But Beautiful in A#

But Beautiful in A#

A Jimmy Van Heusen gem with a wide-interval melody and rich chromatic harmonic movement, a favorite of Bill Evans and Chet Baker.

But Beautiful 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 G# (ascending perfect fourth), G# to G# (ascending unison), G# to G (descending half step), G to C (ascending perfect fourth), C to C (ascending unison), C to F (ascending perfect fourth), F to D (descending minor third), D to G (ascending perfect fourth), G to D# (descending major third), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to D (ascending half step), D to G (ascending perfect fourth), G to A# (ascending 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 A# to A# 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.