Bewitched, Bothered And Bewildered in A#
Bewitched, Bothered And Bewildered in A#
Bewitched in A# — Rodgers & Hart's sophisticated ballad with chromatic voice leading and an expressive melodic arc. Bebop Major navigates the major tonic sections; Dorian and Mixolydian add texture through the ii-V moves. Changes: A# – Bdim7 – Cm7 – C#dim7 – D7 – D#Maj7 – Edim7 – C7 – F7 – G7 – Cm – Gm – Dm7 – G7#9.
Bewitched, Bothered And Bewildered in 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 B (ascending half step), B to C (ascending half step), C to C# (ascending half step), C# to D (ascending half step), D to D# (ascending half step), D# to E (ascending half step), E to C (descending major third), C to F (ascending perfect fourth), F to G (ascending whole step), G to C (ascending perfect fourth), C to G (descending perfect fourth), G to D (descending perfect fourth), D to G (ascending perfect fourth). 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 G to A# by minor third.
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.