How to practice All Or Nothing At All with play-along tracks?

Use the play-along backing track above to practice All Or Nothing At All in the key of A. 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 All Or Nothing At All?

For soloing over All Or Nothing At All, recommended scales include: bebop, bebop major. Use arpeggio patterns over each chord to create melodic lines that follow the harmony of this jazz tune.

Who composed All Or Nothing At All?

All Or Nothing At All was composed by Arthur Altman / Jack Lawrence in 1939. It is a swing 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 A 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.

Do Re MiC D E

All Or Nothing At All

Arthur Altman / Jack Lawrence(1939)4/4swing

BPM: 120

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

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FingerNoteDegree

Chord Voicings Closest Voicing

Starting fret

Open123456789101112

Eaug7

E7sus4

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All Or Nothing At All in A

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

swing4/4 · 64 bars · Form: A

Chords: F♯m, F♯m7, F♯m6, G6, G♯, G7, Gaug, Em, F♯7♭9, C♯m7♭5, Bm, E7, A, C♯7♭9, G♯m7♭5, G9, F♯7, Eaug7, AMaj7, C7, Gm7, Faug, F, F6, A♯, C9, Caug, A7, Em7♭5, Dm, A♯7, C♯7, E7sus4, Bm7♭5, A6.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A

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