♯6, A♯7sus, D♯m69, C♯m7, F♯7, Bmaj7, A♯m7, Cdim, C♯6, Ddim7, C♯13sus, E13sus, G♯m7♭5, G7, F♯m, A7, Fmaj7, A♯9♯11, Am9.

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