Get Out of Town in C#

Cole Porter(1938)swing
Do Re MiC D E
A
C♯madd2/B
G♯m7♭5/C♯
G♯dim/F♯
AmMaj7/C
EMaj9/B

Chord Diagrams — Get Out of Town in C# (Guitar)

Display
FingerNoteDegree
C♯m
EADGBEx4213x
4frEADGBE1113426frEADGBE1132x49frEADGBE111134
C♯m6
EADGBE11x324
5frEADGBExx23148frEADGBE2x134x9frEADGBE111234
C♯madd2/B
A♯m7♭5
EADGBEx1324x
EADGBE11xx245frEADGBE2x341x8frEADGBE222xx1
Adim
EADGBEx132x
3frEADGBE31x42x7frEADGBExx12x310frEADGBEx41x23
G♯m7
4frEADGBE111113
6frEADGBE11x4239frEADGBE11x23x11frEADGBE111132
Gdim
EADGBE31x42x
5frEADGBExx12x38frEADGBEx12x3210frEADGBEx1243x
F♯m7
EADGBE111113
4frEADGBExx14239frEADGBE11113210frEADGBExx2314
D♯7
EADGBExx1324
6frEADGBE111x348frEADGBE111xx211frEADGBE111132
D♯7♭9
EADGBExx24
5frEADGBE11x2346frEADGBE11x349frEADGBE3241xx
G♯
EADGBE11132x
4frEADGBE1113426frEADGBE11x2438frEADGBE111432
G♯7
EADGBE111xx2
4frEADGBE1111326frEADGBE11x32411frEADGBE111134
C♯
EADGBE11x432
4frEADGBE1112346frEADGBE1113249frEADGBE111342
G♯m7♭5/C♯
EADGBExx13
EADGBE2x341x6frEADGBE222xx111frEADGBEx1324x
C♯7
EADGBEx3241x
4frEADGBE111x346frEADGBE1114329frEADGBE111132
G♯dim/F♯
EADGBE31x42x
6frEADGBExx12x39frEADGBEx41x2311frEADGBEx1243x
F♯m
EADGBE111134
4frEADGBE11x3425frEADGBExx32419frEADGBE111342
Am
EADGBEx231
2frEADGBE444x15frEADGBE1111347frEADGBEx1342
AmMaj7/C
EADGBEx312
5frEADGBE1111327frEADGBE11x3429frEADGBE11x42x
EMaj9/B
G♯m7♭5
EADGBExx13
EADGBE2x341x6frEADGBE222xx111frEADGBEx1324x
F♯m7♭5
EADGBE2341
4frEADGBE222xx19frEADGBEx1324x10frEADGBE11xx24
B7
EADGBEx2134
EADGBE1111344frEADGBE111xx27frEADGBE111132
E
EADGBE231
2frEADGBExx12434frEADGBE1114327frEADGBE111234
Cdim
EADGBEx41x23
3frEADGBEx1243x6frEADGBE31x42x10frEADGBExx12x3
G♯7♭9
EADGBE111x2
4frEADGBE11xx235frEADGBE11xx2310frEADGBE11x234

Get Out of Town in C#

Key of C#

C# major (or Db) sits in barre chord territory across the fretboard. Every chord demands precise barring, but the payoff is a bright, crystalline sound a half step above C that cuts through a band mix. C# is a intermediate-advanced-level key on guitar because no open strings fall within the key naturally, so every chord requires full barre technique. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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

swing4/4 · 32 bars · Form: A

Chords: C♯m, C♯m6, C♯madd2/B, A♯m7♭5, Adim, G♯m7, Gdim, F♯m7, D♯7, D♯7♭9, G♯, G♯7, C♯, G♯m7♭5/C♯, C♯7, G♯dim/F♯, F♯m, Am, AmMaj7/C, EMaj9/B, G♯m7♭5, F♯m7♭5, B7, E, Cdim, G♯7♭9.

Scales for Improvisation C# bebop minor, C# bebop.

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