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Dolphin Dance in A#
Dolphin Dance in A#: Herbie Hancock's semi-modal gem balances tonal and modal thinking across its unpredictable harmonic landscape. Lydian brightens the major chords, Dorian colors the minor sections, and Bebop Major lines stitch it together. Chords: A#maj7 – G#maj7/Eb – Am7b5 – D7b9 – Gm7 – D#maj7#11 – Em7 – A7 – Dmaj7 – D#m7 – Cm7 – D7#5 – D7sus4 – E/G – A#maj7#11/G – C7sus4 – C13b9 – Bm7 – E7 – A#7 – F#m7 – B7 – Am7 – G#m7 – C#7 – Amaj7/E – Gmaj7/E – F13b9/Eb – D#maj7#5/Eb.
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 A# to G# (descending whole step), G# to A (ascending half step), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to D# (descending major third), D# to E (ascending half step), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to D# (ascending half step), D# to C (descending minor third), C to D (ascending whole step), D to D (ascending unison), D to E (ascending whole step), E to A# (ascending tritone), A# to C (ascending whole step), C to C (ascending unison), C to B (descending half step), B to E (ascending perfect fourth), E to A# (ascending tritone), A# to F# (descending major third), F# to B (ascending perfect fourth), B to A (descending whole step), A to G# (descending half step), G# to C# (ascending perfect fourth), C# to A (descending major third), A to G (descending whole step), G to F (descending whole step), F to D# (descending whole step). 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 D# to A# 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.