How Do You Say Auf Wiedersehen? in A#
Chord Diagrams — How Do You Say Auf Wiedersehen? in A# (Guitar)
How Do You Say Auf Wiedersehen? 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 A# to E (ascending tritone), E to D# (descending half step), D# to D# (ascending unison), D# to F (ascending whole step), F to A# (ascending perfect fourth), A# to G# (descending whole step), G# to A# (ascending whole step), A# to D (ascending major third), D to D# (ascending half step), D# to F# (ascending minor third), F# to G# (ascending whole step), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to D# (descending minor third), D# to C (descending minor third), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to D# (ascending unison), D# to C# (descending whole step), C# to G# (descending perfect fourth), G# to C# (ascending perfect fourth), C# to D (ascending half step), D to F (ascending minor third), F to F (ascending unison), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to C (descending minor third), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to G# (descending whole step), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to B (ascending unison), B to B (ascending unison), B to C (ascending half step), 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 A# by whole step.
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.