La Comparsa in A#

La Comparsa in A#

La Comparsa in A#: Ernesto Lecuona's minor danzón. Aeolian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: A#m11 – A#7alt – D#m9 – C# – C7alt – F7 – F7/C# – F7b9 – A#mi7 – F#9 – B6 – F#7 – C#m7 – F#9sus4 – E – B – A9 – G#9sus – G#7 – D#mi7 – G#7b9 – Bmaj7 – D9#11 – A – D – D7 – Em7 – A7 – B69 – E69 – F# – F#7sus – C7b5 – A# – F7/D – Fdim7.

La Comparsa 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 A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to C# (descending whole step), C# to C (descending half step), C to F (ascending perfect fourth), F to F (ascending unison), F to F (ascending unison), F to A# (ascending perfect fourth), A# to F# (descending major third), F# to B (ascending perfect fourth), B to F# (descending perfect fourth), F# to C# (descending perfect fourth), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to B (descending perfect fourth), B to A (descending whole step), A to G# (descending half step), G# to G# (ascending unison), G# to D# (descending perfect fourth), D# to G# (ascending perfect fourth), G# to B (ascending minor third), B to D (ascending minor third), D to A (descending perfect fourth), A to D (ascending perfect fourth), D to D (ascending unison), D to E (ascending whole step), E to A (ascending perfect fourth), A to B (ascending whole step), B to E (ascending perfect fourth), E to F# (ascending whole step), F# to F# (ascending unison), F# to C (ascending tritone), C to A# (descending whole step), A# to F (descending perfect fourth), F to F (ascending unison). 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 F to A# 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.