Who composed Cheek to Cheek?

Cheek to Cheek was composed by Irving Berlin. It is a swing standard in 4/4 time. The original key is C; this page shows it transposed to A#.

What key is Cheek to Cheek in?

The original key of Cheek to Cheek is C. The form is AABA with 57 bars. This page shows the chart transposed to A#.

What scales work for improvising over Cheek to Cheek?

Recommended scales for Cheek to Cheek 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.

Cheek to Cheek in A#

Irving Berlin()swingBright Swing

Do Re MiC D E

BPM: 120

Chord Diagrams — Cheek to Cheek in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

A♯69

Cm7/g

A♯69/g

Cheek to Cheek 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 B (ascending half step), B to C (ascending half step), C to F (ascending perfect fourth), F to C# (descending major third), C# to D (ascending half step), D to G# (ascending tritone), G# to G (descending half step), G to C (ascending perfect fourth), C to D# (ascending minor third), D# to A# (descending perfect fourth), A# to C (ascending whole step), C to A# (descending whole step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from A# to A# by unison.

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 · 57 bars · Form: AABA

Chords: A♯Maj7, Bdim7, Cm7, F7, C♯dim7, Dm7, G♯7♯11, G7, C7, D♯7, A♯69, Cm7/g, A♯69/g.

Scales for Improvisation A# bebop, A# bebop major.

Diatonic chords: See all chords in the key of A#