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.

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.

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 F: 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 F

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 F (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

F/a

C7♯5

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

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

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

Scales for Improvisation

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

swing2/2 · 32 bars · Form: AABA

Chords: F, F/a, G♯dim7, Gm, A♯m, C7, Gm9, A7, D7, G7, Cm7, F7, A♯Maj7, Dm, C7♯5.

Scales for Improvisation F bebop, F bebop major.

Diatonic chords: See all chords in the key of F