Who composed I Don't Want To Set The World On Fire?

I Don't Want To Set The World On Fire was composed by Eddie Seiler, Sol Marcus, Bennie Benjamin. It is a swing standard in 2/2 time. The original key is F; this page shows it transposed to D#.

What key is I Don't Want To Set The World On Fire in?

The original key of I Don't Want To Set The World On Fire is F. The form is AABA with 32 bars. This page shows the chart transposed to D#.

What scales work for improvising over I Don't Want To Set The World On Fire?

Recommended scales for I Don't Want To Set The World On Fire in D#: 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 Don't Want To Set The World On Fire in D#

Eddie Seiler, Sol Marcus, Bennie Benjamin()swingModerately

Do Re MiC D E

BPM: 120

Chord Diagrams — I Don't Want To Set The World On Fire in D# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

D♯/a

A♯7♯5

I Don't Want To Set The World On Fire in D#

D# major (Eb) requires barre shapes rooted on the 6th and 5th strings. It is a favorite key for horn players, so guitarists encounter it in funk and soul bands. Using barre chords at frets 1, 3, and 6 covers the primary shapes. D# is a intermediate-advanced-level key on guitar because no standard open strings match this key's chord tones. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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

swing2/2 · 32 bars · Form: AABA

Chords: D♯, D♯/a, F♯dim7, Fm, G♯m, A♯7, Fm9, G7, C7, F7, A♯m7, D♯7, G♯Maj7, Cm, A♯7♯5.

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

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