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My Funny Valentine in A#
The A# reading of My Funny Valentine: built on a descending chromatic bass over a static minor tonic, one of jazz's most haunting devices. Aeolian and Dorian blend naturally; Harmonic Minor is essential over the V7. Changes: A#m – F7/b – A#m7/Bb – Gm7b5 – F#Maj7 – D#m9 – Cm7b5 – F7b9 – C7b5b9 – Fm7 – A#7b5b9 – D#m7b5 – G#7b9 – C#Maj7 – D#m7 – C# – F7#5 – F7 – A#m7 – G#m7 – G7b9 – A9 – G#m9 – G7b5#9 – G#7.
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 F (descending perfect fourth), F to A# (ascending perfect fourth), A# to G (descending minor third), G to F# (descending half step), F# to D# (descending minor third), D# to C (descending minor third), C to F (ascending perfect fourth), F to C (descending perfect fourth), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to D# (ascending whole step), D# to C# (descending whole step), C# to F (ascending major third), F to F (ascending unison), F to A# (ascending perfect fourth), A# to G# (descending whole step), G# to G (descending half step), G to A (ascending whole step), A to G# (descending half step), G# to G (descending half step), G to G# (ascending half step). 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.