O Pato (The Duck) in A#

O Pato (The Duck) in A#

Jaime Silva's 1960 samba propels through D major cycles before opening into a long through-composed section in G major — rich with chromatic mediant movement (Gmaj7–Gm6–F#m7–D9) and a classic Em–B7 inner-voice cycle. Jon Hendricks's English lyric turned it into a jazz vocal standard.

O Pato (The Duck) 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 C (ascending whole step), C to C (ascending unison), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to F (descending perfect fourth), F to F (ascending unison), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to F (ascending whole step), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to D (descending half step), D to C (descending whole step), C to G (descending perfect fourth). 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 G to A# by minor 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.