How to practice About A Quarter To Nine with play-along tracks?

Use the play-along backing track above to practice About A Quarter To Nine in the key of B. Listen to the audio with bass, piano, and drums, start by playing the melody, then practice improvisation and soloing over the chord changes.

What scales to use for soloing over About A Quarter To Nine?

For soloing over About A Quarter To Nine, recommended scales include: bebop minor, bebop. Use arpeggio patterns over each chord to create melodic lines that follow the harmony of this jazz tune.

Who composed About A Quarter To Nine?

About A Quarter To Nine was composed by Harry Warren / Al Dubin in 1935. It is a swing standard in 2/2 time. The original key is E; this page shows it transposed to B.

What key is About A Quarter To Nine in?

The original key of About A Quarter To Nine is E. The form is AB with 41 bars. This page shows the chart transposed to B.

What scales work for improvising over About A Quarter To Nine?

Recommended scales for About A Quarter To Nine in B: bebop minor, bebop. Scales and arpeggios update in real-time as each chord plays, with context-aware analysis (e.g., Phrygian Dominant over secondary dominants).

How does the interactive backing track work?

The backing track plays with realistic walking bass, drum patterns, and voice-led chord voicings. Scales and arpeggios update in real-time as each chord plays. You can limit the fretboard zone for close-proximity voicings, toggle a reference melody, loop any section, and choose between multiple sound presets. Works for guitar, piano, bass, ukulele, and 7 more instruments.

Can I edit the chord chart?

Yes. You can modify the structure, chords, and arrangement of any standard to match your preferred version or create your own reharmonization.

About A Quarter To Nine in B

Harry Warren / Al Dubin(1935)swing

Do Re MiC D E

Section B

♬

Bm/G♯♬

♬

G/B

♬

D7/A

Bdim/G♯

♬

D7/A

♬

BPM: 120

Chord Diagrams — About A Quarter To Nine in B (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

F♯7

Em7♭5

D/A

Em7/A

Em6/G

D7/A

Bdim/G♯

Bdim/D

G/B

Bm/G♯

About A Quarter To Nine in B

Key of B

B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through B to F# (descending perfect fourth), F# to E (descending whole step), E to E (ascending unison), E to D (descending whole step), D to E (ascending whole step), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to E (ascending whole step), E to F# (ascending whole step), F# to C# (descending perfect fourth), C# to C# (ascending unison), C# to D (ascending half step), D to G (ascending perfect fourth), G to A (ascending whole step), A to A# (ascending half step), A# to D (ascending major third), D to B (descending minor third), B to B (ascending unison), B to G (descending major third), G to A# (ascending minor third), A# to D# (ascending perfect fourth), D# to C (descending minor third), C to B (descending half step), B to F# (descending perfect fourth), F# to F# (ascending unison), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to B (descending perfect fourth). A half-step bass movement creates a strong leading-tone pull that demands resolution. 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 B to B by unison.

Scales for Improvisation

B 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, B Mixolydian adds the flat seventh for an authentic blues-rock edge.

swing2/2 · 41 bars · Form: AB

Chords: Bm, F♯7, Em, Em7♭5, D/A, Em7/A, A7, D, Em6/G, F♯aug, C♯7, C♯m7♭5, D7, G, Am7, A♯dim, D7/A, Bdim/G♯, Bdim/D, G/B, A♯7, D♯, Cm, Bm/G♯, F♯m, F♯m7, B7, E7, Bdim.

Scales for Improvisation B bebop minor, B bebop.

Diatonic chords: See all chords in the key of B