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Along Came Betty in A#
Benny Golson's bebop composition drives forward with energetic harmonic movement that demands Bebop Major fluency on the tonic, Lydian color on the major IV chords, and Dorian phrasing across the ii chord sequences. The rhythmic vitality of the melody sets a high-energy standard that improvisers must match. A hard bop classic that showcases Golson's gift for writing lines that swing at any tempo.
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 C to C# (ascending half step), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to A# (descending half step), A# to A (descending half step), A to G# (descending half step), G# to G# (ascending unison), G# to A (ascending half step), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to B (ascending major third), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to B (ascending major third), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to F# (descending minor third), F# to G (ascending half step), G to C (ascending perfect fourth), C to D (ascending whole step), D to G (ascending perfect fourth), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to A# (ascending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. 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 A# to C 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.