How to practice I Used To Be Color Blind with play-along tracks?

Use the play-along backing track above to practice I Used To Be Color Blind in the key of A#. Listen to the audio with bass, piano, and drums, start by playing the melody, then practice improvisation and soloing over the chord changes.

What scales to use for soloing over I Used To Be Color Blind?

For soloing over I Used To Be Color Blind, recommended scales include: bebop, bebop major. Use arpeggio patterns over each chord to create melodic lines that follow the harmony of this jazz tune.

Who composed I Used To Be Color Blind?

I Used To Be Color Blind was composed by Berlin Irving. It is a medium-swing standard in 4/4 time. The original key is Eb; this page shows it transposed to A#.

What key is I Used To Be Color Blind in?

The original key of I Used To Be Color Blind is Eb. The form is ABAC with 32 bars. This page shows the chart transposed to A#.

What scales work for improvising over I Used To Be Color Blind?

Recommended scales for I Used To Be Color Blind in A#: 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.

Do Re MiC D E

I Used To Be Color Blind

Berlin Irving4/4medium-swing

BPM: 120

Chord Diagrams — I Used To Be Color Blind in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

Starting fret

Open123456789101112

A♯maj7/B♭

D7sus4

D7♯5

Gm7/B♭

D♯9♯11

G7♯5

D♯7/G♭

C13

F13

A♯6

F7sus4

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I Used To Be Color Blind in A#

Key of A#

A# (Bb) major requires barre chords rooted at fret 1 on the A string or fret 6 on the E string. Despite the barre demands, it is a common key in funk, New Orleans R&B, and brass band music. The open D string can ring as the major third for added color. A# is a intermediate-level key on guitar because the open D string is the major 3rd of Bb, adding a bright color if allowed to ring. Expect to rely on barre chords throughout, which builds hand strength and unlocks the entire fretboard.

Voice Leading

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

Scales for Improvisation

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

medium-swing4/4 · 32 bars · Form: ABAC

Chords: A♯maj7, A♯maj7/B♭, Em7♭5, D♯m6, Dm7, Em7, A7, D7sus4, D7, C♯dim7, G7, Cm7, F9, Am7♭5, D7♯5, Gm7, Gm7/B♭, D♯9♯11, C♯maj7, F7, Dm7♭5, G7♭9, G7♯5, D♯maj7, G♯9, D♯7, D♯7/G♭, C13, F13, A♯6, F7sus4.

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

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