Who composed All Or Nothing At All?

All Or Nothing At All was composed by Arthur Altman. It is a ballad standard in 4/4 time. The original key is C; this page shows it transposed to A.

What key is All Or Nothing At All in?

The original key of All Or Nothing At All is C. The form is AABA with 64 bars. This page shows the chart transposed to A.

What scales work for improvising over All Or Nothing At All?

Recommended scales for All Or Nothing At All in A: bebop, bebop major. 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.

All Or Nothing At All in A

Arthur Altman()balladModerately Slow

Do Re MiC D E

BPM: 120

Chord Diagrams — All Or Nothing At All in A (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

E7♯5

All Or Nothing At All in A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

The bass line moves through F# to F# (ascending unison), F# to F# (ascending unison), F# to G (ascending half step), G to G (ascending unison), G to G (ascending unison), G to G (ascending unison), G to E (descending minor third), E to C# (descending minor third), C# to F# (ascending perfect fourth), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to E (ascending unison), E to A (ascending perfect fourth), A to G# (descending half step), G# to C# (ascending perfect fourth), C# to F (ascending major third), F to F (ascending unison), F to F (ascending unison), F to C (descending perfect fourth), C to A# (descending whole step), A# to C (ascending whole step), C to C (ascending unison), C to G (descending perfect fourth), G to E (descending minor third), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to A# (descending major third), A# to C# (ascending minor third). 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 C# to F# by perfect fourth.

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.

ballad4/4 · 64 bars · Form: AABA

Chords: F♯m, F♯m7, F♯m6, G9, G6, Gaug, G7, Em, C♯m7♭5, F♯7♭9, Bm, E7, E7♯5, AMaj7, G♯m7♭5, C♯7♭9, F, Faug, F6, C7, A♯, C9, Caug, Gm7, Em7♭5, A7, Dm, A♯7, C♯7.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A