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Body And Soul in A#
Body And Soul in A# — immortalized by Coleman Hawkins, famous for its enharmonic modulation to the tritone key in the bridge. Lydian Dominant colors the bridge dominants; Bebop Major rules the outer sections. Changes: Cm7 – G7b9 – B7 – A#Maj7 – D#7 – Dm7 – C#dim7 – Am7b5 – D7 – Gm7 – C7 – F7 – A#6 – G7 – A# – F#7 – BMaj7 – C#m7 – Em7 – A7 – D#m7 – G#m7 – Bm7 – E7 – AMaj7 – Cdim7 – G#7.
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 G (descending perfect fourth), G to B (ascending major third), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to D (descending half step), D to C# (descending half step), C# to A (descending major third), A to D (ascending perfect fourth), 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# to G (descending minor third), G to A# (ascending minor third), A# to F# (descending major third), F# to B (ascending perfect fourth), B to C# (ascending whole step), C# to E (ascending minor third), E to A (ascending perfect fourth), A to D# (ascending tritone), D# to G# (ascending perfect fourth), G# to B (ascending minor third), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to C (ascending minor third), C to G# (descending major third). 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 G# to C by major 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.