Tres Lindas Cubanas in A#
Tres Lindas Cubanas in A#
Tres Lindas Cubanas in A#: Guillermo Castillo / Antonio María Romeu's danzón. Mixolydian and Major Pentatonic scales bring out the groove and energy of these changes. Chords: F7 – A# – G7 – C7 – Gm7 – Cm7 – F7/F#.
Tres Lindas Cubanas 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 A# (ascending perfect fourth), A# to G (descending minor third), G to C (ascending perfect fourth), C to G (descending perfect fourth), G to C (ascending perfect fourth), C to F (ascending perfect fourth). 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 F to F by unison.
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.