O Pato (The Duck) in A

O Pato (The Duck) in A

Jaime Silva's 1960 samba propels through D major cycles before opening into a long through-composed section in G major — rich with chromatic mediant movement (Gmaj7–Gm6–F#m7–D9) and a classic Em–B7 inner-voice cycle. Jon Hendricks's English lyric turned it into a jazz vocal standard.

O Pato (The Duck) in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

Scales for Improvisation

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