Who composed That's All?

That's All was composed by Alan Brandt, Bob Haymes. It is a ballad standard in 2/2 time. The original key is C; this page shows it transposed to A#.

What key is That's All in?

The original key of That's All is C. The form is AABA with 41 bars. This page shows the chart transposed to A#.

What scales work for improvising over That's All?

Recommended scales for That's All 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.

That's All in A#

Alan Brandt, Bob Haymes()balladSlowly, with expression

Do Re MiC D E

BPM: 120

Chord Diagrams — That's All in A# (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

D♯maj9

Fmaj9

That's All in 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 C (ascending whole step), C to D (ascending whole step), D to D# (ascending half step), D# to F (ascending whole step), F to G (ascending whole step), G to E (descending minor third), E to C# (descending minor third), C# to G (ascending tritone), G to C (ascending perfect fourth), C to F (ascending perfect fourth), F to F (ascending unison), F to A# (ascending perfect fourth), A# to D# (ascending perfect fourth), D# to C (descending minor third), C to D# (ascending minor third), D# to D# (ascending unison), D# to G (ascending major third), G to F (descending whole step), F to D (descending minor third). 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 D to A# by major third.

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.

ballad2/2 · 41 bars · Form: AABA

Chords: A♯, Cm7, Dm7, D♯m7, F7, G9, Em7♭5, C♯dim7, G7♭9, C7♭5, F7♭9, Fm7, A♯9, D♯maj9, C9, D♯Maj7, D♯6, Gm7, Fmaj9, D9.

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

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