Falling Grace in La#

Falling Grace in La#

Steve Swallow's post-bop composition creates a distinctive harmonic atmosphere through Lydian Dominant color on the major-minor seventh chords, Bebop Major lines on the tonic resolutions, and Dorian warmth over the ii chord passages. The sophisticated harmonic palette reflects Swallow's compositional voice — rooted in the bebop tradition but reaching toward a more open harmonic world. An underplayed gem that rewards careful harmonic study.

Falling Grace in La#

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 F# (descending half step), F# to F (descending half step), F to E (descending half step), E to D# (descending half step), D# to C (descending minor third), C to F (ascending perfect fourth), F to D (descending minor third). 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 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.