Yesterdays in A#

Yesterdays in A#

A haunting Jerome Kern standard in minor tonality with a dramatic harmonic arc, a favorite of Billie Holiday and Art Tatum.

Yesterdays 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 C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to E (ascending minor third), E to A (ascending perfect fourth), A to D# (ascending tritone), D# to G# (ascending perfect fourth), 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 C# 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.