Pedro Navaja in A#

Rubén Blades(1978)salsaSalsa moderada
Do Re MiC D E
Clave 2-3
A
B
b
C
c
D
d
E
F
Por la esqui...
na del vie-jo ba
rrio lo vi pasar
Las ma - nos
siem - pre en los bol -
si - llos de su ga - bán
Mira pa' un lado
Y Pe - dro ...
Variation

Chord Diagrams — Pedro Navaja in A# (Guitar)

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Pedro Navaja in A#

Pedro Navaja in A#: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: A#sus4 – G#sus4 – Cm7 – D7 – C#maj7 – C – A#6 – G7 – F7 – F#7 – B6 – G#7 – C#m7 – C6 – A7 – Dm7 – C#6 – A#7 – D#m7 – D6 – B7 – Em7.

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

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.

salsa4/4 · 70 bars · Form: ABbCcDdEF

Chords: A♯sus4, G♯sus4, Cm7, D7, C♯maj7, C, A♯6, G7, F7, F♯7, B6, G♯7, C♯m7, C6, A7, Dm7, C♯6, A♯7, D♯m7, D6, B7, Em7.

Scales for Improvisation A# bebop, A# bebop major.

Diatonic chords: See all chords in the key of A#