Do Re MiC D E

So Amazing

Vandross Luther4/4ballad♩= 67
A♯6/D♯
A♯6/E
%
%
C/D♯
D♯/F♯
D♯/F♯
D♯/F♯
C/D♯
D♯/F♯
D♯/F♯
D♯/F♯
C/D♯
D♯maj9
D♯/F♯
D♯maj9
D♯maj
C/D♯
D♯maj9
D♯/F♯
D♯maj9
D♯maj
C/D♯
F/A♭
Fmaj9
F/A♭
F/A♭
Fmaj9
F/A♭
F/A♭

Chord Diagrams — So Amazing in A# (Guitar)

Display
FingerNoteDegree
Starting fret
Open123456789101112
A♯6/D♯
5frEADGBE2134
EADGBE3333x1
6frEADGBE113x24
10frEADGBEx4231x
A♯6/E
5frEADGBE2134
EADGBE3333x1
6frEADGBE113x24
10frEADGBEx4231x
C/D♯
5frEADGBE111xx4
EADGBEx321
3frEADGBE111234
8frEADGBE111342
A♯
6frEADGBE111342
EADGBE11x234
3frEADGBE11143x
8frEADGBE11x243
Gm7
5frEADGBE11x423
3frEADGBE111113
8frEADGBE11x234
10frEADGBE111132
Dm7
5frEADGBE111132
EADGBExx312
6frEADGBExx2314
10frEADGBE111113
D♯maj7
6frEADGBE111324
EADGBE11333x
3frEADGBE111x43
8frEADGBE111xx4
Cm7
8frEADGBE111113
EADGBEx2134x
3frEADGBE111132
4frEADGBExx2314
D♯/F♯
8frEADGBE111xx4
EADGBExx1243
3frEADGBE11x432
6frEADGBE11x234
F7
8frEADGBE111134
EADGBE111132
3frEADGBE11x324
10frEADGBE111xx2
D♯maj9
8frEADGBE1111x4
3frEADGBE1111x4
5frEADGBEx2143x
11frEADGBExx2314
D♯maj
8frEADGBE111xx4
EADGBExx1243
3frEADGBE11x432
6frEADGBE11x234
C
8frEADGBE111342
EADGBEx321
3frEADGBE111234
5frEADGBE111xx4
Am7
7frEADGBE11x423
EADGBEx21
EADGBEx2314
5frEADGBE111113
Em7
7frEADGBE111132
EADGBE2
EADGBE11423
8frEADGBExx2314
Fmaj7
8frEADGBE111324
EADGBExx321
EADGBE111423
3frEADGBE11x333
F/A♭
8frEADGBE111234
EADGBE111342
3frEADGBE11x243
5frEADGBE111432
Fmaj9
7frEADGBEx2143x
EADGBE132
EADGBExx2314
10frEADGBE11xx34

Explore More

So Amazing in A#

Key of 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 C (ascending whole step), C to A# (descending whole step), A# to G (descending minor third), G to D (descending perfect fourth), D to D# (ascending half step), D# to C (descending minor third), C to D# (ascending minor third), D# to F (ascending whole step), F to D# (descending whole step), D# to D# (ascending unison), D# to C (descending minor third), C to A (descending minor third), A to E (descending perfect fourth), E to F (ascending half step), F to F (ascending unison), F to F (ascending unison). 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 F to A# 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.

ballad4/4 · 50 bars · Form: ABC

Chords: A♯6/D♯, A♯6/E, C/D♯, A♯, Gm7, Dm7, D♯maj7, Cm7, D♯/F♯, F7, D♯maj9, D♯maj, C, Am7, Em7, Fmaj7, F/A♭, Fmaj9.

Scales for Improvisation A# bebop, A# bebop major.

Diatonic chords: See all chords in the key of A#