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I Remember Clifford in A#
Benny Golson's tribute to Clifford Brown is a deeply expressive ballad that invites Bebop Major lyricism on the tonic, Dorian warmth on the minor ii chords, and Altered scale tension on the dominant chords that resolve to emotional release. The elegy-like quality demands a singing tone and long, arching melodic phrases that honor the spirit of Brown's trumpet sound. One of the most emotionally demanding ballads in the jazz canon.
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 D# to F (ascending whole step), F to D (descending minor third), D to D (ascending unison), D to G (ascending perfect fourth), G to F (descending whole step), F to D# (descending whole step), D# to C# (descending whole step), C# to C (descending half step), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D (ascending major third), D to E (ascending whole step), E to F# (ascending whole step), F# to G (ascending half step), G to E (descending minor third), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to D (ascending unison), D to B (descending minor third), B to E (ascending perfect fourth), E to D (descending whole step), D to G (ascending perfect fourth), G to F (descending whole step), F to F (ascending unison), F to A (ascending major third), A to G (descending whole step), G to A# (ascending 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 A# to D# 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.