Pablo Pueblo in A#
Chord Diagrams — Pablo Pueblo in A# (Guitar)
Pablo Pueblo in A#
Pueblo Latino in A#: C. Curet Alonso's minor guaracha. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: C# – B – G#mi7 – F#mi7 – C69 – B69 – A13 – A#7 – A#7b9 – D#m – D#m69 – G#m7 – C#7#9 – C#7b9 – F#maj7 – C7b9 – F7#9 – A#13 – E9 – Fm7b5 – G#13 – G#7 – C#7 – F#maj9 – Gmaj9 – C69#11 – B69#11 – F7 – D#m11 – D#7 – D#m9 – C9#11 – Bmaj7 – D#m7.
Pablo Pueblo 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 B (descending whole step), B to G# (descending minor third), G# to F# (descending whole step), F# to C (ascending tritone), C to B (descending half step), B to A (descending whole step), A to A# (ascending half step), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to F# (ascending perfect fourth), F# to C (ascending tritone), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to E (ascending tritone), E to F (ascending half step), F to G# (ascending minor third), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to G (ascending half step), G to C (ascending perfect fourth), C to B (descending half step), B to F (ascending tritone), F to D# (descending whole step), D# to D# (ascending unison), D# to D# (ascending unison), D# to C (descending minor third), C to B (descending half step), B to D# (ascending major third). 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 D# 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.