Siembra in A#

Siembra in A#

Siembra in A#: Rubén Blades's minor salsa. Dorian and Harmonic Minor scales give this groove its characteristic dark edge. Chords: Bm9 – Fmaj7#11 – A – C13sus – G#13sus – G#13b9 – F#13sus – F#7alt – Esus – Dsus – Bsus – Asus – Gsus – F#sus – B7sus – C#7#9#5 – F#9sus – F#7#9#5 – F#7#5 – Em9 – D – F#m7b5 – F – Fmaj9 – B7b9 – G#m7b5 – C#13sus – G# – E – D9 – G9 – G13 – B7b9#5 – F7b9 – A13sus – A#m7#5 – G13#11 – E13sus.

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