I Got Plenty O' Nuttin' in Do#

George Gershwin()swingModerately
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B
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Section A
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Section A
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Section B
La♯m/b
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La♯m/b
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La♯m/b
La♯m/b
La♯m/b
La♯m/b
Section A
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Chord Diagrams — I Got Plenty O' Nuttin' in Do# (Guitar)

Do♯
EADGBE11x432
4frEADGBE1112346frEADGBE1113249frEADGBE111342
Re♯m7
EADGBExx1423
6frEADGBE1111327frEADGBExx231411frEADGBE111114
Fam
EADGBE111134
3frEADGBExx13428frEADGBE11134210frEADGBE1142xx
Fa7
EADGBE111132
3frEADGBE11x3248frEADGBE11113410frEADGBE111xx2
La♯
EADGBE11x234
3frEADGBE11143x6frEADGBE1113428frEADGBE11x243
Re♯
EADGBExx1243
3frEADGBE11x4326frEADGBE11x2348frEADGBE111xx4
Sol
EADGBE213
3frEADGBE1113425frEADGBE11x2437frEADGBE111432
Sol♯
EADGBE11132x
4frEADGBE1113426frEADGBE11x2438frEADGBE111432
La♯m/b
Si - La♯ - Do♯ - Fa
Fam6
EADGBE1x234
3frEADGBE11xx326frEADGBE11x3249frEADGBExx2314
Sol♯7
EADGBE111xx2
4frEADGBE1111326frEADGBE11x32411frEADGBE111134

I Got Plenty O' Nuttin' in Do#

I Got Plenty O' Nuttin' in Do#

C# major (or Db) sits in barre chord territory across the fretboard. Every chord demands precise barring, but the payoff is a bright, crystalline sound a half step above C that cuts through a band mix. C# is a intermediate-advanced-level key on guitar because no open strings fall within the key naturally, so every chord requires full barre technique. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through C# to D# (ascending whole step), D# to F (ascending whole step), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to G (ascending major third), G to G# (ascending half step), G# to A# (ascending whole step), A# to F (descending perfect fourth), F to G# (ascending minor third). A half-step bass movement creates a strong leading-tone pull that demands resolution. The mix of stepwise and leap motion balances smoothness with harmonic drive. When the progression loops, the bass returns from G# to C# by perfect fourth.

Scales for Improvisation

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

swing2/2 · 43 bars · Form: AABA

Chords: Do♯, Re♯m7, Fam, Fa7, La♯, Re♯, Sol, Sol♯, La♯m/b, Fam6, Sol♯7.

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