Second Wind in A#

Second Wind in A#

Second Wind in A#: Rebeca Mauléon-Santana, as played by Tito Puente's mambo. Bebop Major and Major Pentatonic scales bring out the groove and energy of these changes. Chords: F13sus – E13sus – D#13sus – Em7b5 – A7b9 – Dm7 – G7alt – Cm7 – F#69 – G#69 – A#69 – F13 – A#6 – G#6 – A# – A#7 – Am7b5 – D7b9 – Gm7 – F#m7 – Fm7 – A#13 – D#maj7 – G7b9 – E9 – F9 – Fm9 – Em7 – A#7#5 – A#7#5b9 – E9#11 – D#maj9 – F7sus – F7 – A#maj7 – E13.

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