Who composed I Could Have Danced All Night?

I Could Have Danced All Night was composed by Frederick Loewe. It is a swing standard in 2/2 time. The original key is C; this page shows it transposed to A.

What key is I Could Have Danced All Night in?

The original key of I Could Have Danced All Night is C. The form is ABCD with 52 bars. This page shows the chart transposed to A.

What scales work for improvising over I Could Have Danced All Night?

Recommended scales for I Could Have Danced All Night 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.

I Could Have Danced All Night in A

Frederick Loewe()swingModerately

Do Re MiC D E

BPM: 120

Chord Diagrams — I Could Have Danced All Night in A (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

Bm7/g

I Could Have Danced All Night in 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 A to A (ascending unison), A to A (ascending unison), A to B (ascending whole step), B to E (ascending perfect fourth), E to B (descending perfect fourth), B to B (ascending unison), B to B (ascending unison), B to C# (ascending whole step), C# to D# (ascending whole step), D# to G# (ascending perfect fourth), G# to C# (ascending perfect fourth), C# to C# (ascending unison), C# to E (ascending minor third), E to F# (ascending whole step), F# to B (ascending perfect fourth), B to E (ascending perfect fourth), E to D (descending whole step), D to D (ascending unison). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from D 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.

swing2/2 · 52 bars · Form: ABCD

Chords: A, AMaj7, A6, Bm7, E7, Bm, BmMaj7, Bm7/g, C♯, D♯m7, G♯7, C♯Maj7, C♯6, EMaj7, F♯m7, B7♭9, E9, D, D6.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A