How to practice Con Alma with play-along tracks?

Use the play-along backing track above to practice Con Alma in the key of A#. Listen to the audio with bass, piano, and drums, start by playing the melody, then practice improvisation and soloing over the chord changes.

What scales to use for soloing over Con Alma?

For soloing over Con Alma, recommended scales include: bebop minor, bebop. Use arpeggio patterns over each chord to create melodic lines that follow the harmony of this jazz tune.

Who composed Con Alma?

Con Alma was composed by Dizzy Gillespie in 1954. It is a swing standard in 4/4 time. The original key is F; this page shows it transposed to A#.

What key is Con Alma in?

The original key of Con Alma is F. The form is ABC with 29 bars. This page shows the chart transposed to A#.

What scales work for improvising over Con Alma?

Recommended scales for Con Alma in A#: bebop minor, bebop. Scales and arpeggios update in real-time as each chord plays, with context-aware analysis (e.g., Phrygian Dominant over secondary dominants).

How does the interactive backing track work?

The backing track plays with realistic walking bass, drum patterns, and voice-led chord voicings. Scales and arpeggios update in real-time as each chord plays. You can limit the fretboard zone for close-proximity voicings, toggle a reference melody, loop any section, and choose between multiple sound presets. Works for guitar, piano, bass, ukulele, and 7 more instruments.

Can I edit the chord chart?

Yes. You can modify the structure, chords, and arrangement of any standard to match your preferred version or create your own reharmonization.

Con Alma in A#

Dizzy Gillespie(1954)swing

Do Re MiC D E

BPM: 120

Chord Diagrams — Con Alma in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

C♯7/G♯

E13

GMaj7♯11

A♯7/F

C♯13

Con Alma 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 F to F# (ascending half step), F# to A (ascending minor third), A to C# (ascending major third), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to D# (descending half step), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to G# (ascending unison), G# to G (descending half step), G to F# (descending half step), F# to A# (ascending major third), A# to D# (ascending perfect fourth), D# to C# (descending whole step), C# to C (descending half step), C to F (ascending perfect fourth), F to F (ascending unison), F to F (ascending unison), F to A# (ascending perfect fourth), A# to B (ascending half step), B to E (ascending perfect fourth), E to A# (ascending tritone). 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 A# to F by perfect fourth.

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.

swing4/4 · 29 bars · Form: ABC

Chords: F, F♯9, AMaj7, C♯7/G♯, F♯m7, E13, D♯7, D♯7♯11, G♯Maj7, G♯m7, GMaj7♯11, F♯Maj7, A♯7/F, D♯m7, C♯13, C7, FMaj7, F6, Fm7♭5, A♯7♭9, Bm7, E7♭9, A♯m7.

Scales for Improvisation A# bebop minor, A# bebop.

Diatonic chords: See all chords in the key of A#