Guilty was composed by Gus Kahn, Harry Akst, Richard A. Whiting. It is a ballad standard in 4/4 time. The original key is Bb; this page shows it transposed to A#.

What key is Guilty in?

The original key of Guilty is Bb. The form is AABA with 38 bars. This page shows the chart transposed to A#.

What scales work for improvising over Guilty?

Recommended scales for Guilty 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.

Guilty in A#

Gus Kahn, Harry Akst, Richard A. Whiting()balladSlowly

Do Re MiC D E

BPM: 120

Chord Diagrams — Guilty in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

A♯

Fm/G♯

G7♯5

Cm/A♯

A7♯5

A♯7♯5

F7♯5

F6/c

Gm7/c

Guilty 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 F (descending perfect fourth), F to G (ascending whole step), G to G (ascending unison), G to C (ascending perfect fourth), C to C (ascending unison), C to A (descending minor third), A to A (ascending unison), A to A# (ascending half step), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to D# (ascending unison), D# to C# (descending whole step), C# to C (descending half step), C to F (ascending perfect fourth), F to F (ascending unison), F to D (descending minor third), D to D (ascending unison), D to D (ascending unison), D to E (ascending whole step), E to E (ascending unison), E to F (ascending half step), F to G (ascending whole step), G to F (descending whole step), F to F# (ascending half step), F# to G (ascending half step), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to F (ascending unison). 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 F to A# 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 · 38 bars · Form: AABA

Chords: A♯, Fm/G♯, G7♯5, G7, Cm, Cm/A♯, A7♯5, A7, A♯Maj7, A♯7♯5, D♯Maj7, D♯m, C♯dim7, Cm7, F7, F7♯5, Dm, DmMaj7, Dm7, Em7♭5, Em7, F6/c, Gm7/c, F6, F♯dim7, Gm7, C9, Fsus4, F7♭9.

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

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