Chega de Saudade (No More Blues) in A#

Chega de Saudade (No More Blues) in A#

Chega de Saudade (No More Blues) in A# — Antonio Carlos Jobim / Newton Mendonça's bossa nova classic. Explore Bebop Major and Lydian scales over these sophisticated changes. Chords: Cm7 – F7 – A#maj7 – A#7 – D#maj7 – D#m6 – Dm7 – G7 – G#7 – C#maj7 – C#6 – Cm7b5 – F7b9 – A#6.

Chega de Saudade (No More Blues) in 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 C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to D (descending half step), D to G (ascending perfect fourth), G to G# (ascending half step), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to C (descending half step), C to F (ascending perfect fourth), F to A# (ascending perfect fourth). 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 A# to C 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.