How to practice Nobody Else but Me with play-along tracks?

Use the play-along backing track above to practice Nobody Else but Me 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 Nobody Else but Me?

For soloing over Nobody Else but Me, 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 Nobody Else but Me?

Nobody Else but Me was composed by Jerome Kern / Oscar Hammerstein II in 1946. It is a swing standard in 2/2 time. The original key is C; this page shows it transposed to A.

What key is Nobody Else but Me in?

The original key of Nobody Else but Me is C. The form is A with 36 bars. This page shows the chart transposed to A.

What scales work for improvising over Nobody Else but Me?

Recommended scales for Nobody Else but Me 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.

Nobody Else but Me in A

Jerome Kern / Oscar Hammerstein II(1946)swing

Do Re MiC D E

Section A

♬

A/C♯

♬

E♯dim♬

G♯6/D♯♬

C7/E♬

♬

A/C♯

♬

Fm13

♬

B13♬

Bm7/E♬

A♯dim/E♬

Bm7/E♬

Cdim/E♬

♬

D/E

♬

E7♭9♯5♬

BPM: 120

Chord Diagrams — Nobody Else but Me in A (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

A/C♯

Fdim

G♯6/D♯

C7/E

Fm13

F - A♭ - C - E♭ - G - D

Em7

B13

Bm7/E

A♯dim/E

Cdim/E

D/E

E7♭9

E7♭9♯5

E - G♯ - C - D - F

Nobody Else but Me in A

Key of A

A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.

Voice Leading

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

swing2/2 · 36 bars · Form: A

Chords: A6, D, A/C♯, Cdim, Bm7, E7, A♯m7, D♯7, G♯Maj7, G♯6, D7♯11, C♯Maj7, E♯dim, G♯6/D♯, C7/E, F♯m9, B9, Bm9, E9, DMaj7, C♯7♭9, F♯m7, Fm13, Em7, A9, D6, G9, A, B13, Bm7/E, A♯dim/E, Cdim/E, D/E, E7♭9, E7♭9♯5.

Scales for Improvisation A bebop, A bebop major.

Diatonic chords: See all chords in the key of A