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: Bm7 – E7 – Amaj7 – A7 – Dmaj7 – Dm6 – C#m7 – F#7 – G7 – Cmaj7 – C6 – Bm7b5 – E7b9 – A6.

Chega de Saudade (No More Blues) in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to A (ascending unison), A to D (ascending perfect fourth), D to D (ascending unison), D to C# (descending half step), C# to F# (ascending perfect fourth), F# to G (ascending half step), G to C (ascending perfect fourth), C to C (ascending unison), C to B (descending half step), B to E (ascending perfect fourth), E 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 B 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.