Who composed Let's Call The Whole Thing Off?

Let's Call The Whole Thing Off was composed by George Gershwin. It is a swing standard in 2/2 time. The original key is G; this page shows it transposed to B.

What key is Let's Call The Whole Thing Off in?

The original key of Let's Call The Whole Thing Off is G. The form is AA'BA'' with 32 bars. This page shows the chart transposed to B.

What scales work for improvising over Let's Call The Whole Thing Off?

Recommended scales for Let's Call The Whole Thing Off in B: 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.

Let's Call The Whole Thing Off in B

George Gershwin()swingBrightly

Do Re MiC D E

BPM: 120

Chord Diagrams — Let's Call The Whole Thing Off in B (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

G♯m9

C♯m7

F♯7

B7/f

Em/G

Let's Call The Whole Thing Off in B

B major mixes barre and open elements. The B chord itself is a barre at fret 2, but E and A are comfortable open chords forming the IV and V. The open B string rings as the root, allowing creative drone-based arrangements. B is a intermediate-level key on guitar because the open B string rings as the root and the open E strings provide the 4th — useful for sus4 voicings and drone effects. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

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

Scales for Improvisation

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

swing2/2 · 32 bars · Form: AA'BA''

Chords: B, G♯m9, C♯m7, F♯7, B7/f, Em/G, G♯m, C♯7, Fm7♭5, A♯7, D♯m7, G♯7.

Scales for Improvisation B bebop, B bebop major.

Diatonic chords: See all chords in the key of B