Tin Tin Deo in A#
Tin Tin Deo in A#
Tin Tin Deo in A#: Walter "Gil" Fuller & Chano Pozo's Afro-Cuban jazz classic. Phrygian Dominant and Harmonic Minor scales define the exotic, modal color of these sophisticated changes. Chords: A#m6 – G#m6 – F#maj9 – F7#9 – G7alt – Cm7b5 – B9 – F7b9 – A#m9 – D#9 – G#9 – G7#9 – D#m9 – G#13b9 – C#maj7 – F#9#11 – Fm7 – A#7b9 – C#maj9 – Gm7b5 – C7#9.
Tin Tin Deo 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 F# (descending whole step), F# to F (descending half step), F to G (ascending whole step), G to C (ascending perfect fourth), C to B (descending half step), B to F (ascending tritone), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to G (descending half step), G to D# (descending major third), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to F (descending half step), F to A# (ascending perfect fourth), A# to C# (ascending minor third), C# to G (ascending tritone), G to C (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 C to A# 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.