Son de la Loma in A#

Son de la Loma in A#

Son de la Loma in A#: Miguel Matamoros's son cubano. Mixolydian and Major Pentatonic scales bring out the groove and energy of these changes. Chords: A#6 – A# – D# – F7sus4 – F7 – D7b9 – G7#5 – Cm – Cm7 – G7b9 – F9 – G# – G.

Son de la Loma 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# (ascending unison), A# to D# (ascending perfect fourth), D# to F (ascending whole step), F to F (ascending unison), F to D (descending minor third), D to G (ascending perfect fourth), G to C (ascending perfect fourth), C to C (ascending unison), C to G (descending perfect fourth), G to F (descending whole step), F to G# (ascending minor third), G# to G (descending half step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from G to A# by minor 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.