Angelitos Negros in A#

Angelitos Negros in A#

Manuel Álvarez Maciste, poeta venezolano, escribió 'Angelitos Negros' en 1940 sobre un poema de Andrés Eloy Blanco. Pedro Infante la grabó y la convirtió en un clásico irrepetible; Toña la Negra, Rita Moreno y Celia Cruz también la cantaron. La letra — un reclamo al pintor por no pintar ángeles negros entre los blancos — es una denuncia velada del racismo. El bVI-bVIm en el puente en Mi bemol mayor es la sombra harmónica perfecta para una canción de tal hondura.

Angelitos Negros 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 minor third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to G (ascending whole step), G to D# (descending major third), D# to D# (ascending unison), D# to C (descending minor third). 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.