Second Wind in A#

Second Wind in A#

Second Wind in A#: Rebeca Mauléon-Santana, as played by Tito Puente's mambo. Bebop Major and Major Pentatonic scales bring out the groove and energy of these changes. Chords: D# – C# – D#7 – Dm7b5 – G7 – Cm7 – B7 – A# – G#mMaj7 – Fm7 – A#7 – A#m7 – D#m7 – F7.

Second Wind 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 D# to C# (descending whole step), C# to D# (ascending whole step), D# to D (descending half step), D to G (ascending perfect fourth), G to C (ascending perfect fourth), C to B (descending half step), B to A# (descending half step), A# to G# (descending whole step), G# to F (descending minor third), F to A# (ascending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to F (ascending whole 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 D# 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.