O Que Será

O Que Será in A#

Key of A#

A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

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.