Ballad For Very Tired And Very Sad Lotus Eaters
Chord Diagrams — Ballad For Very Tired And Very Sad Lotus Eaters in A# (Guitar)
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Ballad For Very Tired And Very Sad Lotus Eaters 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 C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to C (ascending whole step), C to F (ascending perfect fourth), F to F (ascending unison), F to E (descending half step), E to D# (descending half step), D# to C (descending minor third), C to F# (ascending tritone), F# to C (ascending tritone), C to A# (descending whole step), A# to F (descending perfect fourth), F to F (ascending unison), F to A# (ascending perfect fourth), A# to G (descending minor third), G to G# (ascending half step), G# to B (ascending minor third), B to A# (descending half step), A# to A (descending half step), A to G# (descending half step), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to A# (ascending major third), A# to B (ascending half step), B to D (ascending minor third), D to F# (ascending major third), F# to C# (descending perfect fourth), C# to A# (descending minor third), A# to F (descending 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.