Esta Tarde Vi Llover in D#

Esta Tarde Vi Llover in D#

Armando Manzanero compuso 'Esta Tarde Vi Llover' en 1967; Tony Bennett la grabó como 'Yesterday I Heard the Rain' y la llevó a los charts estadounidenses. El bolero yucateco de Manzanero tenía algo que el pop anglosajón no podía ignorar: la arquitectura Ebmaj7-Abmaj7-Bb7 revela a un compositor que pensaba en colores, no en fórmulas. El giro IVmaj7→IV menor (Ab→Abm) en el puente es la firma melancólica que pone la tarde lluviosa justo donde la letra la necesita.

Esta Tarde Vi Llover in D#

D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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