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 B.

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 B.

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

Recommended scales for I Could Have Danced All Night 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.

I Could Have Danced All Night in B

Frederick Loewe()swingModerately

Do Re MiC D E

BPM: 120

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

Display

FingerNoteDegree

Chord Voicings Closest Voicing

C♯m7/g

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

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.

swing2/2 · 52 bars · Form: ABCD

Chords: B, BMaj7, B6, C♯m7, F♯7, C♯m, C♯mMaj7, C♯m7/g, D♯, Fm7, A♯7, D♯Maj7, D♯6, F♯Maj7, G♯m7, C♯7♭9, F♯9, E, E6.

Scales for Improvisation B bebop, B bebop major.

Diatonic chords: See all chords in the key of B