Who composed I'm Sitting On Top Of The World?

I'm Sitting On Top Of The World was composed by Ray Handerson. It is a swing standard in 2/2 time. The original key is F; this page shows it transposed to G#.

What key is I'm Sitting On Top Of The World in?

The original key of I'm Sitting On Top Of The World is F. The form is AABA with 35 bars. This page shows the chart transposed to G#.

What scales work for improvising over I'm Sitting On Top Of The World?

Recommended scales for I'm Sitting On Top Of The World in G#: 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'm Sitting On Top Of The World in G#

Ray Handerson()swingModerately

Do Re MiC D E

BPM: 120

Chord Diagrams — I'm Sitting On Top Of The World in G# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

D♯7♯5

I'm Sitting On Top Of The World in G#

G# major (or Ab) lives at fret 4 on the low E string. All chords require barre technique, making it less common in guitar-centric songwriting but standard in piano-driven pop. Guitarists often use a capo to access friendlier shapes. G# is a intermediate-advanced-level key on guitar because the open G string is a half step below the root, creating dissonance — avoid letting it ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

The bass line moves through G# to G# (ascending unison), G# to G# (ascending unison), G# to C# (ascending perfect fourth), C# to A# (descending minor third), A# to D# (ascending perfect fourth), D# to A# (descending perfect fourth), A# to A# (ascending unison), A# to D# (ascending perfect fourth), D# to G (ascending major third), G to F (descending whole step), F to F (ascending unison), F to F (ascending unison), F to F (ascending unison). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from F to G# by minor third.

Scales for Improvisation

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

swing2/2 · 35 bars · Form: AABA

Chords: G♯, G♯Maj7, G♯7, C♯, A♯7, D♯7, A♯m, A♯m7, D♯7♯5, G7, Fm, FmMaj7, Fm7, Fm6.

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

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