Son de la Loma in D#

Son de la Loma in D#

Miguel Matamoros y el Trío Matamoros compusieron 'Son de la Loma' alrededor de 1916 en Santiago de Cuba; la pregunta '¿Mamá yo quiero saber de dónde son los cantantes?' se convirtió en la frase más citada del son cubano. La sección A usa dominantes secundarios encadenados (A7→Dm, G7→Gm7→C7→F) con una sofisticación inusual para la época; Matamoros tenía formación musical clásica y la aplicó al son con resultados extraordinarios.

Son de la Loma 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 major third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to F (ascending unison), F to A# (ascending perfect fourth), A# to G# (descending whole step), G# to F (descending minor third). 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 F to D# by whole step.

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.