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 B.

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 B.

What scales work for improvising over Cheek to Cheek?

Recommended scales for Cheek to Cheek in B: 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 B

Irving Berlin()swingBright Swing

Do Re MiC D E

BPM: 120

Chord Diagrams — Cheek to Cheek in B (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

B69

C♯m7/g

B69/g

Cheek to Cheek in 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 C (ascending half step), C to C# (ascending half step), C# to F# (ascending perfect fourth), F# to D (descending major third), D to D# (ascending half step), D# to A (ascending tritone), A to G# (descending half step), G# to C# (ascending perfect fourth), C# to E (ascending minor third), E to B (descending perfect fourth), B to C# (ascending whole step), C# to B (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 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.

swing4/4 · 57 bars · Form: AABA

Chords: BMaj7, Cdim7, C♯m7, F♯7, Ddim7, D♯m7, A7♯11, G♯7, C♯7, E7, B69, C♯m7/g, B69/g.

Scales for Improvisation B bebop, B bebop major.

Diatonic chords: See all chords in the key of B