What are the chords for Tarantas ?
And what would be a correct progression to use them, to properly explore the spirit of this beautiful palo?
I just know they usually start with this one (below) and then play with something half tone above, and then come many others
The basic progression is like that in fandango (Am, G7, F, E) but transposed 1 full tone higher: Bm, A7, G, F#. The central chord, as you suggested, is F#. The characteristic flavor of the palo depends on highly dissonant voicings often involving the use of open strings. F# the way you play it (the traditional way) has an open g, b, and e. So it is essentially a F#7 chord with a flat 9 and a 4 but neither major nor minor. You can replace the open g with an a-sharp (major 3rd) to restore the major character of the chord, then move your ring finger on the D-string to the 5th fret to get back the g. Also the G-chord is often altered. For example, move the g on the E-string to F and you have a G7 chord with the 7 in the bass. You can also approach F# through D7 (an alteration of Bm) followed by C#7 (the dominant 7 chord for F#). D7 here serves as a dominant 7 chord for C#. D7 (with F# in the bass) also is often used to resolve directly to G, creating an alternate key (G major) to F# phrygian (The only difference in notes between the keys is the c in G major instead of c sharp in F# phrygian). D is the parallel major substitution for Bm and can be preceded or followed by its dominant 7, which is A7. So, dominant 7 chords allow you to take excursions from the basic progression. Moreover, you can use triton substitutions for dominant 7 chords (eg, C#7 for G7) and parallel minor substitutions (Em for G). Because of the triton relationship, dominant 7 chords can resolve chromatically downward: D7 to C#7, G7 to F#. However, to sound authentic judicious use of chord voicings and melodic lines, phrasing, and articulation are more important than harmonic sophistication.