Bemba Colorá in A#

Bemba Colorá in A#

José Claro Fumero's 1947 guaguancó was immortalized by Celia Cruz with La Sonora Matancera. The title — 'colored lips' — is a playful, irresistible taunt. The A section features rich upper-structure voicings (Fm9, F7#5, Bbm6, Ab13), while the B section pivots to a ii-V-I in Ab before a chromatic Db7-C7 cadence back to F minor.

Bemba Colorá 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 C# (descending whole step), C# to B (descending whole step), B to A# (descending half step), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to G (ascending tritone), G to F# (descending half step), F# to F (descending half step), F to F# (ascending half step). 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 major third.

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.