Manteca in D

Dizzy Gillespie, Chano Pozo, Gil Fuller(1947)afro-cubanMambo ♩= 114, 2-3 Clave
Do Re MiC D E
D
Instrument
GuitarUkuleleBassPiano
A
B
C
D
E
D7
D7
D7
D7
D13
C13
D13
D
D9
D13
C13
D13
C13C10
CMaj7
A♯Maj7
DMaj7
C13C10
A♯Maj7
DMaj7
CMaj7
F13♭9
A♯Maj7
D♯9♯11
D9
D9
D7
D7
D7
D7
D13
C13
D13
D
D13
B7
Em7
A7
F♯m7
B7
E7
A7
D7
G♯mi7
C9
D7
A7♭9
D6

Chord Diagrams — Manteca in D (Guitar)

Manteca in D

The foundational Afro-Cuban jazz composition, born from the collaboration between Dizzy Gillespie and Cuban percussionist Chano Pozo in 1947. The Latin Real Book chart (compiled from several recorded versions) opens with a relentless Bb7 Afro-Cuban vamp, explodes into a big-band shout with Bb13/Ab13 clashes, navigates a jazz bridge through AbMaj7–Db13b9–GbMaj7–B9#11, and closes with blues-based Latin or jazz solo changes over a Bb6 cadence.

Manteca in D

D major is one of guitar's most resonant keys. The open D string acts as a droning root, and the open A string provides the fifth. This gives D-based strumming a wide, ringing quality that flatpicks and fingerpicks love. D is a beginner-level key on guitar because the open D and A strings provide a powerful bass foundation, and the open high E is the 2nd scale degree adding brightness. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

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.

afro-cuban4/4 · 42 bars · Form: ABCDE

Chords: D7, D13, C13, D, D9, C13C10, CMaj7, A♯Maj7, DMaj7, F13♭9, D♯9♯11, B7, Em7, A7, F♯m7, E7, G♯mi7, C9, A7♭9, D6.