La Enganadora in A#
La Enganadora in A#
La Engañadora in A#: Enrique Jorrín's minor cha-cha-chá. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: A# – Adim7 – A#7 – A#7#5 – D# – Edim7 – C#dim7 – Cm7 – F7sus4 – F7 – Faug – Fm – Fdim7 – F – Cm – Cm#5 – A#6 – F9 – F9#5 – Bdim7 – Fm#5 – D#maj7 – D#6 – C7 – Gm7 – F7b9 – Cm6 – F9sus4 – Dm7.
La Enganadora 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 (descending half step), A to A# (ascending half step), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to E (ascending half step), E to C# (descending minor third), C# to C (descending half step), C to F (ascending perfect fourth), F to F (ascending unison), F to F (ascending unison), F to F (ascending unison), F to F (ascending unison), F to F (ascending unison), F to C (descending perfect fourth), C to C (ascending unison), C to A# (descending whole step), A# to F (descending perfect fourth), F to F (ascending unison), F to B (ascending tritone), B to F (ascending tritone), F to D# (descending whole step), D# to D# (ascending unison), D# to C (descending minor third), C to G (descending perfect fourth), G to F (descending whole step), F to C (descending perfect fourth), C to F (ascending perfect fourth), F to D (descending 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 D to A# by major third.
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.