Manteca in A#

Dizzy Gillespie, Chano Pozo, Gil Fuller(1947)afro-cubanMambo ♩= 114, 2-3 Clave
Do Re MiC D E
A♯
Instrument
GuitarUkuleleBassPiano
A
B
C
D
E
A♯7
A♯7
A♯7
A♯7
A♯13
G♯13
A♯13
A♯
A♯9
A♯13
G♯13
A♯13
G♯13C10
G♯Maj7
F♯Maj7
A♯Maj7
G♯13C10
F♯Maj7
A♯Maj7
G♯Maj7
C♯13♭9
F♯Maj7
B9♯11
A♯9
A♯9
A♯7
A♯7
A♯7
A♯7
A♯13
G♯13
A♯13
A♯
A♯13
G7
Cm7
F7
Dm7
G7
C7
F7
A♯7
Emi7
G♯9
A♯7
F7♭9
A♯6

Chord Diagrams — Manteca in A# (Guitar)

Manteca in A#

The foundational Afro-Cuban jazz composition, born from the collaboration between Dizzy Gillespie and Cuban percussionist Chano Pozo in 1947. The Latin Real Book chart (compiled from several recorded versions) opens with a relentless Bb7 Afro-Cuban vamp, explodes into a big-band shout with Bb13/Ab13 clashes, navigates a jazz bridge through AbMaj7–Db13b9–GbMaj7–B9#11, and closes with blues-based Latin or jazz solo changes over a Bb6 cadence.

Manteca 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 G# (descending whole step), G# to A# (ascending whole step), A# to A# (ascending unison), A# to G# (descending whole step), G# to G# (ascending unison), G# to F# (descending whole step), F# to A# (ascending major third), A# to C# (ascending minor third), C# to B (descending whole step), B to G (descending major third), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to D (descending minor third), D to C (descending whole step), C to E (ascending major third), E to G# (ascending major third), G# to F (descending minor third), F to A# (ascending perfect fourth). 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.

afro-cuban4/4 · 42 bars · Form: ABCDE

Chords: A♯7, A♯13, G♯13, A♯, A♯9, G♯13C10, G♯Maj7, F♯Maj7, A♯Maj7, C♯13♭9, B9♯11, G7, Cm7, F7, Dm7, C7, Emi7, G♯9, F7♭9, A♯6.